Category: Arts & Life

  • My take on ‘The Middle Daughter’

    My take on ‘The Middle Daughter’

    The first 40 pages of Chika Unigwe’s ‘The Middle Daughter’ flew by at a short stretch. Not even the gist from my son, Toluwanimi, not his attempt at plaiting my hair as he perched beside me on the living room’s L-shaped couch, not his suggestion that I allow his sister, Opemipo, add me to the list of her home hair-plaiting clientele, just nothing that Sunday afternoon succeeded in denying me the joy of savouring the early parts of the delicious soup that ‘The Middle Daughter’ is. At a point, Toluwanimi expressed his shock that I had read that much.
    “Are the pages short?”

    “No, the story is interesting,” I told him to explain that an engrossing tale can aid fast reading.
    Forced to take a break for a work-related appointment, I thereafter craved every free time to return to the world of Nani, Ugo, Ephraim, the ancestor, Udodi, and others in this modern retelling of the Greek mythology of Hades and Persephone.

    Houston’s traffic was free that Sunday so I got to where I was going earlier. The weather was 95 degrees so with the engine and air-conditioning system running, I read on. It was while I was in the car that Nani met Ephraim, the one who loves speaking big grammar, the one who came as a preacher, the one who finally ‘sealed’ Nani’s path to America and the one who tripled her sorrow.

    The effects of the family tragedies were diverse. Aside the evil of leading Nani to Ephraim. It also affected Mother’s faith and “even mother who used to carry church on her head no longer went”.
    I didn’t return home until 1am of the following day and sleep ought to be my next calling but ‘The Middle Daughter’ called like River Nun and I heard and I obeyed it.

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    And Ephraim picked up the narration ‘detonating’ one big word after the other.
    Fresh off two tragedies, Ephraim becomes the shoulder Nani leans on. She tells him things she can’t tell Mother or Ugo. She looks forward to seeing him, talking to him and receiving the small, small gifts he has cultivated the habit of bringing. Ugo notices their closeness and starts calling him her boyfriend.

    I couldn’t cheat nature for too long so sleep demanded attention and I gave in.
    Hours later when I woke up, it was to Ephraim’s revelation of the secret behind Mother’s business. At that stage, I was inwardly screaming: “Help me, help me, Chika Unigwe dey carry me go where I no know.”
    Ugo and Mother eventually leave for America and Ephraim becomes Nani’s husband and father of her children and she is estranged from Ugo and Mother.

    Ephraim becomes a disappointment but Nani is stuck with him and her centre is unable to hold.
    As I read on, the fact of Doda being a fantastic father kept tugging at my heart and I also kept seeing Mother as a replica of many a mother who makes it difficult for their children to discuss certain issues with them.
    I saw how death can destroy the fabrics of a home, how the end is not the end, how some ends or deaths can precipitate actions with reverberating effects.

    Ephraim, hmm, comes across to me as the ultimate mad man pretending to be a man of God. Initially, I had seen him as a fanatical Christian but as I got to meet him more, I came to the conclusion that he was sick, mentally sick.
    As the author tossed me here and there in an unlinear manner from Nani to Ephraim to Ugo and the ancestral voice of Udodi, I was haunted by what was to come. I wondered if everything good would come the way of Nani or she would remain in hell and never saw heaven.

    It was painful to see Ephraim being loved by the kids loved Ephraim and somehow prefered to their mother, but I consoled myself by saying shit happens.

    The author shows that humans are complex and dwell in moral ambiguity and principle is the first casualty when our interests are at risk.

    This novel, which is Unigwe’s fifth, is written in English Language but there are parts of it that are Nigerian English and the beauty can truly be appreciated by a Nigerian. She sought, like Achebe, to do with English what the oyinbos didn’t think it was capable of.

    The family at the heart of the novel is Igbo and the author transcribed their world without altering their Igboness. She stretched and forced English to do her will to achieve this.

    Relief washed over me when I got to the end, relief that the author righted the wrong in the Hades-Persephone myth, relief for Nani, and relief for myself because we went through the storm together and we deserved the calmness.

    This is a fantastic read!

    May Ephraim never happen to us!

  • Of poems and symbols of terrorism

    Of poems and symbols of terrorism

    Title: The Lonely Grave and other poems

    Athor: Jibrin Baba Ndace

    Published: 2020

    Reviewer: Edozie Udeze

    POEMS convey thoughts in deeper and more concise forms. They are feelings of the inner mind that pierce the heart. The words are naturally chosen for proper effects and to also convey the appropriate sounds for the purpose of assimilation. The Lonely Grave and other poems, comes at a time when the Nigerian society is at a crossroads. The poet is very careful in his choice of themes and words, lines and sounds. He takes his time to synchronize and harmonize the rhymes and rhythms, their total effects on the psyche of the reader; indeed, the entire society.

    Jibrin Baba Ndace is totally involved in these poems. He tears at the heart of the matter. In very few succinct words in each lyric, he delivers the necessary messages to convey the state of anomie and angst, very chaotic in some circumstances and situations, in Nigeria where the enemy held sway for many years. If we take a cue from the book of Lamentations in the Holy Bible, we encounter the sorrows of Jerusalem replicated in Nigeria. It is clear: “How lonely lies Jerusalem once full of peoples. Once honoured by the world. She is now like a widow…”.

    Now, how Ndace handles this war of idiocy. “Like the crackling of bush fires-(the gunshots boom). We hear them around, Ahead of us, They fly in all directions. It is the sound of death. The shots from the guns…” The poems are all on the fight to uproot the menace called Boko Haram. The insurgency began slowly but steadily grew and spread like an irredeemable wildfire. Before the nation realized it the group had spread far afield to all the nook and cranny of the North East of Nigeria. Consequently, those areas -towns, villages, markets, worship places, schools, homes, farms, suddenly became endangered, marooned and cocooned by harbingers.

    Then came Lt. General Tukur Buratai as the Chief of Army Staff. Then also came Ndace as one of the embedded defence correspondents. The events unfolded fast and in quick successions. With accelerated despatch, work began; serious counter insurgency happened in which General Buratai and his men regained control while the journalists did their reporting. Ndace followed the events clinically using his curious sense of observation and jotting where necessary to safe keep information. The results are these emotion laden poems. They are poems that take you through the series of traumatic happenstances that disrupted the society. It is the story of the gunshots of men… for the enemies that lurk around….

