Category: Arts & Life

  • Unfading scars of civil war

    Unfading scars of civil war

    A journey into the past, leaves some hanging questions of the present partly justified. This, Uche Nwokedi did justo  in his memoir, A Shred of Fear. The book captures the  ruthless effects Nigeria Civil War, otherwise known as Biafran War had on its victims using his family and neighbour as point of reference.

    The author stylishly employs a simple narrative tone that enables the reader sees through the perspective of Nwokedi, the sad occurrences and the ugly stigma the war leaves behind. From the disruption of tranquility in the society, to abrupt pause to already established human activities, to loss of lives and properties, and incessant fear.

    The fourteen-chapter book starts each chapter with a poem that gives a glance of what is contained in the chapter. It also has a pictorial cover of a small boy reading a book which, with his prayer Chaplet with lantern beside him and a mother figure sitting right beside him supervising his act.

    The author draws from historical antecedents, how as a seven year boy carrying his normal school routine at Sancta Maria School, at the commercial hub of East, Aba, in 1967 was ushered into war with what he described as ‘air raids’ forecasting Nigerian war against the Biafrans after their secession.

    He portrays how the Igbos in other parts of Nigeria were rejected all over the country and became homeless  with steady stream of people at Aba Railway Station.  According to Nwokedi, witnessing war  presented a clearer understanding of war from the usual TV series of war. Schools were shut down, people from other tribes relocated back to their homes, the rationing of food and clothes, inter tribal marriages crashing (Using his Uncle Alex who married a Yoruba lady, Kofoworola as a case study). Also, social activities were brought to a halt as TV stations were shut down.

    He however recalls the incidents that took turn during the war from a child’s perspective. He states: “Sometimes, if the target seemed to be further away, we would carry on playing.” 

    The author drives his readers on an emotional train as he recalls his personal experiences of the sad reality of war when he lost his three cousins, the Onwudiwes ( Ifeoma, Chuma, and Okey) same day after an air raid at Pound Road  Extension. The hunting memory still lives with him and family till date.

    He writes: “After the tragic and traumatic deaths of Okey, Ifeoma and Chuma, life became even more tentative and stark. I had caught a glimpse of the face of death and continued to have bad dreams for a long time. I think we all did. Everyone we knew was affected by the Pound Road bombing… The tragedy of the Pound Road bombing was much deeper than anyone could fathom. It cut through every family. Everyone around us, young and old, felt it, and for a long time, it was all we could talk about. “

    At the unfolding of events, the author at some points, was forced to see war far beyond the view of a boy as he describes that “The naive wide-eyed excitement that I had initially felt as a child, that there was a war going on, disappeared in its place was fear and dread.”

    Using his family as an example, Nwokedi puts forward in the book how war led to incessant migration from Aba to Uga, Umenyis, Ogidi, Umuchu, Ukpor, Achalla, and the likes. He states: “ War led to abrupt end to formal education and the exposure to knowledge informed by the realities of war”( scarcity of food and drugs, death, kwashiorkor).

    African extended family system is portrayed in the book. Example is how families have to accommodate their members who came from abroad because of the war. He also depicts change and break in the way they live as war sets in. Moving from a convenient house  into attachment with people, “low thatched roof outhouse with a pit latrine freshly dug for our convenience.”

    In chapter eleven, the author shows the end to war in 1969 as people went about with daily functions like wedding, law court in session and the reopening of schools. 

    However, things were not the same again as there seems to be a big gap between the life before war and after. Using his uncle, Tony as an example, he depicts the psychological trauma people fought during the war.

    He writes: “He would sit in the corner of the living room, day and night with bloodshot eyes watching the entrance to the house. He hardly moved or slept and did not take a bath for the first two days or so. He just sat there watching the door, clearly nervous.”

    Nevertheless, the book is without errors. Not all Igbo lexicons used in the book were fully explained for non Igbo to understand. One would also add that the picture of Biafran war presented in the book, is primarily from a personal point of view of the writer.

  • LIMCAF top prize hits N1m

    LIMCAF top prize hits N1m

    Nigeria’s biggest and longest running visual art festival, Life In My City Art Festival (LIMCAF), is offering an overall winner’s prize of one million naira, effective from this year’s gala night edition that will hold on Saturday, October 28.

    Rising from a meeting of the Board of Trustees recently, Art Director Dr. Ayo Adewunmi, announced that all other LIMCAF prizes have been similarly increased. For example, the main category awards for the Best in Painting, Sculpture, Textile, Ceramics and Graphics, which used to attract a prize of N250, 000 will now earn N500,000 each for their producers.

    Also, new awards have been introduced; they are the Most Creative Female Entry, the Most Promising Female Young Artist, and a Special Prize for Persons with Disability. Dr. Adewunmi said that these new prize categories have been introduced to bring LIMCAF in line with international best practice whereby females, the younger generation and persons with disability are provided special incentives to practise and participate fullyin every area of human activity. He explained that in addition to the new special categories all the other category prizes are still open for the females to compete for.

    The endowed prizes, including the Justice Anthony Aniagolu Prize, which now earns N300,000, up from the previous N150,00. The other endowed prizes, including the Dr. Pius Okigbo, Barrister Mfon Usoro and the Vin Martin Ilo Prizes remain the same for now.

    However, a new Endowment is the Fidelia Okoroafor Prize for the Most Promising Young Female Artist, which will earn a young person not older than 18,N200,000.

    All these mean that the overall total of prizes on offer now stands at N6.4million naira annually, a more than 100% increase. This does not include several other opportunity offers, such as residences and international travel including especially the all-expenses-paid participation in the Dak’ArtBiennale for the top six winning artists in each year.

