Category: Arts & Life

  • Making the war against malaria work

    Book Title: IBA
    Author: Greg Ugbaja
    Publisher: MiriOma Communications
    Reviewer: Edozie Udeze

    “The ruler  of Anwuntaland, a vast kingdom of mosquitoes,has assembled a two million man army drawn from his deadliest military unit, the evil  Female Anopheles Brigade; for the ‘Mother of all wars’ against the human population of Maduland. The strategy is to infect everyone with the dreaded Iba disease.

    In response, Maduland appoints a new war leader for the impending invasion. The young Omara reveals the deep secrets of the evil Anwuntas to the people as they prepare to face the dreaded Anopheles Brigade.

    On the appointed day millions of the tiny six-leg monsters led by experienced commanders, surrounds the human kingdom, in an elaborate midnight invasion. It is supposed to be easy, but something goes wrong… and the greatest war ever recorded in the history of men and mosquitoes was fought that night”.

    The synopsis above clearly sets the stage for  an exciting work of fiction  which has all the trappings of a good story, whose major objectives are to entertain,teach moral lessons and  promote basic principles of Literature.But the work, IBA is much more than just a literary work, it is one of the most innovative strategies in the fight against  Malaria- the  greatest mass killer on the African continent. Thus, its title, IBA, a word for “Malaria” in Igbo and Yoruba languages respectivelly, is apt.

     The work can be described as  an anti-malaria  “battle-axe” laced with an entertainting piece of literary  creativity, culture, song and dance  put together to enhance this very unique piece of “ Stop Malaria” prose fiction.Indeed, it could be the first contribution of the Nigerian literary sector in the fight against Malaria.

    IBA  explored major and minor themes which includes the importance of education and information in the lives of a people. Maduland, where the story is set, is constantly under attack from the blood sucking Anwuntas,until Omara, the only educated boy in the community helped to  effectively disband the people’s agelong  myths about the evil Awuntas, the six leg flying monsters that “carry the dreaded Iba disease on its pointed mouth”. The citizens of Maduland did not reckon that it was their poor health habbits that creates room for the spread of Anwuntas. They thought all Mosquitoes come from their swampy Kingdom of Anwuntaland and are able to mltiply in large numbers due to a special black magic.

     They also thought that “Ogbaruruigwe”, the tiny mosquito pupas that are found in stagnant bodies of water come from the sky, with the rains.Their inadequate understanding of their old foes made it very difficult for them to defeat them.

     But with the arrival of the young Omara, King Anwu and his band of troublesome  citizens where completely dymistified and roundly defeated in the famous Mother Of All Wars.

    The theme of pride and its inherent consequences was clearly highlighted in the rise and fall  of the boastful king Anwu of Anwuntaland, who, blinded by hate for humans vowed to wipeout the entire human population of Maduland  in his illfated  midnight invasion, an elaborate campaign involving over two million members of the  dreaded Anopheles Brigade.

    Inaddition, the ten chapter book further emphasised the importance of  Knowledge above physical strength. This   was highlighted in the methods adopted by “Ijele” the Chief warrior of Maduland, who prefered direct confrontation with the evil Anwuntas, as against  Omara, who would rather educate the people on the nature and character of the dreaded Mosquitoe invaders.

    The style of the author is unique. He carefully blended fiction with facts to produce a work that can be described as a pure “Edutainment”. For instance, he creatively pulled into his narrative, important statistics, drawn from World Health Organisation  about the impact of malaria in Africa and the world. The seamless manner in which scientific data and story telling are fused can at best be desribed as innovative. Presenting data in a narrative form makes it easy for the reader to assimilate statistics without knowing when he or she did.  The book also exposes young readers to the different species of mosquitoes and inherent characteristics.

    There is also the use of Glossary of words to explain some difficult and uncommon terms.