    The poems are sorrowfully delivered. The poet does not hide anything. The feelings are genuine, mean, profound and often infectious, while the enemy is waiting in ambush, to strike. Now, it is only on the way to Sambisa, a coven of sorts, and which is now debauched and defiled in dryness. By indoctrinated rapists…  The rapists that distorted Chibok, harassing young maidens into nothingness, into eternal captivity; sex slaves in their very early years of life. The poems on Chibok , Chibok Angels are truism,  complete reminders of the early stages of the attacks by these marauders. The lines grip, dripping with memories of the things parents do not want to remember, of young school girls who have one day become slaves in very sadistic circumstances.

    And in their innocence. They began a journey/to the land unknown/an uncertain voyage, of no return, leaving despair, on their heels… Our girls ‘wifed’ by the beasts. Sexed by the vampires. Made mothers, by the monsters”. It is horrendous, harrowing and heart-rending. These lines touch on the fabrics of homes; on the role of the state to protect and provide, to safeguard and streamline. This also goes to show why the poems are divided into sections. Each section handles appropriate themes and periods in the lifespan of the matters so treated in the collection. Ndace is crafty and smart in this arrangement. And in all, the arrangement works so clearly that once you pick the book, you are compelled to read through. The simplicity of the presentation, the high sense of delivery, all come together to give added impetus and meaning to the poems.

    Apart from a rather lengthy acknowledgement, the book is divided into six chapters of sections. This makes for an easy read. The first chapter handles issues of The War of Idiocy, which inadvertently queries the senselessness of the whole episode called Boko Haram. In chapter two, named Famished land, there are problems of Safe traps, Gamboru Ngala, Vulture’s feast and more. The poems are on incidences, on homes, on locations and settlements now shadows of their former selves.

    In chapter three- Heroes in boots, individuals, soldiers, generals, all are eulogized for their uncommon roles to dismantle the enemy. The poems come out as more of tributes, eulogies, appraisals, more. In the poems you see the level of sacrifices, commitments, zeal exhibited by the people concerned to save motherland. The poet is critical in his assessment of their roles in most terrible of times to wriggle free of difficult moments for the good of all.

    In chapter four, titled Tears of Laughter, sanity has gradually begun to erupt, to surface amongst the rank and file. The Army leaders have begun somewhat to see the light at the end of the tunnel. Time to indulge in The Soldier and his lover, can now be tolerated. It shows, however, that it is not totally a hopeless struggle to freedom. The poet intones: ‘It is a love affair. Not your usual love affair… It is a love affair. Of combatants, And their riffles. Of combatants, And their horses. Of combatants, And their trenches. It is a love affair that must be. It is a combatants’ love affair”. You can now see the taste of love affair. You can now perceive how the army romances love to steady their nerves, to fight on.

    In chapter five, Of Drills and Grief, we see another sides of the Army, those unspoken sides that separate them from the rest of the people. It is time to glimpse through the Combatant press up, Combatant movement or It may be the last. All these gear towards the total build up of a soldier to face the rigours of his calling. In chapter six, we encounter Of hope, victory and triumph. It is time to really wine and dine, time to snigger at the enemy and shout loud that we have made it. Here most people come back to welcome the gallant and victorious soldiers, after all, stories of the war are only written by the victors. The villain and vanquished has no stories to tell. So Ndace tells it, General Buratai stamps it and now we have: The Lonely Grave and other poems.

  • ‘Nigerian creatives are world-class’

    ‘Nigerian creatives are world-class’

    Program Lead, Terra Academy For the Arts, TAFTA, Joseph Umoibom speaks with Samson Oti on how far the Nigeria creatives have gone in terms of quality to meet international standards.

    THE creative industry in Africa and globally symbolise power bases of investments. Do you think emerging creatives in the industry are capable – skills and talents – of effectively utilizing such investments?

    I do think we have a lot of creatives who are capable and are stepping up to meet the challenges and demands of international bodies such as Netflix, Amazon, and Showmax. Their interest and investments in the Nigerian market are a result of the growth the industry has been through over the years. We also have a lot more creatives who are working to expand their knowledge and be better trained and equipped to deliver the quality standards wanted by those bodies. Their entrance is a welcome development as it will help grow the industry in terms of economics and finances, and will push both emerging and established creatives to go beyond what they are capable of.

    As an African filmmaker, why do you think it is important for organizations and individuals to support and nurture young talents?

    As the industry grows, we need to create an environment that works for both emerging and established filmmakers. This way, the younger generation will be best prepared to take over where the older generation stops. This succession process is important in order to avoid a vacuum when many of the existing filmmakers retire. By nurturing and supporting them now, they can learn directly from the established filmmakers, as well as help them adopt newer ideas and innovations. The younger generation is more savvy at new technology and these new processes will only make the industry better. The older generation will also benefit by learning new ways of making films and telling stories that will resonate with everyone, irrespective of their generation.

    You are the program lead and one of the key figures at the Terra Academy for the Arts (TAFTA). Can you share an overview of the programme and its purpose?

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    Terra Academy for the Arts (TAFTA), with the support of the Mastercard Foundation, aims to train 65,000 youths between the ages of 16 and 35 in the creative and technical aspects of theatre. Under Bolanle Austen-Peters Production and Terra Kulture, the foremost theatre production outfit in Nigeria, we have been informally training many youths who discovered their talents by learning on the job with us. Through TAFTA, we are formalizing this training programme by offering relevant courses such as Stage Lightning, Sound Design, Animation which is useful in scenic and set design, and scriptwriting. We have also included business and entrepreneurial modules in each of the courses so that our students receive the most thorough education, especially those who will be setting up their own businesses afterwards. The initiative is focused on three states: Lagos, Ogun, and Kano with a particular emphasis on female participation. All that’s needed to register is a Secondary School certificate. Finally, after completion of the programme, we provide relevant internship opportunities for our students to gain practical experience.

     What would you say are the biggest barriers and challenges for emerging talents in the creative industry, and how is TAFTA working to address them?

    There are three major challenges affecting emerging and established filmmakers in the industry and they are funding, training, and access to markets. Many find it difficult to secure favourable funding for theatre productions, film productions, and other creative endeavours. We are addressing this challenge by partnering with First City Monument Bank (FCMB), supported by Mastercard Foundation, to provide soft loans with flexible terms. These loans are not only available to students or graduates from TAFTA but to anyone in the industry looking to kickstart a creative enterprise.

