Category: Arts & Life

A new book, 30: Three Decades Of The New Nigerian Cinema – A Bystander’s Verdict’, that celebrates the landmark achievements and outstanding practitioners in the Nigerian film industry has been published.

The book is authored by celebrated journalist, film critic and former Commissioner for Tourism Arts & Culture in Lagos State, Mr. Steve Ayorinde.

The book is being sold globally by Amazon in print (hardcopy and paperback) and on kindle.

In a statement released in Lagos on Friday by Patrons Media, the co-publishers, the book is also available on Smashwords and Lulu for global audiences and on Okadabooks in Nigeria.

A formal unveiling is planned for after the general elections in Nigeria, at the end of March, according to the statement.

“In six chapters, 30: Three Decades Of The New Nigerian Cinema curates 30 each of those that the author considers outstanding among directors, actors, actresses and feature films released in Nigeria since 1992.”

Quoting from the book’s Preface, the statement highlights the author’s intention in writing about an industry that he has encountered closely as a cub reporter, editor and columnist, editor-in-chief, member of jury and as commissioner.

“This book simply seeks to celebrate and document some of the outstanding films, directors, actors and landmark events, which have in the past 30 years or thereabout, defined the industry we now celebrate today; without forgetting other legendary names that played their parts but who are no more on planet earth.”

The statement added “thirty each of such outstanding professionals and movies have been selected for special highlights in this book as exemplary representatives from a large pool of talented practitioners and outstanding films that best celebrate this phenomenal industry in the past three decades.

“This industry was built out of their sweat and labour of love. The choices contained in this publication are simply my preferences as someone who has encountered the industry and most of its key players closely for more than 30 years,” the statement quoted Ayorinde in the book’s Preface.

From classic oldies like Asewo To Re Mecca and Living In Bondage, both in 1992, to Ti Oluwa Nile, Glamour Girls, Mortal Inheritance and Igodo; up to Ije, Otober 1, Sadauki, Half of a Yellow Sun and the more recent King Of Boys, The Milkmaid and Amina, the book curates a rich spread of some of the films that redefined the new Nigerian cinema.

In his Foreword to the book, respected scholar and one of the first international academics to spread the gospel of Nollywood globally, Prof. Jonathan Haynes said Ayorinde’s journalistic work in the early and mid-1990s “were the first I found that gave some kind of handle on what this thing (Nollywood phenomenon) was and who the people were who were creating it.”

According to Prof. Haynes, in one way or another, the film industry has always been in his (Ayorinde) bailiwick. “You don’t see a masquerade standing in one place, as the old saying has it. Ayorinde has moved round but he’s never lost sight of the movies; and the fruits of decades of steady observation and judgement are here in this new book, which I’m pleased to be able to help welcome into the world.”

In her “Encore” (Last Word) submission in the book, the late President of the Association of Movie Producers (AMP) and founder of African Movies Academy Awards (AMAA), Peace Anyiam-Osigwe said the book is a necessary tool to goad the industry towards the right path for the next 30 years.

” The Nollywood Industry needs to find its way back to its purest beginning, where collaboration drove the energy in the room. As the industry grew, unfortunately so did its extreme need to be an Industry filled with envy and competitive spirit.

” I believe that in the next 30 years, Nollywood would have built proper film studios which would help our quality control. For us to remain relevant as the content kings, I would love to see Nollywood look deeper inside, celebrating quality, listening and responding to criticism and pushing towards quality.”  

Title: Matilda

Author: Igba Ogbole

Publishers: Chapuga, Makurdi, Benue

No of pages: 378

Reviewer: Edozie Udeze

THIS is wholly and unequivocally a Nigerian story. It is told painstakingly to show most of every day bitter love experiences that people live with, more so, women. The author, Igba Ogbole, a seasoned journalist, public affairs commentator and analyst can be said to be women mind reader. It is not usually easy for a male author or novelist to unearth, understand, penetrate and permeate the inner-thinking of women the way he has done. All over the world most female authors like Danielle Steel, Betty Head, Joannah Trollope, Barbara Taylor Bradford, Chimamanda Ngozi Adichie and others who write mainly about women fully understand their own sentiments and inner feelings better than men do. It is usually their world.