    However,  out of the ten chapters, chapter 7 is too long in relation to the length  of other chapters. As a matter of fact Chapter seven could have been broken into two more chapters. The use of pictures in the opening chapters and the simplicity in choice of words could create the impression that the work is for young students, when in truth, the work is good for all categories of readers.

  • A cowrie in the midst of want

    Title: A Cowrie of Hope
    Author: Binwell Sinyangwe
    Publishers: Heinemann, London
    Reviewer: Edozie Udeze

    A Cowrie of Hope, is set in Mbala, an ethnic group in Zambia, Southern Africa.  The story revolves around Nasula, a widow, poor, forlorn, randomly rejected by her family and the society.  On the other hand is her only daughter, Sula, brilliant, self-assured, ready to go to school to pursue her dreams.  But there’s no money to facilitate her education and safeguard her future.  Set in the 1990s of the Zambian society when famine was in the land; the story begins with Nasula marred to a miscreant.  Already she is poor, all alone in her own world in her village.  But her beauty, instead of being a source of relief for her, suddenly becomes a pain in her life.  Her man goes for her due to her beauty.  He brings her to Lusaka, the Zambian capital, where, like most cities of the world, life is on the fast lane; people care less about others.

    Unfortunately, the marriage does not last long.  After one child, the man dies, leaving Nasula to the deep harsh realities of life itself.  Shocked that her in-laws could confiscate everything that her man left behind for the child’s education and well-being, Nasula shuns their offer to remain and be married to one of their sons.  Now, they are not happy with her for this slight on the family.  They then chose to throw her out and allow her wallow in more misery, poverty and loneliness.

    On her own, Nasula is bad luck epitomized.  Whatever she touches her hand turns bad and sore.  Her life is full of regrets, setbacks and ill-fortunes.  Even when friends come over to be of help, the gods that pursue her will still make it impossible for her to meet with good luck.  So, the story is made known in all Mbala and even in faraway Lusaka where modernity has made a lot of residents to lose their senses of humanism, that Nasula’s gods do not like her.

    Told in simple English and with plenty of flashbacks, it is a story of sympathy – a story of a society – where people have lost their souls due to abject poverty and economic hardship.  It is the story of a widow, abandoned, chastised by those who ought to show her love, no matter how little or far-fetched.  It shows that the story of poverty, the story of rejection and widowhood is almost the same all over Africa.

    The author, Binwell Sinyangwe digs deeper into the inner society of Zambia where he grew up.  He shows how at home he is with the economic realities of his people.  He says: “This story captures the rhythm of a people whose poverty has not diminished their dignity, where hope can only be accompanied by small acts of courage and where friendship has not lost its value.”

    In the face of all the troubles she encounters, Nasula has a formidable friend called Nalukwi who is there every day of the week to rescue her.  This shows that even when everyone has said no to you, God will always bring out one person to be by you.  Nalukwi is that reliable folk, with good pieces of advice to help her pal wade through the odds of life.  Then she coos her; she takes her in and tells her what to do to better her life.

    Yet the most touching story is the role or place of Sula in the book.  Beautiful and ever eager to be useful to herself and her society she does not want to complain of her condition of life.  At school, the children mock her, they snub her, abuse her and make life unbearable for her.  Yet she stomachs it all, preferring to concentrate on her books, studying hard to be good to herself.  In the end, she comes tops in her class, prompting them to offer her a place in one of the best secondary schools in the vicinity.

    Published by Heinemann in their African Writers Series, it is a book good for secondary school students.  Its contents show a well-written text meant for morality and so on.