    What should the public be expecting from TAFTA and its students as they embark on careers in the creative academy?

    The public should expect better-trained and better-skilled experts who are transforming the creative industry and the nation at large. They should expect a significant increase in the quality of work being churned out by the industry because of this intervention by TAFTA and Mastercard Foundation. We are creating a pool of talents that the industry can tap into. We have diligently trained these talents and now they are ready for the market. In addition, these talents are not limited to us or the creative industry, they can be utilized in a variety of ways and opportunities.

  • ‘Tunji Olaopa’s The Unending Quest For Reform: An Intellectual Memoir’

    ‘Tunji Olaopa’s The Unending Quest For Reform: An Intellectual Memoir’

    By Festus Adedayo

    LITERALLY, memoirs perform retrospection surgery on the memory. They do this by removing shards that encumber and make remembrance difficult. Intellectual memoirs do even more. As academic works spiced with human existential narratives, they offer one for the price of two. While the reader walks through the lane of history with the author to recreate the past, the reader is also afforded the benefit of a profound discourse which, together, forms a corpus of memorable intellectual narrativization.

    Tunji Olaopa’s The Unending Quest For Reform: An Intellectual Memoir ranks hugely in this category. A 249-page work, it is a journey, not only into the very didactic world of the author’s intellectual life, it also provides invaluable insight into what he calls the systemic structures and operational dynamics of the Nigerian civil service.

    For anyone in search of titivating titles that surreptitiously lure the reader into the body of a work, The Unending Quest is at first uninspiring and uninviting. The title heralds a prospective travel into the world of staid academy and philosophy. However, a curious fascination lies ahead upon a cursory reading of the book. Then, the reader immediately transposes into another world as they encounter a very insightful, well written narrative of the life of a man whose existential itinerary is woven, like a tapestry, round the quest for knowledge and scholarship.

    Foregrounded by impressionable words from two renowned scholars, one in cassock and the other in the shawls of the academy – Matthew Hassan Kukah and Eghosa Osaghae – the kick-off of The Unending Quest begins on a fluid plane. Like all Forewords, both scholars’ interventions dissect the book by way of summaries, whetting the appetite of the reader about an eventful historical progression. They did not shy away from alerting the reader that the totality of the memoir is woven round issues Nigeriana but such that remarkably enfold themselves into and supervene in the life trajectory of the author.

    Aside the Forewords, the book is broken into eighteen chapters which narrate the life journey of the author and his very luxurious thoughts about Nigeria and her development. The first thing the reader will find out about the book is that it is very lean on the author’s personal life but very robust on the existential dilemma of Nigeria. Before embarking on this journey, the author offered an explanatory note on why Olaopa embarked on writing a memoir at this point of his life. As he narrated, two schools of thoughts explain the maturation of a memoir. The first, heeding the call of the philosopher, Michel de Montaigne, frowns at the vanity of self-portraiture that underscores writing of a biography. The other, whose justification was given by the author himself, unfolds itself into the quest to write a memoir. This, he said, is the realization of the sociality of man as “being in a community.” The explainer for this is that, man whose life project is concerned with “how the life projects of others within the political community can become the platform for making sense and meaning out of existence” has great motivation in explaining how he got to where he is. Memoir is one of those routes.

    As the book blows own whistle for the commencement of a journey with Olaopa, the author unapologetically flaunts his Aawe, Oyo State ancestry and the life-long impact that the rusty and sleepy town of Okeho, also in the same state, played in his life journey and foundation. The reader will meet this flaunt almost at every intersection of the book, almost to a repetitive level, with the result of an underscore of a life structure moulded on core traditional African values.

    The book romanticizes the flora and fauna of Aawe, its “ancestral founding and apocryphal imaginaries” as well as the picaresque beauty of Okeho’s landscape, which all find a maturation and encore in Ali Mazrui’s famous triple heritage of Africa thesis. For Olaopa, Aawe was a study in the dynamics of shared values, especially its capacity to “mediate and manage differences.” The author’s most profound takeaway from Aawe, it will seem, is its “stable crises of plural configurations” and “mosaic of multi-colour differences.” The icing on the cake that that this sleepy town provided for him lies in its dynamics of shared values and eventually, its ability to lend self as a community of loved ones.

    The above theme was further adumbrated in Origins 11: Family Life where the book doubles down on the communal nature of the author’s upbringing, how “the moral eyes of everyone (were) on everyone.” However, in spite of how the author painted the marital amity and harmony witnessed in his father’s polygamous home, Olaopa still has a negative perception of polygamy which he feels was “not fair to the mental development of a child and the intergenerational handholding that a child requires to get a solid grasp of life and existence.” This negative reading of polygamy, for Olaopa, is due to its socio-cultural internal dynamics “that often go wrong and drag the child’s mental and psychological balance with it.” This, to him, is the most robust justification for Christian theological abidance with monogamy.

    With another chapter entitled Christianity and the spiritual, Olaopa seems to have completed his narration of his personal memoir section of the autobiography, preparatory to discussing his intellectual journeys. In this chapter, like most philosophers who arrive at intersections of knowledge where they begin to query the existence of God, Olaopa was also drawn to that troublous juncture where three footpaths meet, apologies to Professor Ola Rotimi’s The gods are not to blame. Brought for reflection at this point was the dialogical relationship between the Yoruba spirituality and Christianity, the relationship between Christianity, mysticism and occultism, the author’s invariably tending seriously towards agnosticism and eventual return to the faith of his father. His son’s decision to walk the path of his father by staying at home on a Sunday woke Olaopa up from his solipsism. The reality rudely perched on his mind that rather than his personal experience being an exclusive feeling, it verged on the experience of others. With this reality slide in a subterranean manner into his thought, Olaopa there and then kindled afresh the dying fire of Christianity in him and set aglow the quickening of his return to the faith of his father.

    In Books and Becoming, Olaopa offers the rationale for his bookish life and the obsessive place that the search for knowledge occupies in his life. “My entire life has always been defined and shaped by books,” he declares unapologetically. As an affirmation and testimonial to this apologia, the reader is taken through a kaleidoscope of Olaopa’s dialogical relationships with books, beginning from Daily Sketch, a newspaper which his father daily purchased and which he propitiated regularly to the god of his precocious mind. Olaopa also holds like a totem his encounters with the genie in the genius of Prof Ojetunde Aboyade and how, in Form Three, he masticated the generally considered bony offering of Wole Soyinka’s The Man Died. Then, he began to fill his mental barn, at that precocious point in his life, with works on historical heroes like Galileo Galilee, Queen Amina of Zaria, Mansa Musa and down to Archimedes. Among his classmates, this exemplary but unexampled relationship with books earned him the sobriquet Azikiwe, a literal reading of the “book – iwe” in a Yoruba reading of the name of Nigeria’s first president, Nnamdi Azikiwe.