However, here in this book aptly titled Matilda, Ogbole probes the love contours of women much better than a female author would have done. Matilda is a book rippling with the pain of love that is based on falsehood, betrayal and lust, if you don’t mind. Told to sieve the heroin Matilda from the rest, it is clear that those lying elements men often use to confuse women or trap them into love affair will continue to persist. The book brings all of those into reality, showing that true love, love based on trust and honesty within the Nigerian firmament is still an utopian dream in most situations.

Ojonugba goes gaggers on Ehi using sweet words to trap her into bed. Against her wish, Ehi loses her virginity. Thus begins her protracted bitter onward journey into life, into adulthood. The two are family friends and using that as a coy and bait, Ojonugba visits her in her secondary school. Having successfully lured her into a room, he forces himself on her. Thereafter, he disappears. Ehi takes in and loses her pride of place in life. Her hopes are shattered, while Ojonugba denies her and the pregnancy. This marks the beginning of the series of traumatic life experiences that follow Ehi from Benue to Lagos, back to school and into legal practice.

The love gist of the book lies in the fact that the author quickly changes Ehi’s name to Matilda. Now, he begins to build two different story plots in the book. While the Matilda of the book, tough, egoistic, mature, beautiful, successful and prosperous with one of the best law firms in Benue State opens the story, the Ehi of the village setting, also beautiful and courteous is about setting out into secondary school. The twist and style of the book quicly makes you begin to imagine that here are two different families in the novel. Ordinarily, a lazy reader may even begin to ponder and query the sense in pairing a mere village champion in the person of Ehi and her parents against an Amazon, a formidable character like Matilda. But wait a minute until you get to the last chapters of the book. It is then you’d realize how Ogbole has become a crafty and intelligent story teller. He is not just crafty and gifted in being a suspenseful story-teller; he is at home with the affairs of men and women in deceitful love romance. All these give the novel its unlimited flavour, unequaled in story telling in these days of lazy plotting and uninteresting presentation.

And so Matilda gives birth to Ochanya, another beautiful queen, a medical doctor trained in the United Kingdom. Then comes her bosom friend, Ene, who is also a victim of unfulfilled and false love promises. It is clear the novel set out to pry into these types of scenarios because on a daily basis the single motherhood syndrome keeps rising. The betrayal of women by men, the easy way men con women into false love affair and so on, has indeed become topical in Matilda. The mistakes by Ojonugba, his sheer wickedness to an innocent village girl will later land them all into bigger and more complicated situation. But that is the essence of the book. That you will not know Matilda’s story or her background clearly until you get to the end, is a carefully plotted ploy.

Now, Ojonugba fizzles out only to reappear with James his only son, to marry Ochanya. Many years had passed. In London, James and Ochanya had met, without knowing that they were sired by the same man – Ojonugba. They agree to marry. On the day of traditional marriage introductions, James arrives with his people. Behold, his father is Ojonugba. He is there tucked in a corner. But behold Matilda quickly recognizes him. She raises an alarm that stirs everybody. Fortunately, both Ochanya and James had not slept together in form of consummating their love affair.

The intrigues in Matilda are compelling, striking and illuminating. They are overwhelming. In fact, in the cause of reading the book, I ideally titled it women and their love foibles. It is the same tactics of old that men still use to overwhelm their emotions. Yes, Matilda rises from the ashes of her early life to become a big and audacious lady. Yet it is one trauma that beclouds her sense of relationship with men. Always almost bottling up and often losing her mien and composure, if you like, keeps her constantly on edge. This is what most women, who single themselves out as single parents or whatever, suffer these days. It all boils down to the same selfish, self-centred, egoistic promises or disappointments from men while growing up. This is indeed the main thrust and crust of this novel.

Again, comes Lucas. He is one of those boys about town, the type women struggle against their will to resist. He has come into the arena with all the qualities that throw women off guard. Tall, rich, handsome, bubbly, arrogant, he is equally a master in the game of deceit. Now, Ene, Ochanya’s friend, against all entreaties, falls for him. Meanwhile Lucas is married with children. But he patrols the whole landscapes of Lagos, Abuja and Benue as a bachelor. In no time he puts Ene in a family way and then reneges on his promise to marry her. Moreover, acting as her Attorney, Matilda extracts some harsh conditions from him to help Ene cope with her single motherhood status. Thus, another single mother is made.