  • Things you can do to put yourself through school

    Things you can do to put yourself through school

    Only yesterday in my commute to work, a guy was begging for alms, he claimed that he was a student at a maritime institution and was begging to raise money to pay his fees. Quite a number of people in the vehicle doubted if he was a student, but he might have been. As laudable as it is to seek to further your education, you don’t have to stoop to begging to pay your fees, here are some things you can do to put yourself through school. And you don’t even need to rent a shop, as long as your customers know how to contact you.
    Photography– If there is one thing undergraduates love doing, it’s taking photographs (even when they are broke). Come to think of it, it seems that every Nigerian university through the years had students who took photographs while in school to sustain them. You can take photographs of students and even cover events and before you know it, you will be rolling in cash.
    Barbing – Like photography, barbing is another sideline quite a number of guys venture into and quite a number of guys used to pay their way through school. All you need is a pair of clippers, scissors, a comb and you are in business. Most guys cut/trim their hair and beards weekly so you can be assured of a constant source of income.
    Hairdressing– This is another money spinner students can go into, and you don’t need to be female to make hair. Personally, I have found that male hairdressers tend to make you look prettier. Since girls spend much more money on their hair than guys do, hairdressers can make a ton of money, especially if you add home service.
    Manicures/pedicures– The craze for false nails does not seem to be going anywhere anytime soon so making nails is another sure source of steady income for anyone looking to earn some steady cash. Just make sure you keep yourself abreast of the latest trends in nail art, and you are in business.
    Tailoring– Sewing is another money spinning craft you can practice, by taking the time to learn to make clothes that are both trendy, well finished, and delivered on time; you can be assured of constant customers.
    Modelling– This is another source of income young people can explore, especially if you are above average in height, slim, and blessed with good skin and dentition. From calendar to photo shoots to runway modelling, you can be assured of some cash from modelling.
  • Fed Govt partners private  sector to boost festivals

    Fed Govt partners private sector to boost festivals

    The Federal Government would partner the private sector to make major festivals in the country attractive to domestic and foreign tourists, Information and Culture Minister Alhaji Lai Mohammed has said. By so doing, the government, he said, would be leap-frogging the events to the top cadre of global festivals. He spoke at the Íjakadi Festival in Offa, Kwara State.
    Mohammed, represented by Nigerian Television Authority (NTA) Ilorin, General Manager Mr Raphael Arulogun, said managers of the festivals would be trained.
    He said: ‘’As you may be aware, the training of Festival Managers is contained in the Memorandum of Understanding (MoU) that we signed with the British Council… Also included in another MoU, which we signed with the Tony Elumelu Foundation is the need to ensure that festivals like Ijakadi are not just a mere jamboree, but also a source of economic empowerment for the people in terms of injecting foreign exchange into the economy and creating jobs, especially for the communities where such festivals are situated.’’
    The minister said beneficiaries of the deal would include major festivals such as the Abuja Carnival, which will be made to achieve their potential and become household names like the Edinburgh International Festivals, the Rio Carnival in Brazil and the Notting Hill Festival in London, adding: ‘’Our ultimate aim is to ensure that our festivals are among the top 20 festivals in the world.’’
    He announced that to allow prospective visitors to Nigeria plan their trips around our festivals, ‘’we will be releasing early in the New Year, a Calendar of Festivals across the country. Once this is done, a tourist coming to Nigeria can then plan his or her trip around any of the festivals. We believe that this is one of the best ways to attract global visitors to our festivals and help to make them viable entities,’’
    The Minister commended the organisers of the festival’ for reviving and sustaining the age-long event, which he said, not only reinforces the community’s tradition of strength and determination, but also addresses the notion of equality among all the indigenes of Offa.