    Life In My City Art Festival was founded in Enugu, in 2007 by Chief Robert Oji, CEO and founder of Rocana Nigeria Ltd, a publishing and outdoor advertising agency whose aim was to economically empower aspiring young artists and create avenues for the advancement of their careers through interaction with established artists, scholars, collectors and gallery owners. His other aim was to raise awareness and interest in art, so that young people graduating from the several schools offering tertiary education in art can find that art is not only a noble profession but also an economically sustainable enterprise.

    Since its founding, the Festival has held every year except for the COVID-19 year, 2020.In those 16 years, about4,000 young artists have participated in the Festival, earning a total of about N19 million in prizes, from the Overall Prize through the Category Prizes, to the Endowed and the Consolation Prizes.

    About N28million has been spent on 22 winning artists from the 2018, 2019 and 2021Festivals sponsored on the international travel experience and participation in the Dak’Art Biennale, courtesy of Emeritus Professor El Anatsui, a Patron of LIMCAF.

    LIMCAF’s workshops for art teachers and secondary school children taking in 100 young students with their teachers and coordinators every year have been designed to deepen the grassroots focus of the Festival, which sees art as a strong social development tool for young people in our society.

    Dr. Adewunmi stated that the workshops will not only continue but that LIMCAF will widen its net to take in many more talented young persons in the expectation that sponsorship and public support will grow, along with the appreciation of the mission and vision of LIMCAF.

    He disclosed that LIMCAF’s Chairman Elder K. U. Kalu and the entire Board spent some time during the meeting to express appreciation for the Festival’s main Sponsors, MTN Foundation and Ford Foundation as well as the Patrons whose continuing interventions, support and encouragement have taken the festival to whole new and more impactful levels.

  • ‘Nigeria shouldn’t be in a hurry to receive looted artefacts’

    ‘Nigeria shouldn’t be in a hurry to receive looted artefacts’

    Foremost art collector Omooba Yemisi Shyllon was in his element recently when he fielded questions from art scholars during an interview session marking Prof. Toyin Falola @ 70. He spoke on why Nigeria should not be in a hurry to receive the looted Benin bronzes, the non-performance of the Ministry of Information and Culture, and the National Orientation Agency, and the consequences of embracing foreign culture and religion on national development. Assistant Editor (Arts) OZOLUA UHAKHEME reports.

    The Founder, Omooba Yemisi Adedoyin Shyllon Arts Foundation (OYASAF), Omooba Yemisi Shyllon, has decried government’s reluctance to invest in art, which he said, is more lucrative than kidnapping because art is lawful and more enduring. He said art is a legal transaction that is respected all over the world and can be passed from generation to generation.

    Omooba Shyllon spoke as guest of the Toyin Falola Interviews held online recently. The event, which was part of series of interviews to celebrate Prof. Toyin Falola at 70, was tagged The Toyin Falola Interviews: A Conversation with Prince Yemisi Shyllon. It was streamed in over 30 countries across the world.

    Among the interviewers were iconic Professor of African Studies Toyin Falola; renowned artist Victor Ekpuk; accomplished Professor of Art History, Peju Layiwola; and distinguished artist, painter, art critic and cartoonist Prof. dele jegede.

    Nigeria’s largest private art collector, with over 7,000 artworks of sculptures, paintings and other media, as well as over 55,000 photographic shots of Nigeria’s cultural festivals said:

    “Art is more lucrative than kidnapping. It is more enduring. It is lawful; it is a legal transaction that is respected all over the world. It can be passed from generation to generation. It also helps to promote the culture of a nation. It helps to develop young minds into being more productive in society. Collecting art is a form of providing employment. If Nigeria could invest in art, the tourism potential is extensive.

    “The Eiffel Tower takes about 10million visitors per annum. The potential behind art is huge and unimaginable. Art will give this nation something to be proud of. It will give this nation something to showcase, which in fact means that we contributed to civilisation, that we had history before we were colonised. It is completely better than ransom taking.”

    Omooba Shyllon has blamed the development crises in Nigeria on the repudiation of our indigenous culture. He said one of the reasons Nigeria is underdeveloped is that fact that its citizen have over the years embraced the culture and religion of foreigners to the detriment of their own indigenous culture. He believes the leaders are not only the ones to blame for this neglect but also the followers who sheepishly follow foreign religions and culture.

    The former Executive Director and Legal Adviser at Nigerite Limited, however, noted that the followers who follow foreign religions and culture also have share of the blame.

    “We have a big problem in Nigeria. It’s not just leadership but also followership. The average Nigerian does not understand what culture is. He sees culture from the prism of religion and no more.

    “I have had cause to give lectures to demonstrate the fact that culture is much more encompassing than religion. Religion is only part of the philosophical trappings of culture. There is more to culture than religion. Even within the philosophical concept of culture, we talk about the values of society, the attributes expected within a culture. This is only a part.

    “When you look at culture from a wider angle, it has the elements of customs which again is very large. You also have the problem of tradition. After this, you look at the systems of government. You look at the literature, music, dress pattern, language, and food,” he said.

    Reacting to the seeming non-performance of National Orientation Agency and the Ministry of Information and Culture on the need to cherish, respect and preserve their cultures, Omooba Shyllon called for the separation of the ministry to reduce duplication and cost of running them.

    “To what extent is our Ministry of Orientation doing something to educate Nigerians about the importance of culture? Rather, they allow religious houses to misinform. They allow religious houses to usurp and manipulate the minds of the people. They allow religious houses to refer to their father’s house with the left hand. They allow religious houses to spread the propaganda, with a view to spreading other people’s culture. So, the problem is, it is more holistic than that. It is beyond just ministry of culture. It is for us as both leaders and followers to reorientate.