    Here too, the reader is led into the near marital disharmony that books were to cause in the author’s family. Finding it difficult to understand Olaopa’s incestuous consanguinity with books, the author confessed that his wife, at the teething stage of their matrimony, thought he was arrogant and perhaps, selfish. The woman, who was later to be a convert to her hubby’s life journey of spiritual affinity with books, found it difficult to penetrate this book obsession and felt he was selfish to carve a solitary world for himself inhabited only by him and his army of book companions.

    Right from here, the reader will quickly realize that reading The Unending Quest has the potential of offering imperishable quips, per page, of the book. This reviewer has his own copy of the book pockmarked with pencils underlining those rich lines and which he has hoisted to lusciously enrich his life. One of those quips is where Olaopa sees his life journey as one constantly at the entrance of Apollo’s temple at Delphi, engaged with the graffiti, “Man, know thyself.” The second is Olaopa’s verdant discovery at the altar of Plato which taught him “the embryonic understanding of the relationship between knowledge and social construction.”

    One major nuance of The Unending Quest is its simplification of staid philosophical schools and the offerings of their proponents. Chapter three of the book is one of those. The Republic of Plato is lent to explain Olaopa’s intellectual journey which he confessed wasn’t triggered from the four walls of the classroom but the existential agony he encountered when, in 1965, as a young boy, he escaped the gory bloodthirstiness of Western Region’s deadly political violence which nearly killed him. Deploying the large expanse of intellectual frameworks he acquired from reading the works of philosophers like Plato, the philosopher whose ancient Athens and its declining democratic fortunes constituted the hub of his philosophical obligations, Olaopa’s life quest too got enveloped by the quest to provide answers to that Platonic quest, “how can we build a city on the foundation of justice?”

    Apart from the tissues of precocious audacity that he acquired from youth, in The Unending Quest, Olaopa credits the University of Ibadan as where he acquired a lifelong intellectual armament, capacity for discursive engagement and boldness that have proved invaluable in his adult years. UI, as it is fondly called, the book recalls, was where the young Tunji was given a clear vision of the world. It was the place of incubation and maturation for his idealism and which moulded the man who would later mutate into one of Nigeria’s foremost intellectual public servants. It also taught him the worth of institutional values and he imperishable values of the intercourse of ideas and ideals.

    The Unending Quest is however not a book ordered in a sequential chronology. For instance, while it begins with a chapter entitled Books and becoming, it was not until page 42 that it narrated a major occurrence of the author’s life at his birth. In this chapter, with the title, In the valley and shadows of death, the author avails the reader of a major existential travail that he underwent while growing up. As is the book’s renown, this chapter begins, not without a major philosophical quip to explain the binary of boom and gloom that life is renowned with. “From birth to death, the trajectory of life is marked by all kinds of experiences; the pleasurable and the most difficult, the sinister and the benign… the bitter and the sublime.” It was in the cusp of this that he narrates his mother’s encounter in 1960 at the annual baby show in Okeho where baby Tunji, without “a prize-winning physiognomy” caught the attention of a Reverend Sister who delivered a message to wit, no matter the challenge the author’s mother encountered grooming the child, he was never to be taken “outside the faith.” Thus, when in early life, he encountered a head-cracking recurrent pain that defied all prognoses and even spiritual medications, Olaopa took this existential travail, which almost drove him to the point of suicide, as one of the agonizing experiences that come with the binary offering of life.

    In Further philosophical reflection on my spiritual journey so far, Olaopa, deploying philosophy, agonizes about Pentecostalism leaving the most cogent route of faith and its slithering into what he termed an absolutist theology.

    In virtually all other chapters of the book, the reader is availed a peep into the fecund administrative career experience of this numero uno intellectual public servant. It is a very massive reflections and insights into, in the words of Professor Eghosa Osaghae, one of the writers of the two forewords of the book, “the nexuses among public policy, public administration, civil service and governance on one hand, and how these can be transformed along the paths of the reforms that seek to address the pathologies of bureaucracy.” This, Olaopa did in this book, with a philosophically in-depth and clinical knife that is delivered with the aid of scientific analyses.

    For instance, Olaopa believes that there is an administrative pathology in the Nigerian civil service which he tagged “debilitating bureau-pathology” and that this conundrum can be surmised as “too many people doing nothing; too many doing too little and too few doing too much.” He doubled down on this public service equivocation in The making of a public servant reformer. Here, he dissected the messy, complex conundrum of reforms. More significantly, he laid out the task demanded of a public service reformer, as that of a responsibility to “think politically and act strategically.” The environment in which the reformer is expected to work is one that is circumscribed by politics and politicians, he says. In the book, you will be availed with Olaopa’s assessment of the Nigerian public service. To him, it is an institution that is inherently paradoxical, whose dysfunctional nature is matched only by its potentials. Using the Chinese philosopher, Confucius and his philosophy of pedagogical dynamics, Olaopa used this philosopher to explain the expectation of society from the public servant. The expectation, he said, if for them to “work anonymously but assiduously at the foundation of good governance without any care for self-serving benefits.”

    Olaopa also offers his frown at the pathological bureaucratic culture of the Nigerian public service, submitting that this culture is the very antithesis of the efficiency that is expected of the service and limiting its quest to serve as complement of democratic governance.

    In other chapters of the book like Abuja and the presidency, From the MSO to the BPSR, Becoming a Permanent Secretary, Reform philosophy for Nigeria: The Socratic Imperative, Reform agenda, Administrative leadership and the politics of reform, From ISGPP to NIPSS: Retirement and post-retirement think tanking, the reader will come in contact with an effusion of the author’s constantly iterating mind and his eclectic prognosis of the Nigerian public service dilemma. You will invariably wonder how Nigeria would retire a man with such humongous recipes for her atrocious public service challenges at a time when the country required his services the most.