Beyond being an impressive character, Matilda is swift in certain situations. But the author is saying that mistakes of love are not limited to teenagers. Ene is not just an adult, she is well read. In fact, she is on her way to Europe for a Masters degree programme. ”I was billed for a visa interview with the Italian Embassy today” (page 4), Ene informs Matilda. “Congratulations on your admission”, Matilda says to her (page 5). So you can see how the level of these series of confusing lust with genuine love in Nigerian social parlance has degenerated into. Even when Ogbole uses the sentiments of Christianity to douse tension and somewhat heighten respect for morality, it still appears that snakes always give birth to snakes. But that in essence has given Matilda an edge over other stories made locally to suit and sooth whims and caprices. The author is on a familiar terrain. He takes readers on a cursory journey through towns, villages and settlements in Benue State. As often as he can, he draws from the ancient historic wisdom and mantra of the local people to situate some scenes. This, indeed, is enthralling, stimulating and compelling.

From  Orokam to Makurdi, to Gboko, to Ugbokolo, to Katsina-Ala, you can see the landscapes of Otukpo, and some of the rural areas of the state. The traditional habits of the people reflect in some instances. You see glimpses of the cultural values of the Idoma and the Tiv. You can see the beauty or otherwise of a people long denied certain social amenities by marauding political leaders. You can also feel the restiveness of the people when they encounter politicians and

A New York, United States-based Nigerian COVID-19 survivor,  Mr Sam Enudi, has espoused his lessons, challenges and triumphs from the pandemic in a book entitled,  ‘Work in Progress’ to provide multidimensional approaches for humanity to solve everyday life’s struggles.

Enudi said in an interview yesterday said his interest in seeking a way out of troubles and life’s challenges culminated into writing the book.

He said the intention was to offer solutions to the numerous challenges faced by humanity in the quest for survival across multiple scenarios, especially the COVID-19 pandemic.

Enudi, who is a social crusader, psychologist and business administrator from the Niger Delta, said the book covered different aspects of human struggles such as mental health, social expectations, and financial disparity.

He stated: “This book extensively discusses self-growth and development in the context of physical, emotional, financial, and mental struggles and provides a viable panacea for overcoming them.

“Work in Progress is a thought-provoking lone hope in the struggle for peaceful human existence, guiding the reader towards a fulfilled lifestyle through minor attitude adjustments.

“I witnessed the massive loss of human lives and the attendant challenges during the pandemic.

“As one of the survivors, I was motivated to come up with an encouraging and healing outlook on life to enable the society to find strength in life challenges.

“The book will help people to work on their self-development and self-growth for a self-healing journey.”

For the second time in one year Artmiabo International Arts Festival will be holding in Lagos. Not only that it will happen in the same Ebonylife Place, Victoria Island, Lagos, this time around Nigeria’s international entertainment and rights lawyer, Nze Ed Keazor will feature prominently. With him will be other notable Afrobeats impresarios and performers. Edozie Udeze reports.

The much-awaited ArtMiabo International Art Festival (AMIAF) 2023 gets a big boost with the inclusion of renowned historian, music producer, author and filmmaker, Ed Keazor.

 Themed ‘Art of Afrobeats’, the second edition of AMIAF, led by founder, Miabo Enyadike, which holds from March 27-April 1 2023, at Ebonylife Place Victoria Island Lagos, is showing traces of an unprecedented art festival. AMIAF is though a visual arts event, but with its theme on Afrobeats, more creative professionals across The Arts and sub-genres have been listed as participants.

 To be curated by Yusuf Durodola, AMIAF 2023 features nearly 30 visual artists from Africa and Europe, including creative professionals such as Keazor, Lemi Ghariokwu, and Babatunde Banjoko, among others with rich background of behind-the-scene in the Afrobeat music genre.

 For Keazor, whose career in legal representation for the entertainment industry spans over 40 years – including trajectory in Afrobeats – the AMIAF event brings a rare space to expand his passion.

 From historical context, Keazor is bringing into the ‘Art of Afrobeats’ theme of AMIAF 2023 quite a depth narration. “ArtMiabo is a visual arts festival, however music is an integral part of the exhibitional framework – moreso when the Festival, on this edition, celebrates music culture,” Keazor noted. He assured that his band, Ikenga “shall encapsulate the curation concept in its performances.”