    “The problem is we should not only focus on just the leaders. We should also talk about ourselves. To what extent are we doing things in either individualistic basis or collective basis to made a difference, to draw our attention in this direction for us not to lose the values. Or else what is culture. Culture is the way of life of the people.Itisabout everything I have mentioned earlier that is transferred from one generation to the other through the learning process. It is the unique identity of the people. We are losing our identity.

    “Finally, our cultural institutions should stop sitting down and expecting people to come there. They should go out. For instance, a museum should not just expect people to come and visit. They should go and talk to them in the churches and mosques and let them realise there is nothing demonic about our ethnographic and cultural objects.The same ethnographic and cultural objects have been used to promote Christianity. The same ethnographic and cultural objects have been used to promote other civilisations.

    “We are here destroying the very essence of our beliefs, of our culture without growing. And no nation can grow effectively without using its own culture to grow. America is very proud of what it is today because they grow their nation from their cultural perspectives. China is growing based on Confucianism. Japan is growing by virtue of Shintoism. And these are based on the cultures of some people,” he said.

    He argued that we don’t seem to realise that what we do individually or as government goes a long way in permeating down in destroying the very essence of the people including identity.

    Commenting on the increasing spate of returned Benin bronzes, Omooba Shyllon cautioned that Nigeria should not be in a hurry to receive those looted art works unless there are adequate infrastructures in place where those art works can be preserved.

    “Those works should be returned but should not be hastily returned. We should be ensuring under the different conventions and UNESCO to have recognition of our legal rights to those works. Once our legal rights are established, we can use that to negotiate royalty on an annual basis and give ourselves enough time to prepare the reception for those works.

    “We are in a hurry to have these works returned. What has happened to some of them that have been returned? Go to our various national museums, you will weep. I have been to museums in Africa and I am not proud of what I have in my country. I have been to the Kenyan museum in Nairobi. I was very pleased by what I saw. I have been to Cairo museum in Egypt, I was very pleased with what I saw. I have been to the Senegal museum; I was very pleased with what I saw. I cannot say that about my country, which was why I volunteered to serve without collecting money as part of the management committee of one of Nigeria’s national museums founded in 1957.

    “Let us use the advantage of the various United Nations and treaties under supervision by UNESCO to negotiate that they recognise our legal title to retain possession for now and give some phased return in which we build capacity, in terms of infrastructure, human capital, science and technology.

    “We don’t have carbon dating equipment in Nigeria and we are shouting restoration and repatriation. We lack the necessary infrastructural capacities. The bulk of the Nigerian populace that you are returning the works to believe that those works are demonic,” he said.

  • Renewed hope for girl-child

    Renewed hope for girl-child

    Canada-based Nigerian licensed immigration advisor and convener, Leadership Conference, Edmonton Canada, Dr. Lina Mba has said that mentoring of teenage girls who dropped out of school due to pregnancy will form the thrust of this year’s Leadership Conference holding in Edmonton Canada in August. She said proceeds from the conference will be used to procure equipment and training opportunities to develop skill that will fetch the girls revenue as well as  contribute to local economy.

    Dr. Mba, who spoke online, said: “Some proceeds of the forth coming event will go to support our Girl Child Project. We are currently mentoring teenage girls that dropped out of school due to pregnancy and are having challenges going back to school. These proceeds will help them get equipped with equipment and training to develop a skill that can turn into a source of revenue and contribute to their local economy,”. 

    She recalled that mental health awareness among Black communities was the theme of last year’s edition because there were high incidences of suicide and depression among Black communities in Canada. 

    She noted that creating a platform to spread awareness is important because ‘we want to save people and let them know that things will be okay in due time and suicide is not an option.’ 

    According to her “Many people in the Black community are suffering in silence because they are shamed and mocked when they discuss their mental health challenges. We need to be able to have these difficult conversations to thrive as a community.”

    Dr Mba disclosed that this year’s leadership conference, which holds on August 26, and will be streamed will attract top CEOs and potential investors from all over the world. “We will have some Canadian politicians in attendance. Awards will be given to a select few,” she added. 

    On the quality of speakers at last year’s conference, Dr. MBA said there were diverse set of speakers that ncluded Mr. Justin Brittany and Mr. Scott who are white. 

    She explained that mental health is not discussed in the Black community and that having Black dignitaries facilitate the event is important as this provides reliability. Among the facilitators at last year were Mrs Funky Banjoko, who is the first black councilor in the city of Fort McMurray, Mrs. Sochi Ogbonna who was appointed by the government of Alberta as Co-chair of the Alberta Anti-Racism Advisory Council (AARAC), and Minister KC Madu who has excelled in Canadian politics.

  • The need for early sex education

    The need for early sex education

    The curious title of the book should have made me want to read it, but I assumed like many would that its likely to be a fictional story and there was no point reading it immediately unless I really have time to spare to amuse myself about how a virgin lady could get pregnant.

    I also recokned that it may be like one of those click bait titles used to lure readers only for them to find out it’s not exactly what it says.

    The disclosure in an earlier review by Lauretta Ani that the book Diary of a Pregnant Virgin by Olamipeju Adekunle is a real life story of the author however got me very interested and it turned out to be a riveting and  unputdownable account which any readers will find worthwhile and learn from.

    In the 90-page long story format book with subtitles, instead of chapters, Olamipeju vividly recalls the how she got pregnant without knowing during a short break after the National Youth Service Corps ( NYSC) orientation in Gusau, Zamfara State.

    Though she was very sure she had not engaged in real sex, but only “foreplay” with her school boyfriend, she had to accept the test result which clearly stated NIL for Malaria and POSITIVE for Pregnancy.

    Because of the shame associated with getting pregnant out of wedlock and not sure how her parents would respond, she attempted to abort the pregnancy, but was not successful.

    Thereafter, she accepted her fate and decided to keep the baby with the support of her parents, boyfriend, co-youth corps members and many other benefactors during her service.