    In From the MSO to the BPSR, Becoming a Permanent Secretary, for example, the reader will be thrilled about how the author deployed pre-Socratic philosophers’ treatment of the concept of change and the relationship between permanence and change, into explaining the flux, the “administrative befuddlement” that he met when he eventually left the speech writing office at the presidency for the Federal Ministry of Education. For him, what he called the “kaleidoscope of dizzying dysfunction” in the Nigerian public service has a relationship and explanation in Heraclitus’ world of flux and logos. This then explains the paradox of “how the logos can remain the same universe defined by constant flux.”

    Olaopa’s understanding of the role of the Permanent Secretary differs from the simplistic “I am directed” zombie that he is perceived to be. For him, he is multidisciplinary or a generalist who is expected to serve “as an institutional memory, as well as the custodian of the traditions, knowledge and the chains of the interlocking conventions, rues and due processes that constitute the ministry she heads.” He thus needs, according to him, “a mix of strategic, tactical and operational capacities and commitments” to navigate through the dysfunctional complexion of the civil service.

    In the Socratic Imperative as a reform philosophy for Nigeria, Olaopa bears his mind on how the Nigerian public service must, like Socrates, examine itself because an unexamined life is not worth living. The civil service, in overcoming its bureau-pathology, must accept the optimal system model. This offers a comprehensive analysis of how the service can overcome “both its internal administrative incapacities and external political challenges to effectively become an agent for good governance.”

    The book ends with a chapter entitled, Prospecting Nigeria’s future as a nation which is essentially a diagnosis of Nigeria’s leadership dilemma and its objectionable following, as well as the ailments latent in the due. He submits that there is an urgent imperative for restructuring.

    The book is a very compelling autobiography, the type that is a rarity in this part. From the beginning to the end, it is a compelling work which, like the preoccupation of the weaver of a tapestry, needles together primary data of the encounters of a participant observer in the theatre of governance.

    Though downcast that he did not study philosophy as he desired to be navigated by his childhood mind compass, Olaopa eventually made a profound art of philosophy as a philosopher, practitioner, expert-insider, advocate of a better society, theorist and a man whose research mind will make a first class traditional ethnographer cringe with envy. In this book, the reader will hear the voice of a political scientist and an intellectual public servant whose understanding of the workings of the service is at best professorial.

    All in all, the 249 pages of this book, The Unending Quest For Reform: An Intellectual Memoir ripple with nuggets and invaluable insights into the problems of Nigeria, from the vantage of the public service. Olaopa provides a verdant assessment of the service and, ipso-facto, boring down into the Nigerian existential malaises. On a personal note, it has been long I read a book of that intellectual texture that provokes such immeasurable fervor in me, from any public intellectual. It should be a must-read for students of political science, public administration, political theory, development studies and philosophy. It should also be an important companion for, not only anyone aspiring for a career in the public service but for anyone in doubt about the value of philosophy and intellectualism in any life engagement.

    •Festus Adedayo PhD, Tribune Columnist and Editorial Board Member.

  • ‘Firefemi’ for UK Premiere 

    ‘Firefemi’ for UK Premiere 

    A new movie, titled ‘Firefemi’, is slated for premiere in the UK next month. 

    Directed by ace filmmaker Azeez Ijaduade, ‘Firefemi’ stars Toke Jamiu, Kola Ajeyemi,  Omowunmi Ajiboye and Oyindamola Sanni.

    Others include Damilola Oni, Funmilayo Omikunle, Akin Kolapo, and Ogunleye Jire.

    ‘Firefemi follows the story of Morire, a young woman whose existence is a mystery to those around her. For some, she is a blessing and for others like her husband and everyone around her a disaster. The movie is a master thriller that unravels certain significant aspects of human life- a film that possesses a high capacity to challenge one’s level of interest and humanity.

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    Toke Jamiu has to her production credit, films like ‘Do or Die’, ‘Living Ghost’, ‘Irenimoyan’, ‘Anale’ and ‘Perfect Murder’.

    Since joining the Nigerian movie industry in 2014, she has acted in several blockbuster movies, including ‘Dimeji’, ‘Alasake’, ‘Kanranjogbon’, ‘Necklace’, ‘Eninla’, ‘Broken’, and ‘Angeli Mi’ among others.

     Toke Jamiu said that she loves and look forward to acting alongside thoroughbred actors like Funke Akindele, Mercy Johnson, Richard Mofe-Damijo, Nse Ikpe Etim and Gabriel Afolayan.

  • Aafin Ilu Hosts Spectacular Global Art Showcase: Àṣà l’áṣọ (Culture is Our Cloth)

    Aafin Ilu Hosts Spectacular Global Art Showcase: Àṣà l’áṣọ (Culture is Our Cloth)

    The historic halls of Aafin Ilu became the epicenter of global artistic dialogue on 11th June, 2023, as the group art exhibition Àṣà l’áṣọ (Culture is Our Cloth) unfolded in a grand celebration of creativity, heritage, and cultural exchange.

    The landmark event brought together artists from different parts of Nigeria and four continents, turning Ede into a vibrant crossroads of ideas, traditions, and artistic mastery.

    The exhibition was co-curated by Prince Adewale Laoye and the phenomenal, Racheal Joy Okogie, a world-renowned art and cultural curator with a long history of staging groundbreaking shows. She crafted an unforgettable experience that seamlessly blended contemporary narratives with timeless traditions.

    Featuring an extraordinary lineup of talent who were invited to display their work at the prestigious Aafin Ilu. Àṣà l’áṣọ showcased works across diverse media, from painting and sculpture to photography, textile art, and mixed media installations.

    Participating artists included Shegun Oseh, Aliq Tabash, Kester Kanayo Onyemaechi, Ibukun Oparinu, Mercy ‘Oduz’ Odukogbe, Shunam Thomson, Edirin John Duvwiama, Bukola Abiodun, Dauda Itopa Ova, Medeyonmi Akran, Olamide Bakare, Olalekan Adetunji, David Okogie, among others. Each artist brought their own distinct voice, yet together they created a powerful, unified narrative celebrating the richness of cultural identity.

    The theme, Culture is Our Cloth, resonated deeply with visitors. Each piece served as a visual metaphor for the fabrics that bind communities, from the intricate weaves of ancestral traditions to the bold patterns of contemporary expression.

    The works explored themes of heritage, migration, identity, and resilience, providing a space for reflection, dialogue, and connection among people of diverse backgrounds.

    Over the course of the exhibition, Aafin Ilu welcomed art lovers, cultural enthusiasts, collectors, and critics from around the globe.