 Still expanding on the historical contents, there is no doubt that Keazor and Ikenga have been enriching the Afrobeats lexicon, for several decades. “I’ve been a performing musician for 45 years with my first performance at the Museum Kitchen in 1978,” Keazor recalled his early years that would later expand into the management space. “I have performed with some of the foremost African and Afro-Latin bands from across the world. Some of these include the Nigerian legendary bands – The Funkees, Wrinkars Experience, global players like the Dele Sosimi Afrobeats Orchestra, Amaranto and African icons like the Congolese L’Orchestre Banco Musica.”

 He later formed the Ikenga band,  in what he described “as a project that coalesced all elements of my musical journey – which is basically a confederation of some of the great musicians I had played with over the past 40 years, all of whom were legends in their own right.” Perhaps one of the most comprehensive band in Nigeria’s post-indepence era, the Ikenga group, Keazor said, has experience covering bands like Fela’s Egypt 80, Tony Allen, Damon Albarn, Manu Dibango, Osibisa, Christy Essien, Rex Lawson, Peter King, and many more.

 And with the emergence of strong energies in 21st Afrobeats, Ikenga, according to Keazor, features some of the “backing bands of artistes such as

Wizkid, Yemi Alade and Ade Bantu.” He explained that the objective of the band has been consistent in highlighting the African music story, particularly “in performance form, from Traditional music through Highlife and Afrobeat on to the latest mutation.”

 Included in the performing history of Ikenga, among others, are Felabration, in Lagos for several years; Lagos Art and Book Festival, LABAF; Lights Camera Africa Festival, Lagos; and Focus Africa Festival, London. For AMIAF 2023, Keazor assured that “It’s more of performance art and story-telling with music as a vehicle.”  

 Basically, Keazor brings into the AMIAF 2023 what he explained as “a conceptual offering of knowledge of the Afrobeat and Afrobeats genre and culture.” This much he said captures “a key operational player, insider and intellectual for over 40 years” of the genre.

 Keazor’s bio includes being pioneer West African Regional Editor of Music in Africa (Africa’s premier online music platform). He was Associate Director, Head Archivist and Lead Researcher on one of the two most critically acclaimed Afrobeats documentary series – The Journey of the Beats (a Showmax original).

As an entertainment lawyer he was, for over three decades, represented clients like Onyeka Onwenu, Junior and Pretty, Osayomore Joseph, Biodun Batik etc as well as Storm Records, Nigeria’s pioneer Afrobeats label, which he registered and represented from inception.

Adedayo Adebayo is an artist and internationally acclaimed art auctioneer. He has taken it upon
himself to organise the auctioning of works of veteran newspaper cartoonist and renowned painter, Pa Josy Ajiboye. This will take place at Ikeja, Lagos, on February 11th. He speaks to Edozie Udeze.

AS one of the greatest newspaper cartoonists in Nigeria What does the auctioning of Josy Ajiboyes works mean to you?

Josy Ajiboye is an artist with a rich pedigree and his unique painting style of romantic naturalism thematically centred on nature and culture endears him to art collectors and patrons. Auctions make the work of art global and more approachable for people.

Auctioning Josy Ajiboye’s work will expose the works to the global market, enhance his brand and ultimately increase the value of his works. Our aim at the auction house is to help Josy Ajiboye and other artistes that we work with achieve the benefits of art auction.

Auctioning of art pieces is not really a common trend in Nigeria.Do you have the backing of any international or known figure in the visual art sector to obtain maximum results?

Though art auction existed since the 17th century, the earliest recollection of it was  in June 1693 when John Evelyn made reference  to Lord Melfort’s “great auction of pictures” in the Banqueting House, Whitehall; it is just gaining traction in Nigeria.  

However, the art world  is getting interested in the works of contemporary African artists and some of their works are doing very well in the secondary market and major auction houses particularly in USA and UK. Our vision is to be able to collaborate with major auction houses in the world to sell the works of African artists, but where are not there yet. It is a work in progress.

What are the range of works to be auctioned in terms of periods of production and so on?

Many people know Josy Ajiboye as a cartoonist but not as a painter, we will hold a 2-day exhibition of mainly Josy’s paintings to precede the auction, some of the works are more than a decade old.

What are the expectations of guests and views and visitors at the occasion?

Guests would have the privilege of attending an exhibition of the works of one of African’s great painters. They would also have the chance of buying Josy’s master pieces.

Is Dayo Adebayo a professional art auctioneer?