    The book published in 2018 also contains other accounts of her interesting experiences during the national service, including travelling, living with other corps members and meeting people who offered her help.

    It’s very commendable that the author offered a no-holds-barred sequential narration of her experience which young ladies can learn from and avoid finding themselves in similar unwanted situations.

    More than  just telling her story, the author highlights major key lessons for all categories of readers which includes how to respond to similar situations, the need for the right early sex education for children by parents and relationship between mothers and their female children among others.

    Girl should not only be told to be careful in relating with boys and men, they should be clearly told what they should do and not do.

    Not many young ladies who have the author’s kind of experience easily recover from it, but Olamipeju’s story should be an inspiration to anyone in similar situation. As she rightly stated “it doesn’t matter what life throws at you, what matters is how you deal with it. Many times you will just have to ask “what good can I make out of this?”

    Though the book can do with some more editing, I recommend that it should read by youths, parents and guardians to guide against cases of unwanted pregnancies. The book will be a valuable advocacy resource material for sex education.

  • Osundare: Celebrating a unique man of letters

    Osundare: Celebrating a unique man of letters

    Niyi Osundare is a distinguished professor of English Language A world renowned poet, dramatist, critic, essayist, and media columnist, he has authored over 20 books of poetry and piles of selected works in over 70 journals across the world. Born of Ekiti parentage, he was educated on three continents of Africa, Europe and Canada. These wide range of exposures and academic reach out has helped to widen his scope of authorship and more. Now based in The University of New Orleans, the United States of America, he is home in Ibadan where members of the Association of Nigerian Authors, Oyo State chapter in collaboration with Tunde Odunlade Arts and Culture Connexons celebrated him. Edozie Udeze was there.

    In Ibadan, the Oyo State capital, the role of Tunde Odunlade’s Arts and Culture Connexons in the promotion of cultural matters in Nigeria is indescribable. For many years, the centre has taken it upon itself to ensure that Ibadan, originally and always considered the pacesetter of the knowledge base in these parts, keeps making the issues of prospering literary and cultural matters a priority. Therefore, when it was the turn of erudite and distinguished Professor Niyi Osundare to be celebrated at the centre by members of the Oyo State chapter of the Association of Nigerian Authors (ANA), last week, the ovation was loud and clear.

    The programme, simply tagged the celebration of Professor Niyi Osundare, was packaged by the centre in collaboration with the Oyo State chapter of ANA. It was done as the first monthly reading session by the members fom the year 2023. For this reason alone, and for the more important factor that Osundare has been an Ibadan boy almost all his life, the turnout was massive. Besides, he is Nigeria’s most celebrated, accomplished and respected poet world-over. His fame always travels like the wild harmattan fire that can never be quenched by lily livered fire fighters. The hall was filled to its stretching point, with some guests shuffling about for the slightest space to squat. That was basically because the likes of Osundare do not happen every day.

    And like a popular saying goes: if you climb an Iroko tree, try and pluck a firewood. This is so because no one climbs Iroko tree every day. Osundare is that Iroko, tall and imposing in matters of literature, more so, poetry. This great bard, and wonderful poet does not always have time for things that do not hinge seriously on poetry. Therefore, what happened last week at Bodija, Ibadan, was indeed golden and spectacular, befitting a man that has conquered with his pen and imaginations.

     So, when it became clear that he was in town from his base in the United State of America, Oyo authors quickly reached out to him and to his longtime friend, Tunde Odunlade for this wonderful opportunity to celebrate him and bring some of his old and new works to world attention. Akinwande Funmilayo was the first to open the flood of Oriki and praise chants as part of tributes to honour Osundare. An Ekiti lady by birth, Funmilayo first let guests realise that her chants had plenty of Ekiti bent to it. “As an Ekiti man”, she said profusely to Osundare, “you will understand the import of my words to you.” While prancing with deep conviction, she said, “Omo Ekiti you are born to conquer the world. Today you have achieved that and more. From Ikere land to the four corners of the world, you have become a great writer, a brand empowered by the flowing powers of Osun, the goddess of fertility and fortunes. She has given you fame beyond rancour, above human imagination. You are born for the universe. The pen is your power, Niyi, you are a star who sends good messages across”.

    Funmilayo’s words suddenly set the hall on fire. People clapped and became more eager to pour out their hearts to this huge human figure, imbued with profound ingredients of scholarship. A man of letters, Osundare eats and breeds poetry in all forms. Then came Edmund Obilo, who mounted the stage with an unbridled carriage. He read some of the poems Osundare dedicated to the late human rights activist, Ken Saro-Wiwa. The lines boomed, resonating in the minds of those who reminisced over the sordid days of 1995. Once more, the resounding voice and maverick sounds of Osundare resonated in the hall. “Let us dwell on the beauty of Osundare’s works, the beauty that stirs the soul and keeps people on the verge of reminisces. This work on Saro-Wiwa reverberates in all sense of the word.

    Osundare’s words carefully revisited ecological damages in the Niger Delta. They reappraised calls for actions to rebuild the region and then allow the people enjoy a bit of their God-given oil and natural resources. As the chairman of the occasion Professor Femi Osofisan took over the affairs of the evening, the tempo of the hall rose to a crescendo. The vibes heightened, mingled with jokes and banters. The lines from the market place reignited the mood. Niyi Osundare was reaffirmed again and again as the man, one single scholar, whose presence is likened to the market place. He is one irrepressible master of the written word no one can attempt to resist or ignore. His presence everywhere, anywhere, fills an arena with fresh aura. This is so because for Osundare and his works, art has no tribe. It has no boundaries. Indeed, art has no restrictions or confinement. He allows his works to breathe. His works seep into souls, edifying and sensitizing people. Yes, to him, art has no prejudice, it has no class stratification.