    The atmosphere was electric, punctuated by artist talks, guided tours, and vibrant conversations that spilled beyond the gallery walls into the cultural heart of Ede in Osun State.

    The fusion of local artistry with international perspectives underscored Nigeria’s place as a rising powerhouse in the global art scene.

    Speaking at the opening, Prince Laoye  reflected on the event’s impact: “Àṣà l’áṣọ is not just an exhibition; it’s a statement about who we are and the stories we carry.

    By bringing together artists from across Nigeria and beyond, we weave a fabric of cultural unity that transcends borders.”

    The success of Àṣà l’áṣọ marked it as one of the defining art events of 2023, a testament to the power of collaboration, the depth of Nigerian creativity, and the enduring relevance of culture in shaping our collective future.

  • Edo Language Day holds August 13

    Edo Language Day holds August 13

    TO promote Edo language, a group, Edo Language Day Worldwide has rolled out plans to celebrate the first annual Edo Language Day Worldwide on August 13.

    In a statement by its Global Coordinator,  Lady Nekpen Obasogie, she said that the initiative is part of the group’s response to the warning by the United Nations (UN) over the extinction of indigenous languages around the world.

    Against the backdrop of a recent estimate that, at least, 50 percent of today’s spoken languages in the world will be endangered by 2100, Lady Obasogie noted that Edo language is not exempted from the list of Indigenous languages that are gradually becoming extinct.

    She said the decision to declare Edo Language Day Worldwide was made at the first worldwide Edo Language Seminar organised by NEBO TV on August 13,last year..

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    She said: “It was a historic event that featured many dignitaries from the Great Benin Kingdom. They connected online (via Zoom) to strategise on how to preserve, revitalise, and harmonise the Edo language among Edo indigenes worldwide. The initiative aimed at promoting and preserving a standardised Edo language worldwide.”

    According to Lady Obasogie, this year’s event would be hosted by Edo Language Day Worldwide (ELDW), NEBO TV Canada, Edo State Ministry of Arts, Culture, Tourism and Diaspora Affairs, in partnership with the University of Toronto, Canada. 

    The coordinator noted that the event is scheduled to hold (in-person and virtually) on August 12 and 13, at the University of Toronto, Canada and Sir Victor Uwaifo Creative Hub in Benin City, Edo State.

    Recall that in his coronation speech in October 2016, Oba of Benin, Omo N’Oba Ewuare II had passionately to the state government to include Edo Language and History in schools’ curriculum in Benin Kingdom.

    The monarch declared: “I advise my Benin people to try to maintain our culture especially our language, by insisting on its use in communicating with their children and each other.”

  • Author bags IMSU award after new book

    Author bags IMSU award after new book

    Nigerian-Canadian artist and author, Dr. Uba Iwunwa has been honoured with a prestigious literary excellence award by the Imo State University (IMSU), Owerri for her contributions to literature and academic excellence.

    Dr. Uba, founder and chairperson of Abiama Dynasty, a humanitarian organisation received the award during the unveiling of her new book, ‘The Rising of Ikenga’ (Love Beyond Death) at the English and Literary Studies Department of the Imo State University, Owerri on June 2, 2023.

    Dr. Iwunwa who was represented at the occasion by the brand ambassador for Abiamdynasty.org, Princess Chidinma Amanda Omeonu, had in her keynote address at the occasion expressed her joy and satisfaction for being able to produce such a book that carries a strong message that resonates with Nigerian youths who were at a critical juncture.

    Explaining that the main character in the book, Ikenga, journeyed through bitter life challenges to reach the pinnacle of success, the author seized the opportunity to advise Nigerian students to rededicate themselves to academic excellence in order to actualise their dreams in life.  

    Stressing that sound education remains the key to unlocking intellectual and creative potential, Iwunwa, however, cautioned that Nigerian youths must be ready to work hard, endure hardships and deprive themselves of many things in order to climb the ladder of success. 

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    “The fact remains that the road to success is not usually a smooth ride. On a daily basis, we are confronted by different situations that test our resolve to either stay on our path or change our direction. 

    “As a teenager, you are obviously at the beginning of your adult life. Most people at this stage in life are driven by exuberance and so prone to mistakes.

    “How you channel your youthful energies, challenge yourself to get the best out of whatever you are doing, and how to correct the mistakes you make along the way will determine whether you will eventually make it to the top”, she said.

    The Vice Chancellor, Prof Uchefula Ugonna Chukwumaeze, represented by the Head of the Department, of English, and Literary Studies, Dr. Mrs. Christiana Nneoma Onu, described Dr. Iwunwa as an icon, a worthy ambassador of the department, Igbo nation and Africa as a whole.

    She seized the opportunity to advise the students to emulate the author who had done so much to showcase the rich Igbo and African culture on the global stage.

  • Ekisola at 70: My odyssey

    Ekisola at 70: My odyssey

    Pioneer General Manager of Nigeria’s first privately-owned broadcasting outfit, DAAR Communications, owner of Ray Power 100.5 FM, Olusesan Ekisola, will turn 70 on June 26. He speaks with Assistant Editor (Arts) OZOLUA UHAKHEME on how his late mother influenced his journalism career, the many battles he fought at OGBC, why he left Ray Power and why he will reincarnate as an academic instead of a journalist.

    • ‘Dokpesi was a great leader, mentor’

    You will turn 70 in two weeks’ time. But, you don’t seem to look it.

    When my dad turned 50 in 1964, as a little kid I wondered if I will be able to get to that age. But, before I knew it, I blew past 50 and now am 70. I am grateful to God. Some people did not have such grace that God has placed on my life. In my immediate space, the person that was born before me died, the person that was born after me died. So, out of three, I am the only one alive. Then my mum later had a daughter for the former Governor of Lagos State, the late Alhaji Lateef Jakande. She died at 28, shortly after her PhD in Marine Law. I thank God for the special grace to be alive today to give my mum the proper send forth after her death. I am in a spirit of gratitude.

    Your mum was a journalist. How did that influence your career as a journalist?

    My late mother was a journalist and very assertive. I had the normal attachment to my mother. She was a professional journalist and a feminist. She started her career with the Daily Service. She loved to read and one of the things I picked from her is the appetite to read.  People think am the superstar. No. It was my mum’s influence. I actually copied from my mum even though I wasn’t doing it consciously.