  • Harmattan Workshop opens Feb 12

    Harmattan Workshop opens Feb 12

    This year’s Harmattan Workshop at Agbarha-Otor in Delta State, organised by the Bruce Onobrakpeya Foundation (BOF), has receive the first set of sponsorship from Mr. Ugo Nkwocha and Mrs Sandra Mbanefo-Obiago. The organisers of the annual workshop called for registration for this year’s edition which holds between February 12 and 25. Speaking at a briefing in Lagos, the foundation Chairman, Prof. Bruce Onobrakpeya, said the support came at a time the foundation was in need. He called on well meaning Nigerians and corporate bodies to assist the foundation.
    “This year’s workshop promises to be unique in that artists from far and near would be attending. The 19th Harmattan workshop will give opportunity to participants to practise various crafts, acquire new skills and share ideas. There will be the usual experiments, which will help discover new and exciting ways of expressing experiences and feelings,” he said.
    He noted that the workshop will provide a session devoted to criticism by an expert while individual or group within the departments will be encouraged to relate their works to specific spaces. “Interested participants, who wish to present papers, are to apply to the workshop registrar at least 48 hours before the date of presentation. Papers presented are to adhere to workshop theme. However, if you have anything different, kindly let us know about it for approval,” he added.
    According to him, films, documentaries and slides on Nigerian and foreign artists will be presented during the workshop sessions, particularly in the evening. The theme of this year’s workshop is Investment into the infinite possibilities of art as a means of overcoming recession- materials, ideas, infra-structural development for greater benefits.
    But for efficient management of the workshop, maximum accommodation for the session will be 80 participants.
    There will be 12 departments to be manned by facilitators. They include painting/mixed media/drawing, print making, metal construction, stone carving, ceramics/pottery, textile/fashion, jewelry (bead making), leather craft, computer graphic, photography, wood carving and bronze casting. Workshop and registration fee for the first session is between N20,000 and N50,000, while fee for second session, August 13 to 26, is N20,000 per participant.