    Yes, Osundare has come to make his works simple but complex, because complexity forms part of rich offerings of poetry. And so, for him writing is like the vision of life. You have to crawl, walk, before you can go for a marathon. You begin slowly with a focus, then gradually you arrive at your destination. He says writing is painful and vulnerable yet it must be achieved. It must be done. If you are a poet and you don’t write political poetry, it is either you are dead or about to die. In all this, the real writer must prove himself. He must be accomplished.

    While sharing almost the same premises with Osofisan during their days at the University of Ibadan as lecturers, Osundare recalled with nostalgia that “We grew up together. But don’t mind Femi’s smooth face. Femi is one critic that can almost discourage you when you give him your work for evaluation. Yet, he has always been thorough. People, in fact, the staircases of the Faculty of Arts will never forget the number of times I walked down to meet him in his office in those days”, he says about Femi Osofisan, a fellow author, friend, poet and probably the most staged playwright in the Nigerian literary firmament of today.

    As he read from his works with chronicled backgrounding, Osundare recalled how his friendship with Tunde Odunlade began way back in time. “He designed the cover of my first collection. As at today that cover still causes and attracts comments and undivided attention whenever the occasion calls for it. I mean, Tunde is a great artist and that is why he has laboured to establish this centre for the sake of the arts. With him, art grows, artists come together to celebrate our heritages and what we stand for”. As he spoke, Odunlade’s face creased with smiles. He nodded his head intermittently as he also remembered the good old days when they were just sprouting out in the city of Ibadan.

    As an artist, Osundare is a crafts-master, imbued with the gift of careful and graphic chronicler. History, with clear and classified details runs in his head. He went down memory lane on how Oyo State chapter of ANA was formed years back. Thus, it became the pace-setter, the first State chapter of the association to be formed and inaugurated. He recalled events and all the people involved in this historic journey. With that in the kitty, he emerged as its pioneer chairman. He immediately went to work by organizing series and sumptuous literary shows that astounded others. In the same way, he recalled how he and Osofisan drove for 10 hours to Nsukka in 1981 to form ANA. Then the late Professor Chinua Achebe was the arrowhead of the writers’ body in Nigeria. “It was hectic”, he said. “But we did it to give a voice to the society and see how we could safe Nigeria”. One of the writers who mentored him was also mentioned. His name is Professor Abiola Irele. “He was always there for me”. Irele was a literary scholar, critic and was cherished and respected by all who encountered him.

    Osundare, always forthright and unbiased, took a swipe at Nigerian leaders. “I don’t know why this country keeps sliding. Things are getting worst every day. It is the same things we said to them many years ago to change to make Nigeria better we are still saying today…I have never seen this country so bad, no electricity, nothing seems to work. The other time a festival being celebrated yearly in my name happened in Ekiti without my presence. I was in Ibadan getting set to travel to Ekiti, when my immediate younger brother prevailed on me not to come. Reason: if they kidnap you, we have no one to vouch for us. It was horrible and I have to watch the proceedings from Ibadan. It was painful. What a country! What a society!”.

    Tributes

    While the tributes poured in for him, chairman of Oyo State chapter of ANA, Biola Layonu recalled in beautiful lines the songs Osundare’s mother Fasimia sang for him in the days of yore: “Oh this is my son. This is my favourite son. Son of Osun, the flowing river whose water spread blessings across the earth. Son of the little hut which breeds the gentle giant. Son of the elephant which pulls up the tree with one hand. Son of the lion, king of the forest. Son of the great father whose yam is as big as the mountain. Oh, no little space can contain you. No little space can contend with your fortune. You are born to travel the world. Your legs are strong”.

    Professor Remi Raji recounted how Osundare saved him from ending up as either a Fuji musician with several wives or taxi driver in a small corner in his town Fiditi. He was in need of money to settle his school fees in 1985 at University of Ibadan. It was Osundare who quickly paid the money and rescued him. Osundare was his teacher then. “I can never forget”, he said, smiling up to him. Others who spoke did so in good earnest. Professor Bode Lukas who was the Dean of Arts at a point, thanked him also for saving his deanship. “He had the opportunity of betraying me but he did not do so and today I thank him most sincerely”. Also present were Professors Biodun Jeyifo and Gbemisola Adeoti, Dr Tony Marinho, Kunle Fagbunle and others, all of whom came to honour this great man of letters, a man always filled with concern for humanity and mankind.

  • When stealing becomes a norm

    When stealing becomes a norm

    Title: A Thief and His Apprentice

    Author: Onyeisi Chiemeke

    Publishers: Maroon Square

    Reviewer: Chijioke Uwasomba

    THE Nigerian crisis has deepened so much with devastating impacts on the people and the country itself. Many otherwise hopeful and patriotic citizens are beginning to doubt justifiably the possibility of the country surviving having been consistently and continually ravished by an irresponsible and thieving class that has held the country hostage for years. As far back as 1991, General Ibrahim Babangida the then Dictator who held sway had admitted in a moment of dubious surprise during an interview with The Daily Times wondered why the Nigerian economy (and by necessary implication, the Nigerian state) had not collapsed given the level of mismanagement the country had suffered in the hands of its ruthless minders which ironically he was leading at that auspicious time in the history of Nigeria. It is unbelievable that corruption and other nation – destroying gambits have been at play in the life of the country thereby reversing all genuine moves and efforts of the counter – elite. In a moment of crisis especially the type that has beset Nigeria, literature has always a historic role to play in charting a way in the resolution of the contradictions. It is in recognition of the avant-gardist role of literature in a time of tyranny like the one currently ravaging Nigeria that Onyeisi Chiemake, a lawyer and radical human rights activist with a Marxist inclination has come out with his debut novel, titled A Thief and His Apprentice. The setting of the work is Nigeria and all the issues speak to the hopeless and helpless condition of the country owing to the lackluster performance of its ruling group. In nine chapters, Chiemeke launches a devastating attack and rebuke on the politics of the country, its economy, the civic responsibility of the people, and many other problems that the country is confronted with.