    Growing up you wanted to work in organisations like commercial banks where you could earn fat pay. Yet, you settled to be a journalist. Did journalism fetch you that fat pay?

    As at that time, there was no money in journalism. It was a prestigious thing to be a journalist that commanded respect. There were famous columnists like Candido, Alade, Aiyekoto, Peter Pan and Abiodun Aloba then. When I left secondary, there was the ambition to go for Higher School Certificate (HSC) to get A ‘level that enables you enter university. But then there were also those who got employed, dressed smart and earned well in private sector.

    I wasn’t sure I understood the implications of earning big salary then, but just to earn it. I took tests in banks like Barclays Bank (now Union Bank) and Standard Bank of West Africa (now First Bank) I wasn’t called though performed well. I also did test at Moore Plantation Ibadan, still was not taken. I was then a Clerical Officer at Federal Ministry of Transport and Aviation, Marina, Lagos, but was still seeking employment at those organisations. I  however settled for Radio Nigeria Ibadan as studio manager because I was convinced by a relation Mrs Bisi Onabolu that I would have two days off in a week.  Here I met Yanju Adegbite who became a very close pal. We later rose to be live on air, run our own shows live etc. We enjoyed the support of the likes of Ishola Folorunso who was of the old school. In 1976, with the splitting of Western State into Ogun, Ondo and Oyo states, I was approached by OGBC, which I obliged and that separated Yanju and I, as he too went to BCOS Ibadan.

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    What was the experience on your first day to be live on air?

    It was an intriguing one because you don’t know who was listening to you. And you don’t know whether what you were doing meant entertainment or not. But there were people who monitored what we were doing, whether we pronounced names or words properly, every mistake was recorded and you learnt from it.

    In fact, first day on air live was like your heart was going to fall out of your mouth because of tension. But with time, one became confident with microphone life.

    Looking back, can you compare the quality of broadcasting then with what we experience today on our airwave?

    Well as much as one might be tempted to make ugly remarks about the quality of today’s broadcasters, but the issue is the sudden explosion in numbers of stations. Also, the human resources to man them could not be spread evenly enough among them for quality services. So, all kinds of people got behind the microphone.

    Again there is the dearth of trainers, which reflected in the quality of training people get while in employment.

    But there are still some veterans who should leave some legacies behind in the industry. All this free for all needs to be properly coordinated.

    It can be deduced that furthering your education was the opportunity cost for keeping good employment? How did you correct this later in life?

    If I reincarnate, I am sure I will be in the university system. I love to read and find new knowledge. Unfortunately, I could not get a chance to achieve all that. As soon as I left the college, I went into employment.  But some of my friends did same but were able to return to university. I moved from one employment to another trying to find money, which was nothing. It was not money that I needed then. I was just trying to define what I needed. I didn’t have easy passage because of the prevailing situations.

    I joined Radio Nigeria Ibadan in December 1973, and was auditioned with a Breakfast Fiesta programme. While at Radio Nigeria, I made effort in 1974 to study at The Polytechnic Ibadan, but ran into stormy water of campus politics and that affected my A’Level examination. While I was there, I was elected Social Secretary of the Students Union. I was hoping to be a geology graduate.

    I made another attempt to reregister at the University of Ibadan for Advanced level too. But this coincided with an invitation from OGBC for employment at Abeokuta.  That truncated my move to rewrite the examination.

    In 1979, I did a diploma course in Mass Communication at the University of Lagos.  I also did a course in Public Administration at the Ogun State Polytechnic.

    From OGBC2 to Ray Power FM: What were your experiences?

    Before I left for Ray Power FM in 1993, I had lots of wrestling matches with some people at OGBC, Abeokuta because I was rebellious, especially on matters of promotion. At one instance, there was a fellowship holding in Netherland and it was circulated to almost everybody in the station except me. But few days to closing of entries, none of the applicants from the station was selected. That was when my name was sent to the organisers who immediately chose me for the fellowship that lasted six months.

    The assessment report I got from the Netherland fellowship indicated that I was the best candidate since the fellowship was initiated. The organisers of the fellowship even wanted me to enter for the second phase of the fellowship, which was training the trainers. I turned down the offer because my wife had just put to bed and couldn’t stay away for another six months.

    All these battles culminated into a serious health crisis that almost took my life. I spent one month in the hospital bed battling with strange ailment. It was shortly after this that I was moved to OGBC2 and the battles subsided. I made my impact at the station to the extent that it gave Radio Nigeria a run for its money. I moved to Ray Power FM as Controller Presentation shortly after to be the pioneer General Manger of DAAR Communications, owner of Ray Power FM.

    Your stay at Ray Power was brief. What happened?

    We started broadcasting on  September  1,1994, after an initial shut-down by military government over some sensitive issues. A year or so after, a set of circumstances, which made it difficult for me to continue to do things professionally, led to my moving on from DAAR Communications. I left after we came back from a trip to South Africa to look for ideas and plan for the setting up of the African Independent Television (AIT). It was not an easy decision, but, at that point, that was what I was convinced I should do. 

    Raymond Dokpesi’s death

    Dokpesi’s death is like a huge tree suddenly pulled off the ground. Lots of lives will be impacted by his death. He was a giver. He was a lover of human beings and he related with people irrespective of status. He has the ability to move from any level to relate with people. He was a listener.  I thought I was very hard working until I met him. I found out that I wasn’t even one tenth as hard working as I would have loved. He was a great leader and mentor. He achieved greatness and he did that from a very lowly background into prominence. This feat made it possible for him to dine and wine with the elders and the kings. 

    What was your most memorable moment?

    It was at the 50th birthday celebration of former Head of Service (HOS) of Ogun State, Mr. A. A. Degun. I  was at the party in company of my gang. I took too much drink at the party and I was to present a show that evening.  I managed to get to the station but too drunk to sit behind the microphone. I was lying down at the station’s reception till 1.00 am when the station was to close. The station decided to play music all through that time I was lying down. Interestingly, none of my bosses asked me about the incidence as they simply ignored me.

    What is your legacy for the industry?

    I believe the role I need to play before I finally quit is to draw attention to some of the lapses in the industry. I am working on a project to this effect. It will be similar to what we did at OGBC and Ray Power FM. Right now, there are too many radio stations. Interestingly there are lots of talents in Nigeria, and especially in broadcasting some styled themselves as On Air Personality (OAP), which is same as Duty Continuity Announcer.  Maybe it is part of the evolution, but I have not heard of such name in broadcasting in US or Europe.  What is essential now is to have more professionals manning the role of OAP. One such rule is that whatever you say on air without proof should attract sanction. And the mantra is: ‘Put your brain into gear before you open your mouth.’