‘Dayo Adebayo is a USA and UK trained auctioneer. He is the first person from Nigeria to earn the CAI designation. The designation is awarded by the National Auctioneers Association, USA after 3 years of intensive professional training. The designation depicts that the holder has the highest level of training and holds the most prestigious designation for any auctioneer and it is conferred by  the largest body of professional auctioneers worldwide.

The Director-General, Centre for Black and African Arts and Civilization (CBAAC) Hon Olubunmi Amao has stated that cultural imperialism is key in explaining the high societal vulnerability of African Americans.

The DG made this known at the Celebration of the Black History Month with the theme: impact of cultural imperialism, black resistance and development in the 21st Century, organised by CBAAC at the Hall of the Institute of African Studies, University of Ibadan.

Amao lamented that little attention has been given to cultural imperialism described as the most fundamental, persistent and perennial challenges faced by African Americans.

She recalled that the black month is traced to the struggle for recognition and appreciation of the enormous contributions of African Americans to the development of the American Society. 

She also described the month as one set aside not just to celebrate renowned African American scholars, entrepreneurs, philantropists, musicians, sports men and women, civil right activists but also to re-examine and interrogate African American historical experiences and trajectories.

“It is worthy of note that while the effects of oppression on African Americans have received enormous attention, particularly on economic and political oppression, ironically, only little attention has been given to the most fundamental, persistent and perennial challenges faced by African Americans, that of cultural imperialism; which is key in explaining the high societal vulnerability of African Americans .

“It is an annual event which is traced to the struggle for recognition and appreciation of the enormous contributions of African Americans to the development of the American Society. 

“It is a month set aside not just to celebrate renowned African American scholars, entrepreneurs, philantropists, musicians, sports men and women, civil right activists but also to re-examine and interrogate African American historical experiences and trajectories,” she said.

The Vice-Chancellor recalled the month began in the United States as Negro History Week by the renowned African American historian, Dr. Carter Godson Woodson, to protest the exclusion of the contributions of African Americans from history textbooks in the country.

Adebowale further stated that the celebration of the Month as an annual event has grown and gained global acceptance since it began in 1926.

The Vice-Chancellor, therefore, commended CBAAC for redirecting attention to ways global black resistance continue to mitigate impacts of cultural imperialism on the development of Africa and Diaspora.

The guest lecturer, Professor Oluwole urged Africans to begin resistance to cultural imperialism by flying on the wings of the revolution of education.

He explained that the application of the knowledge in a very critical manner is highly imperative for Africa.

Professor Ogundele further explained that the educational revolution should involve a rigorous overhaul of all the teaching curricula from the primary to the tertiary level. 

The Historian urged Africans to be wide eyed in order not to be consumed by the ravaging ocean of civilization.

A Dubai-based Nigerian academic Dr. Layo Adeniyi has lamented some Yoruba politicians who used the name of Pa. Obafemi Awolowo to win elections have deviated from the ideology of the late sage.

He said some of the politicians are just using Awolowo’s name to market themselves to win elections, saying many of them don’t execute Awolowo’s policies after their emergence.

Speaking in Ibadan at the launching of his book titled “Awoism, Exemplary integrity and welfarism”, Adeniyi noted the defunct Alliance for Democracy (AD) used Awolowo’s name to market themselves to Yoruba’s but derailed from what Awolowo did in Unity Party of Nigeria (UPN) when he was in government.

According to him, UPN was a continuation of Action Group (AG), which established universities as well as offered free education and medical services to people.

“When AD came, they used Awolowo’s name to become Governors. At the end of the day, they started increasing school fees of universities established by Awolowo which was meant to give free education to Yoruba children.

“All state universities are now charging over N300,000 as school fees. Those Governors who increased school fees in their respective states are those who benefited from Awolowo’s free education policy.

Read Also : Yoruba Nation: Police arrest 10, dismantle camp in Lagos

“Awoism is free education at all levels for every Yoruba child, free health and medical program, enduring policies that encourage agriculture, rural development and infrastructural development, it is about Yorubas in diaspora coming back to contribute their quota to their fathers land.”

Speaking on behalf of the Awolowo’s family, Dr. (Mrs) Tokunbo Awolowo described her father as a man whose fatherhood transcended to divine fatherhood of millions of generations after him and generations yet unborn.

She noted that Awolowo’s 78 years on earth touched many lives and impacted Nigerians, particularly the Yorubas.

She urged Nigerians to choose the right leader in the general elections, adding that politicians should also take Awolowo’s advice on relationships with people.