    Chapter one is titled “Sowing Seeds”, indicating the noises and hollow promises that politicians in no-colonial environments like the one being portrayed by the writer make.  The speech that introduces the chapter gives off the political gathering which is a political campaign as a bacchanal affair reeking of recklessness and idiotic arrogance. Every display of the political leaders in their campaign is anchored on power. The narrator describes it thus: “Power is like the stock market, if you do not invest, you will not get bonus or dividend. And how much you invest determines how much you get” (4).

    The narrator takes the reader through his journey with his boss (Chairman) on how to “sow seeds in the pursuit of earthly things”. Seed-sowing is a by-word for corruption. The narrator’s Chairman himself was coached by the latter’s uncle who was a senior person in government. Having learnt how to be involved in the wheeler-dealer business of contracting and all the seed-sowings that go with it, he is also teaching the narrator and socialising him into the game. It presupposes that seed-sowing becomes a chain which satisfies the filthy-lucre mentality of the corrupt elite who through their reprehensible activities destroy the country. The hotel where the delegates converge on to elect the party’s candidate for the chairmanship of the Local Government is called Hotel De Chop (another satirical barb). Chief Okopiko announces that the highest bidder will get the ticket of the Party. He sees it as a bazaar: “Let me then say that the highest bidder will get the ticket… Party delegates should not be alarmed, we shall distribute 50% of the auction sale to you all, and the Party will keep the remainder of 50%…” (9).

    Those in power are “holding a fertile cow with plenty  milk” (13). They milk it to their satisfaction.

    In the second chapter – “Fiefdom”, the Minister of the Ultimate Church of God is no doubt different from his counterparts in the political terrain in spite of his pretentions to the contrary. In his encounter with the street urchins on a Lagos road where one of his tyres has gone flat, the boldness of these characters, their dare-devilry and other criminal displays, the Minister does not need anyone to convince him that things have gone terribly bad in the country. The urchins exude raw power like those who occupy state power in the name of democracy.

    In chapter three, “A Thief and His Apprentice”, Titus, the son of Chief Gbonka, the Baale of Ajadi visits a  master thief asking to be his apprentice as a thief. In the course of their discussion, he is told that: “stealing is an honourable institution that should not be destroyed with outlandish behaviours” (37). Titus’ master tells him: “man’s heart, is capable of dressing up excreta and passing it off on a platter as manna delivered by the Almighty God” (48). He is a leading member of the United Thieves Club and very proud of it.

    Chapter four which is “Twisted” presents the narrator as a man in a really twisted condition more so as he talks like one hallucinating and complaining about the entire ills bedeviling the system. The rants of the narrator have the capacity of engendering revolutionary consciousness.

    “The Governor’s Gift” is the focus of chapter five in which an undeserved gift is given to a judge. Gregory Ikpiso is meant to give the judge a bribe of One Hundred Million Naira (N100M) from the Governor but in his greed he delivers Five Million Naira (N5M) to the Judge. Engenia, the Governor’s wife supports her husband – Governor because of what she enjoys as the First Lady not minding her husband’s indiscretion. The rape charge against  the Governor is struck out because of the gratification the Judge had already received.

    Chapter six “The Ill-fated Goat” is a continuation of the evil of power as it is described as having a face that is as ugly as that of a goat. The First Lady’s sister who has been in a drug rehabilitation centre for about five years is made a candidate of the ruling Congress for Stability Party (CSP) for Koko LGA without any recourse to internal democratic principles of the Party.

    In chapter seven – “Memory of a Signpost”- the narrator’s father dies as he is coming from his lover’s place and falls into a ditch. The road on which he falls into the ditch that leads to his death has been awarded many times for reconstruction which only exists on paper. The money for the Omomi Street rehabilitation is shared by the powers that be and a certificate of work done is issued to the company, Angel Company Ltd.

    The eight chapter which is titled “The House Fly” dwells on His Excellency, the Governor of Potty State who likes to enjoy flattery. The Governor and his gang go about taking people’s lands with impunity. The Governor’s Chief of Staff lies to the people whose land is being taken over from to exercise patience. One of the aides of the Governor describes power as: “… Your Excellency, power is an unruly horse, if you do not have it, it may kick you at the groin. If you ask me, we can have the money and the power. Why give power to those who may crucify us…” (146).

  • Olowosago’s legacy of community journalism

    Olowosago’s legacy of community journalism

    Title: Practical Community Newspaper Reporting and Production

    Author: Monzor Olowosago

    Reviewer: ‘Dare Odufowokan

    PRACTICAL Community Newspaper Reporting and Production, is a new book written by Monzor Kolawole Dawodu Olowosago, the doyen of community journalism in Nigeria. With the book, Olowosago has left a legacy in the industry, where he has practiced for 38 years non-stop. According to him, he desired to write the book for a lng time. He finally completed the book and set to launch it on February 2, 2023.

    The 145 page text book has ten-chapters, starting started with meaning and concept of community journalism in chapter one; techniques of community journalism in chapter two; structure of community newspaper in chapter three; strategies for circulating community newspaper in chapter four; and how to start community newspaper in chapter five.

    Chapters six, seven, eight, nine and ten cover the various areas of community journalism. Practical Community Newspaper Reporting and Production was printed at the Lagos State Printing Corporation, Oregun, in brown paper with all-coloured photographs.  The choice of the paper was to ensure safe reading in the case of harmful excessive sunrays. In the book, Chief Monzor Olowosago took a critical approach in detailing how a typical community newspaper house operates and he gave vital exclusive information on survival techniques for local and intended publisher in the trade.