  • Nigeria and its interaction with religious forces

    Nigeria and its interaction with religious forces

    To suggest that Nigeria’s overall post-colonial performance has been less than stellar is stating the obvious. Sure in early 2014, Nigeria surpassed South Africa as Africa’s largest economy and has others things going for it such as the world’s second largest film industry, Nollywood, and vibrant and diverse cultural communities. These achievements, however, must be juxtaposed against the cumulative socio-political issues and problems facing the country: from perennial gross mismanagement of the economy owing to corruption, to the scourge of Boko Haram in the North-East, the enduring crisis in the Niger Delta over crude petroleum extraction, and more recently, the agitation among elements in the Igbo community seeking to revive or enable the revival of Biafra. On a certain level it would appear that cultural groups want out of Nigeria, which is concerning. In its post-colonial period Nigeria has often been on the verge of disintegration and collapse yet it has somehow managed to limp on. Consigned or living in a permanent crisis mode, however, is not sustainable.
    The foregoing observations beg questions and understandings about some of the sources of Nigeria’s intractable problems and challenges? Fifty-seven years on and a civil war thrown in between, the Nigerian state and its societies have simply failed to forge an enduring sense of unity and national purpose. In fact, there has been a worsening vice improving quality to relations between the Nigeria state and its societies, which by any measure does not bode well for the country’s ability to live up to its vaunted potential. For the country to assume its much expected global position it is imperative that its leaders and societies gain not only a deeper understanding of the myriad path-dependencies that conspire against its progress, but more significantly critically interrogate its past for relevant insights.
    Prof Olufemi Vaughan’s Religion and the Making of Nigeria (Chapter 1) provides a refreshing examination into one of those critical path-dependencies, notably religion, that have adversely, depending on one’s perspective, affected state-societies relations in the country. Drawing extensively on primary sources, this book does an excellent job of reminding the reader that some of Nigeria’s pathologies precede colonial rule, and on a certain level colonial rule was grafted onto and may have reinforced them. Take for example, Islam, in what later became Britain’s Northern Nigerian Protectorate, it is a historical fact that the Sokoto Jihad spearheaded by Usman Dan Fodio from 1804-08 marked the beginning of the formal implantation of Islamic law and statecraft in the northern region. What is less widely known, but excellently captured in Chapter 1 of Religion and the Making of Nigeria is the observation that Islam has had a longer presence in Northern Nigeria. As early as the 14th Century, Islam had begun to make inroads into the area. The significance of this observation is at least two-fold: first, parts of Northern Nigeria were already connected to the global Islamic network. Second, when Christian Nigerians encounter Islam and war with it as they are often want to do, they ought to recognise that they are in fact, interfacing with a faith that has been dominant and present in the northern half of the country for over five centuries. Put in terms of Religion and the Making of Nigeria, the main point of emphasis is that Islam as a way of life and practice in the Northern region is not coincident with colonial rule, but channelling the French Annales School, a social development that merits the longue durée approach to its interpretation and understanding.
    But much as it was a struggle for Nigeria’s colonial authorities to strike an effective balance between modernity and Islam in the North, the same challenge remains true in the post-colonial period. Regretfully, Nigeria’s post-colonial leaders have shown themselves not equal to the task of striking an effective balance between modernity and Islam, and deftly managing other religion-inspired sources of division. However, to their credit, the colonial authorities had only to contend with managing these tensions in just the northern half of the country. Discussions of some of the challenges between modernity and Islam during the colonial period, on one hand, and the broader management of both global faiths in the post-colonial period, on the other hand are effectively addressed in Chapters three and five of the book.
    Chapter three successfully examines the introduction of Christianity into the coastal regions of Nigeria, more specifically into the Southwest region, and from the coastal regions onward to the borderlands of the Sokoto Caliphate. Two significant observations with implications for the country’s political and economic future emerged from the examination of Christianity in Northern Nigeria. The first was the implicit decision by British colonial authorities to halt the advance of Christianity into the core territories of the Sokoto Caliphate such that the modernisation of the region was delayed. Fifty-seven years later the unintended consequences of this decision has continued to bedevil the country. The second observation was the strategic reception of Christianity by non-Hausa-Fulani communities in the Middle-Belt region of the country. Strategic in the sense that conversion to Christianity among Middle-Belters was a form of resistance to their Hausa-Fulani overlords and perceived as a lesser of two evils.
    Observers of Nigeria’s post-colonial politics can glean from the discussions in Chapters three, four and five some of the roots of the Middle-Belt region’s opposition to political parties perceived as belonging or dominated by Hausa-Fulani elite. Interestingly, the notion of division and opposition was not limited to the Middle-Belt region. This phenomenon also played itself out in the supposedly monolithic North between the Sarautaelite and the mass of commoners known as the talakawa. The remarkable thing about both of these observations is their continued resonance into the post-colonial era; talk about the past is prologue.
    Despite its many merits, I struggled to understand why the south-east region was left out of the book. It certainly was not because we can assume or infer that it shared similar patterns as the southwest region. Given the underlying focus of Religion and the Making of Nigeria, two questions ensued about the southeast region: first, why did Islam fail to make significant inroads into the region? Second, relative to other Nigerian cultural communities, what explains the slight preponderance of Catholics in the southeast region?
    In closing, Religion and the Making of Nigeria is a refreshing and seminal piece of work and achievement. Its implications extend beyond Nigeria, and enjoin us as scholars of sub-Sahara African states and societies to critically examine and interrogate the dialectical processes and relations between pre-colonial, colonial and post-colonial states and societies in the continent. Among the noteworthy things to take away from this is perhaps greater empathy for Nigeria’s post-colonial rulers. Several of the country’s myriad pathologies are not necessarily of their making and choosing. Though this may be true, they are culpable in so far as they have under-estimated or elected to ignore entirely the path-dependent nature of these problems. Prof Vaughan does an excellent job of drawing attention to just how Nigeria’s past has continued to shape its present in non-positive ways. Nigeria’s current and future leaders and its societies owe it to themselves to read back into the myriad path-dependencies that have continued to shape the country in order to find ways to reconcile and align them to an envisioned future.
    •Dr Emelifeonwu is an Associate Professor with the Royal Military College of Canada.