  • Innovative testament of a restless, creative tutor

    Innovative testament of a restless, creative tutor

    Former Dean School of Art, Design and Printing, Yaba College of Technology, Yaba, Lagos, Dr. Kunle Adeyemi is an accomplished artist with rich experiences in class and studio. 

    Since leaving the YabaTech in 1984, he has traversed the art landscape exploring new grounds while seeking knowledge and experimenting with innovative methods in art creation. His almost 40 years’ creative odyssey that will be reflected in his forthcoming solo art exhibition tagged Innovative testament, will be featuring paintocast, paintograph, printworks, and mixed media. The former Chairman Society of Nigerian Artists (Lagos) chapter’s trajectory is characterised by doggedness, commitment and love of the art. Most of his works promote the value of nature, environment and the need to preserve the nation’s cultural heritage.

    Specifically, the artworks for the exhibition are a fall-out of his doctoral thesis in his desire to contribute new knowledge to art space. And this body of works create avenue for intellectual argument and debate, which is a hallmark of scholarship. Indeed, Innovative Testament is ‘an infinite creative adventurism that is ever-evolving and ever-unfolding with superb works of art emerging from his eclectic and energetic soul.’

    At a recent gallery talk in his studio in Mushin, Lagos, Adeyemi traced his creative route dating back to his childhood experiences through his studio attachment years with great masters such as Bruce Onobrakpeya, his love for colours and new expression modes.  

    Among his collection for Innovative Testament his forthcoming exhibition are his recently produced high-relief sculptural pieces of birds, leaves and trees. They include Dialogue with Nature I, II and III and other series in the thematic dialogues. Notable of the exhibits are his old Yoruba ‘Agbada’ dress and the Jakan (embroidery) inspired Paintograph and Paintocast’ works, which include Jakan I, II and III, Agbada Nla I, II and III, Dem-O-Crazy for Whom?, The Persistence of a Winner I, Ecstasy of a Lead Drummer, Female Form III and IV, Drummer Ensemble II, Dialogue: Primary Instrument in Democracy I, and It’s time to wind up (the Festival is over) II, among others will spice the collection.  

    The exhibition is not all about visual art as Adeyemi will offer about six poetry works entitled Interfacing literary poems with my Art, which include Democracy for who? The ruler or the ruled? Women protest for the adopted girls, Ancestral mask, Chibok Tears and Adeoba. The solo exhibition, which will be curated by Moses Ohiomokhare will open on June 18 till 30 at Tim & Carol Art Gallery, on Oba Dosumu Street, Ikeja GRA, Lagos.

    My New Expression

    “The new expression in my art has its roots firmly planted in the traditions of simple sculpture forms especially African wood carvings, natural materials, environmental, people, places, things, spiritualism, socio-cultural milieu and general contemporary situations. These and many more are the vehicles used in creating my own style.  My words, like the age-old African folk pattern, are thoughtfully designed to chart the course of lives of the people of my generation, document the present and create ways for a viable future, inform, educate, refresh, entertain my audience and posterity, and create avenues for self-expression, especially on societal ills.  Even the patterns are much more than old-designed decoration for the sake of decoration.  Some are imbued with pungent contents; while some refer to ancient battles, as in some of my elongated ‘house post series’. Some represent words or wisdom in visual forms.  Some reveal and document the native sacred things in shrines and palaces and other sacrilegious places.

    “The repetition sometimes of these symbols, patterns and motifs in my works give room for a real presence and emphasis. It is also thematic and visually soothing. The overall composition creates a soothing ambience of tranquility, spirituality and shimmering brightness.  I play with different combination of patters, motifs and symbols to create my own multilayered invocation of traditional Africa. These symbols, patterns and motifs bring life to my composition.  I arrange them in a way that the shapes and forms become a kind of visual music, whereby the rhythm and movement define and create moods, ranging from mystery and adventure to romance and even whims.  These motifs and symbols in my works are graphic and dynamic in character.  They also inhibit a virtual treasure of decorative possibilities.

    The spiritual representational meaning and ritual significance of the patterns, forms, motifs and symbols are essential instruments and creative expressions of the beliefs and philosophies of traditional Africa. Little wonder that these symbols and motifs almost take the place of a written language.Examples abound in Nsibidi and Uli art of southern Nigeria, Andrika from Ghana and Ona of the south-western Nigeria.  The designs are a kind of visual communication, which makes it easy for verbal and visual meanings to come together to offer spiritual or physical protection, interpret omens and offer blessings.  The patterns and symbols depict leadership and ethnic affiliation, and represent proverbs and religious principles.”

    My Colours

    “I use colour as the heart and soul of my art.  With paint, I could produce any colour that comes to my mind.  I use colour as a catchment to create atmospheric meaning and identity.  Most times, my colour generates or creates some philosophical questions such as, ‘what am I?’, ‘who am I?’, ‘why am I treating that subject?’, ‘where am I?’ and when or in what mood am I when creating the picture?  I run my colours from neutral earth hues to warm reds and indigo blues.  I use colour to create illusions or new worlds and evoke some vivid antique memories.

    Colour is very crucial in the production of my artworks.  Like any other artist, I have my favourite colours which often dominate my palette.  My favourite colours find their way into any of my works irrespective of its theme.  The colours have a way of presenting themselves naturally in my work.  My exposure to the world of print-making further enlarges my vision of the colour spectrum.  I now see colour as a tangible, solid thing that runs the heart and soul of my art.  I feel the warmth of the reds, the natural, neutral softness of the earth colours, the uplifting azure of the blues, the cheerful glow of the yellows and the unifying drab and withdrawn nature of the browns, which I use sometimes to play on sophistication, mysteries and earthly riches.

    I found out that vivid application of colours makes my works shimmer, glow, mix, mingle and create, not only its own beauty, but the beauty I perceive. Colour is a powerhouse that moves me spiritually and emotionally. It soothes my heart, lifts my spirit and energises my mind. Sometimes, it makes me feel jubilant or sad, agitated or calm.  Colour is a major player and catalyst in the therapeutic function of my art.  I have, in my little way, made my art perform this therapeutic function with bold approach in using vibrant colours, sometimes flat as they are, in a grandiose metaphorical description of colour.”