    Using his more than thirty eight years experience, Chief Moznor provides answers and gives practical tips on how to survive the tides of producing, circulating and marketing a community newspaper. He also touched on how to secure and sustain adverts for the publication. The book holds many advantages over conventional textbooks circulating our academic systems, as Practical community Newspaper Reporting and Production is a book useful to many people, both in and outside the academic circle. It is a teaching textbook for lecturers who would conveniently use it as a study and instructional material for their students.

    Media Practitioners will also benefit from the book as it contains firsthand experience in this genre of journalism.  Media entrepreneurs who are considering starting community newspaper would find the book a rich document for their business. The book is a blue print for community newspaper production as it is the first book coming from a field expert who has made name and fortunes for himself through community media and laid the framework for community Journalism in Nigeria.

    The book was reviewed and foreword by renowned and awarding winning professor of Journalism, Professor Ralph Akinfeleye of the University of Lagos. Olowosago, who is widely known for his propensity for quality and excellence, as his newspaper, Oriwu Sun is not only the first but also the best in terms of quality production and the most successful community newspaper in Nigeria, says the book is his contribution to the media industry in Nigeria.

  • Love as saving grace

    Love as saving grace

    Title: Withness Conversations: Love and Commitment in Couple Communication

    Author: Emevwo Biakolo

    Reviewer: Yetunde Oladeinde

    Publisher:  Natural Family Network (NFN)

    THE cover page design of the book, Withness Conversations: Love and Commitment in Couple Communication is attractive and  gives a great image that captivates the reader about the  topic, great aesthetics in presentation and a splash of colours .

    The content page is also well laid out and at a glance you know what to expect in the chapters that are detailed, references, index, acknowledgement as well as introduction. 

    The first Section the focus is on people in Communication and this is the focus of the first four chapters. The first chapter takes the reader through an interesting journey titled,  Marriage is Love Communication,  as it is the only conversation worth having to achieve success.

    The author  identifies and unveils the different kinds of communication , attempts to lay a clear foundation for the rest of the book by  examining the complexity of the concept of communication and  specifically interpersonal communication. He then takes a critical look  at Marriage and the complexity of human communication, Dimensions of being a communicator as well as A pulse on human communication.

    In chapter two,  titled the  Persona in marital Communication, the author looks at the social persona, which he describes as a mask intended to hide our true identity. The art of hypocrisy,  what we have in our mind, or sometimes the things that we are even too afraid to frame into language

    “We are in endgame,  a play called Subterfuge . These are the lies by which we live what we convince ourselves is a reasonably good or comfortable life. We are what the Igbo in Nigeria call atilogu performers,  masquerade dancers, actors, hypocrites( that’s the Greek word for ‘actor’s who in the Greek theatre must wear a mask that indicates a certain type of social and political role or personality). Our every act, word or thought is a lie. And many times we know it too, but pretend to be happy with it”.

    Chapter three and four  continues with a deeper look at Personality and Persons in Marital Communication. The section, Chapter five to Seven moves on to identifying the process and context of marital communication as well as Media and  Marriage. The subject get more interesting as you move onto section four which identifies messages of communication in section three which is the focus of Chapter eleven and twelve.

    In the book ,  we are therefore taken through the  the various aspects of the communication of couples: their personalities, the verbal and non-verbal content and issues, the modes of communication, the media and social contexts, as well as the causes or triggers of couple conflict and intimate partner violence.

    The last two sections discussed the Conflict and the importance of Dialogue, power of listening to resolve as well as restore the relationship.

    Emevwo Biakolo also takes the reader into his world, Concepts, the practice of Withness Conversations, through which he propose solutions through a therapeutic modality.

     This is a procedure based on dialogism, on attentive listening behavior research, nature-culture interaction as well as spiritual sensitivity, especially that spiritual experience called committed love.

     Committed married love, he submits should be a spiritual and moral experience which goes beyond sexual and sensual attraction or even the justice of a transactional relationship.

    Rediscovering this commitment is at the heart of making your marriage safe and happy. This model of therapy, Withness Conversations, takes you on this journey of rediscovery.   

    One central insight  Emevwo explored in this book  is that communication is more than a tool, even more than the so called lifeblood of couple relationship. Communication and relationship are one. This insight leads to the unique collaborative approach to intervening in problematic couple systems, a model that has proved useful in various other relational contexts. This means that this model is fruitful in resolving conflicts and communication problems in the business and community settings.

    Biakolo is Emeritus Professor of Communication at the Pan-Atlantic University. He is Founding Dean of the School of Media and Communication of the Pan-Atlantic University, formerly, Pan-African University. Before coming to PAU,  he also taught at the University of Ibadan, and the University of Botswana, Gaborone in Southern Africa. He was a as writer and member of the Editorial Board of The Guardian newspaper between 1989 and 1996, and  Southern African Correspondent for the Post Express from 1996 to 1998.

    He studied Family Therapy at Northcentral University, Scottsdale, Arizona, and practices marriage and family therapy in Lagos, Nigeria. His earlier book, The Meaning of Marriage (2010), has undergone several reprints, and a second edition is forthcoming.

    In 2010, along with his late wife, Dr. Margaret Biakolo, he founded the  not-for-profit organization, Natural Family Counselling and Educational Network (NAFACEN). This is an NGO devoted to family therapy, addiction counselling, mental health advocacy, and education. He is currently Director of the NAFACEN Family Centre, Lagos.

  • When National Theatre hosted festival of unity

    When National Theatre hosted festival of unity

    Tagged celebrations, the festival of unity by the management of National Theatre, Lagos which held recently was an opportunity to redefine theatre as a means to bring Nigerians together. Edozie Udeze reports.