  • ‘My mission at National Theatre’

    ‘My mission at National Theatre’

    The Acting General Manager of the National Theatre, Iganmu, Lagos, Mr George Nkanta Ufot, has spent over 30 years as a career culture officer. Before his appointment, he was a director in the Federal Ministry of Information and Culture, Abuja. He spoke with Assistant Editor (Arts) OZOLUA UHAKHEME on his mission at the National Theatre.

    Despite increasing maintenance challenges at the 40-year-old National Theatre in Lagos, its acting General Manager, George Ufot, has reassured dramatists and art lovers that his administration will reposition the Theatre, as a national heritage and a leading cultural events venue in Lagos. The management has opened talks with critical stakeholders towards drawing up a busy performance calendar all year round at the theatre.
    This, Ufot said, formed part of the mandate given to him by the Minister of Information and Culture, Alhaji Lai Mohammed, to turn the national edifice around. According to him, an edifice such as the National Theatre should be a choice venue for major performances. He added that he was not ready to be part of a dead theatre complex. He noted that his administration’s overall goal is to boost tourism, cultural and entertainment activities at the theatre.
    “I have been directed by the minister to run the National Theatre. He specifically said he is passionate about the theatre and that I should turn it around. That means he is not impressed by the public perception of the theatre,” he said.
    Ufot, who resumed on December 28, lamented that the theatre has lost its glory and “it is high time we brought back the lost glory”. He recalled that the theatre used to bubble with lots of cultural and entertainment activities years back, adding that it was the hub of all entertainment then.
    He stated that despite the unstable electricity supply, inadequate water supply among others, his administration remained committed to driving traffic to the theatre. He, however, noted that at 40 years, facilities at the National Theatre need to be rehabilitated because the technology powering most of the facilities are old and in some cases obsolete.
    “All this will not hold me down. And I am going to let all stakeholders be part of the development and change,” he said of his determination to leave a legacy at the theatre.
    He continued:“To that extent, we are going to collaborate with the Lagos State Government in celebration of the Lagos @ 50 anniversary as well as all Thespians’ productions in the state. We will be talking to all the groups and friends of the art in developing a vibrant programme that will run from January till December at the theatre,” he said.
    He disclosed that as soon as the 5,000-capacity Main Hall is renovated it would be fully utilised to generate revenue for the government through hosting of activities. His other areas of concern include upgrading the necessary facilities, improving on security surveillance and ensuring that the theatre losts activities day in, day out.
    “To achieve that, I will ensure that the rates for renting the halls are reasonable and affordable. I will not scare people away with ridiculous rates. I will ensure that the rates are affordable compared to other halls outside the premises. The rate will be affordable, especially, for theatre art practitioners, who I believe the arena is suitable for their profession,’’ he said.
    On the lingering controversy over the purported Federal Government plan to sell the National Theatre, Ufot said the President Muhammadu Buhari-led administration did not have any plan to sell the edifice to any foreign or local private investor. Instead, the fallow lands around the theatre premises are what would be up for concession and development according to the Masterplan of the complex. He noted that all that is being handled by the appropriate authority in accordance to Private Public Partnership (PPP) arrangement. According to him, such development would involve building of shopping malls, hotels and other facilities that would generate tourism activities around the theatre.
    Ufot is, however, not oblivious of the economic reality saying, “We are in a recession and social services which National Theatre falls under always get the least in budgetary allocation. However, we must put on our thinking cap to design programmes that will attract support and sponsorship from relevant stakeholders within and outside the country. We are going to latch on the network of our artist friends in attracting development to the theatre,” he added.
    The National Theatre, Lagos is situated on an area of about 23,000 square meters and is well over 31 meters tall. The multi-purpose Theatre was established for the preservation, presentation and promotion of Arts and Culture in Nigeria. Its design was taken from the Palace of Culture and Sports in Varna, Bulgaria. The contract for its construction was signed on April 24, 1973, during Gen. Yakubu Gowon’s regime with the Bulgarian Construction firm called Technoexportsroy, as the main builder of the complex.
    Apart from providing a befitting venue for the 2nd World Black and African Festival of Arts and Culture (FESTAC 77), which Nigeria successfully hosted in January/February, 1977 and for which the National Theatre provided more than adequate venues, the complex is to be a rallying point for both Nigeria and international artistes wishing to share experience with their Nigerian counterparts.
    It was formally opened by the then Head of State, Gen. Olusegun Obasanjo on September 30, 1976, five months before FESTAC 77 began. Since then it has hosted a good number of international music concerts, dramas, films shows, symposia, exhibitions, conventions, workshops and sports.
    Since July 2016 when Kabir Yusuf Yar Adua ceased to be its General Manager, there seems to be an uneasy calm in the management of the theatre. Between July and December last year, two directors at the National Theatre have acted as General Manager.
    Among past General Managers were Jimmy Atte, Prof. Femi Osofisan and Prof Ahmed Yerima. Between 1975 and now, the Theatre has been managed by about nine successive Administrators.
    Interestingly, Ayo Jaiyesimi’s ITAN (THE STORY) staged by THESPIAN Family Theatre & Productions has been on at the Theatre since January 7 and will run till January 29. Some of its cast include Yinka Davies, Efe Mayford Orhorha, Lara Akinsola and Hafiz Oyeytoro (aka) Saka. ITAN is an intriguing award-winning epic play, which also showed at the Agip Recital Hall, Muson Centre, Onikan, Lagos last December.

  • Etisalat, iOpenEye  marry Love Recession

    Etisalat, iOpenEye marry Love Recession

    Imagine a marriage of love and economic downturn. Imagine the drama that ensued when Love & Recession came to town.
    The comic stage play, which closed early in the year hit the Lagos stage with a bang, leaving behind memories of its intriguing scenes in the hearts of Lagosians.
    The play, which was staged for four days at the MUSON Centre, Onikan, Lagos, is about a young farmer, who yearns to marry the chief’s daughter.
    Produced by iOpenEye Limited in partnership with Etisalat Nigeria, the play is an adaptation of Femi Osofisan’s The Engagement, a 1992 adaptation of Russian playwright Anton Chekhov’s A Marriage Proposal. It features Keppy Ekpenyong, Omonor and Ikponmwosa Gold.
    It highlights the harsh economic realities and depicts how many are managing to pull through the challenging times by being resourceful in their own way.
    “Love & Recession is a celebration of the creativity and ingenuity of the Nigerian in addressing challenges without the involvement of external help,” according to its director, Ifeoma Fafunwa.
    Love & Recession uses comedy and satire to explore these social issues with the aim of inspiring conversations and ultimately effecting changes in perspectives. Besides the focus on the current economic downturn, the play focuses on other social norms, such as the pressures on the woman to marry and man to attain certain “economic” status to qualify for marriage.
    Love & Recession also plays up the need to celebrate the Nigerian heritage vis-à-vis the culture and language, the appreciation of which can be harnessed to promote the unity, togetherness, collaboration and partnership needed to build a better Nigeria.
    Fafunwa, an acclaimed producer and director, added: “It is important for me to showcase a quality Nigerian production and by so doing, celebrate Nigerian talent and expression. I am also happy to bring some cheer and laughter to the holiday season and to create a work, which is suitable for all members of the family. We want to use the play to urge the embrace of measures that can give us the future we deserve as a people and nation.”
    Speaking on the involvement of Etisalat in the project, its Head, Events and Sponsorship, Modupe Thani, said it was in line with the company’s commitment to celebrate creativity as well as supporting platforms that enable people express themselves.
    She said: “Etisalat is a great supporter of the creative arts as shown in our support of Ake Festival, Lagos Photo Competition and our own platform, the Etisalat Prize for Literature. We will continue to demonstrate our commitment to platforms and initiatives that empower people to live their lives, in the best way possible. We are glad to be part of this movement that seeks to help us refocus and make the best of the challenging times.”