    PART of the shows that heralded the end of the year 2022 in the culture sector was the celebration of National Theatre’s festival of unity. The festival is the brainchild of the management of National Theatre spearheaded by its general manager Professor Sunday Ododo. As it entered its third edition last year, emphasis was placed on the need to use dramas, music, dances, songs, stage plays and so on to bring Nigerians together under one canopy and one fold.

    With the theme of the two-day event as celebrations, Ododo and his team made obvious that the responsibility of the Theatre as one of the foremost parastatals of the Federal Ministry of Information and Culture is to constantly keep the sector active and bubbly. This was why all kinds of stage performances were on display at the festival. Thus, it really became a festival of unity in which theatre artistes came from all over Lagos State and the nation to showcase their best artistry. The total mesmerization seeped into the nerves of guests who sat glued to the stage all through the duration of the event. It was also good to see little children demonstrate artistry and mastery of drums, costumes, dances and songs.

    The celebration brought to the fore the many ingredients that make culture an aspect that can bring Nigerians together just the way football does. The hall had guests from different parts, from different backgrounds, different ethnic groups, different religious formations, all paying undivided attention to the nuances of theatre by artistes. The choral choir of the National Theatre opened the floor of performances with glamour. Decked in colourful and assorted traditional and native dresses, the choir composed of Theatre staffers sang with measured delivery. Their voices were well modulated. And as the voices rose and fell, they synchronized with the spirit of the season, the yuletide season. Those who seemed detached from the joys of the season, were immediately brought into the mood. Soon, the hall became electrified as some sang along with them. The choir suddenly swerved to the left, right and centre in an eccentric formation to fully prove that it was time to sing to unite Nigeria.

    The songs in form of choral ensemble hinged on life, on love, on harmony, on togetherness, indeed on peace generally. As they did so, the colourful headgears, beads, caps, wrappers, all glittered in the neon light of the hall. For once, theatre overwhelmed all and took over the arena, sending messages and signs of thrills and frills across.

    The performances did not however exclude children. It has been the policy of National Theatre to take theatre to the grassroots thereby encouraging them to show interest in theatrical matters right on the dot of time. Even though the show started well behind schedule, the children waited patiently. A group of them trained by one certain Ihuoma Harrison mounted the stage in style. In front of them were drums of all sizes. It was amazing how the kids handled the giant drums, beating away with mad frenzy. They exhibited so much energy and vitality that shocked the guests.   Indeed they prattled like people possessed by unseen spirits. They sang, they danced, telling stories about Nigeria in-between. As they demonstrated, they showed in reality that they got the rhythms right. The excited audience clapped, cheered and applauded. Good dancing and good music usually give nourishing glow to the heart and so with their good stage movements, interspersed with heavy percussive sounds, there was that celebratory atmosphere of unity and tolerance.

    Overall, the performances by the Theatre Arts students of the Lagos State University (LASU), Ojo, Lagos, baffled many. Deemed  one of the best Theatre Arts Departments in Nigeria in contemporary times, the students took dance-drama to the level of Eldorado. With their frenzy entrance, the hall was practically brought to its apogee. The shout of excitements and approval almost drowned the heavy stampeding sounds of their feet. Soon they took the audience round the nation with songs and acrobatic renditions representing nearly all corners of Nigeria. The costumes were not just local in content, each depicted an ethnic group in its orientation and meaning. It was once more clear that theatre is a breeder of love in all ramifications. Theatrical beauty beckoned, blossoming in its total epitome.

    This made Professor Olu Obafemi himself a product of stage, dramatist, poet, playwright, someone who had thought many big and prominent artists in Nigeria to say, “This is awesome. Therefore, let us sit back and enjoy it”. As the chairman of the occasion, Obafemi, an Emeritus Professor of the University of Ilorin, was elated, and was full of encomiums for the idea of the festival of unity. He continued, “This has been robust, compact and enthralling. This is theatre at its best. And this is the best time in Nigeria to seek for unity, to celebrate love and harness our different cultural elements for togetherness. Nigeria is an assemblage of many cultural elements of dance, languages, and songs and all that give us national cohesion. This shows that Ododo loves the unity of Nigeria, hence this commendable celebration.

    In his speech Ododo expressed his joy that the event has successfully entered its third edition. He hoped to make it better, bigger and more result-oriented as time goes on. Then he said “As the year is winding up, a festival by the National Theatre presents a platform to celebrate, deliberate, cogitate and prognosticate. Our celebrations are the numerous triumphs of the last twelve months, our cogitations are on what we could have done differently, and our prognostications are on how to make the coming year a better and more successful experience. The activities of NATFU 2022 (National Theatre Festival of Unity) started yesterday with deliberation and celebration of playwrights whose crafts the National Theatre has impacted creditably. The conference, which held online (Zoom), was a meeting of budding talents and literary icons who have attained worldwide fame, legendary status and stratospheric reputations due to many years of prodigious creative endeavours.

    “I was incredibly honoured by the presence of two of my predecessors in office and renowned playwrights, Professors Femi Osofisan and Ahmed Yerima, and my teacher, Professor Olu Obafemi. The three playwrights whose plays we read as part of the National Theatre Quarterly Play Reading Series, Dr. Ababyomi Adebamigbe, Gloria Akayi Asoloko and Testimony Jesutofunmi,  were also part of this stimulating,  intellectually enriching and creativity-unlocking experience.

    “By facilitating the cross-fertilization of ideas between creatives, we at the National Theatre keep exploring new ways of realizing our mandates. The wealth of expertise on display yesterday cannot be quantified in monetary terms. Like culture, this shared intellectuality is profound in its intangibility.”

    Among the dignitaries present was Professor Sola Fosudo of the Theatre Arts Department of the Lagos State University (LASU), Ojo, Lagos and other big artists and performers.