  • Sankofa Initiative celebrates Okediran, Ehigiator

    Sankofa Initiative celebrates Okediran, Ehigiator

    An art and culture platform, the Sankofa Initiative will celebrate two writers, Dr Wale Okediran and Dumebi Ezar Ehigiator, on Saturday.
    The arts and culture exchange programme holds by 3pm at the NuStreams Conference Centre in Ibadan, the Oyo State capital.
    According to the Programmes Manager, Servio Gbadamosi, who is also the founder of Winepress Publishing, this month’s edition comes with a tint of motivation. “The two guest writers have been touching the lives of many,” he said. Okediran’s immense contribution to the development of creative writing and writers across Africa are noteworthy. He is a former president, Association of Nigerian Authors (ANA) and founder of the Ebedi Writers’ Residency that provides a space for writers to write. Okediran, who is the author of the new collection of short stories, entitled: Keepers of the Tribe, is also winner of the 2012 Wole Soyinka Prize for Literature in Africa.
    On her part, Ehigiator, the author of the new novel, Wrecked, is a woman of many parts. She is known for her advocacy on oppression, women’s rights and empowerment, which reflected in her writings. This teacher and librarian, is also an editor of Women of Rubies and the convener of Just Us Girls Summit (JUGS), an annual workshop, providing mentor programmes for pre-teen and teenage girls. In addition, she is a blogger and the Creative Director for Glows and Sparkles, a makeup artistry outfit empowering women.
    Ehigiator brings all her experiences into her writing, while giving women’s stories, plight and their successes a voice.
    Guests at the Saturday event will also feature an interactive session centred on the authors’ behind-the-scenes stories of their works and the creative process involved. There would also be readings, performances and book signing session.
    The event is curated by the Sankofa Initiative for Culture and Development, Arts and Culture Exchange. It is a platform for the revival of a vibrant reading culture, the promotion of creative expressions in the arts and deepening civic engagement amongst the nation’s youths.
    “While incorporating the ideals of artistic scholarship with the innovations of performance practice and contemporary culture, the arts and cultural exchange, the platform seeks to mix creative dexterity of leading and emerging culture practitioners and thought leaders in Nigeria. Book readings, poetry performances, music renditions, drama, art exhibitions, panel discussions and workshops are creatively fused together to make each edition a memory to be relished,” he said.

  • NTDC, Niger State plan Military Tourism

    NTDC, Niger State plan Military Tourism

    The directory of tourism components in Nigeria is poised for expansion, as the Nigerian Tourism Development Corporation (NTDC) and the Niger State Directorate of Culture and Tourism Development Promotion are planning to introduce “Military Tourism”.
    According to NTDC Acting Director-General, Mrs Mariel Rae-Omoh, the new component of tourism in the country would make Nigeria more visible in the comity of tourism nations, while boosting the economy of the nation.
    She made the statement while receiving the Director-General, Niger State Directorate of Culture and Tourism Development Promotion, Mrs Sa’adatu Adamu Bokane. She observed that Niger among other states in Nigeria is richly blessed with natural, man-made and historic tourism assets awaiting development and promotion.
    “Niger State houses a good number of tourism assets, such as Zuma Rock, the first seat of power, Gurara Fall, Mungo Park, and the home of Ojukwu, Zungeru among others. We are ready to work with the Niger State government to ensure that these assets are developed and promoted for the benefit of the state and the nation, at large,” she said.
    Rae-Omoh added that the commitment of her administration is to ensure that all tourism potentials in Nigeria are well developed and promoted to enable the country and the people to maximally benefit from the goodies of the money-spinning industry.
    Mrs Bokane, commended the acting NTDC boss and her progressive plans to move the tourism industry to its “Promised Land”. While seeking the support of the NTDC, Bokane disclosed Niger State government’s readiness to explore tourism to boost the economy of the state and create more jobs and wealth for the people.