Category: Arts & Life

  • ‘Working for Jonathan was like going to war’

    ‘Working for Jonathan was like going to war’

    Former Editorial Board Chairman of The Guardian, Dr Reuben Abati, was a fiery columnist before he went into government between 2011 and 2015. Abati, winner of Fletcher Challenge Commonwealth Prize for Opinion Writing (2000), was Special Adviser, Media and Publicity of the President Goodluck Jonathan in 2011. In this chat with Evelyn Osagie, Abati speaks on his voyage into the world of criticism, his government days, the Buhari administration and national issues.

    Being a critic, I am sure you would have offended some people. How have you been able to maintain your relationship with those you criticise and those who criticise you?

    People should have a sense of humour. The first principle of intellectual work is humility. You are trained to know that you don’t know it all; and that every viewpoint is relative and important. When you are engaged in intellectual pursuit, you don’t act like your view is superior to that of others, because it is from the interplay of perspectives that knowledge is obtained and quality contribution made to scholarship. So, I don’t go about carrying in my head that this person criticised me; so this he/she is not my friend.Take, for instance, Rudolph ‘Dr Damages’ Okonkwo whose book, This AmericanLife Sef’s reading, I attended in Lagos, I have been a victim in his hands for more than 10 years, even before I went to Abuja.

    He was one of those attacking me but we are still friends because we know that the larger objective is to move our country forward. It is not about personal issues, but about our commitment to the public space in ensuring that Nigeria is a good and open society for the benefit of all. We are friends, it doesn’t matter whatever our views are. And there is a rich dialogue going on out there about Nigeria by Nigerians in the Diaspora on issues pertaining to the country.

     How was the experience of moving from the critical mass into the other side of the divide?

    I think it was a great experience. And in the process, I must have acquired some additional skills and experience. Also, it was an office that offered me additional responsibility – and it was a very challenging one.

    Looking back also, it was a tough work because I was dealing with a very critical constituency. It was a very political period, with a very vibrant opposition that challenged every little effort by that administration. It was like going to war. Coming out from the warfront, when you get back home, there would be memories, there would be experiences; but at the end of the day, we thank God for the opportunity.

    Of all the wars you fought  as presidential spokesperson, which was the toughest?

    Well, politics is war by another means. One of the toughest moments was after the deregulation of the downstream sector. You know that marked a turning point for the Jonathan administration in January 2012 when we had Occupy Nigeria’s protest and all that. And trying to explain something that you would think was very simple to the public and straightforward enough was a problem because the opposition was ahead in imposing a certain prejudice. Ironically, a new administration came in and did exactly the same thing. Then, you begin to ask yourself: the same people, the same issue, but in one instant it caused so much problem and resulted in long-term loss of goodwill for one administration; but with another administration, the people just accepted it. I think it is something we can interrogate on another level.

    Was it tougher than the Chibok girls’ issue?

    The Chibok girls’issue was another turning point. But the very first was the deregulation of the downstream sector. That is what we call it officially, but you call it removal of fuel subsidy.

    How has your being on both sides of the divide impacted your writing?

    It enriched my perspective. And that is what is important. And you would how find it has impacted my writing in some pieces I have done in recent times.  I’d give you two quick examples. When everybody was saying President Muhammadu Buhari was travelling very often, that he should stay at home, I wrote a piece defending him. I said he is the Number One diplomat of the country and it is part of his job to engage the international community. And if there are things to address internationally, you can’t complain that he is travelling too often. A President cannot travel too much. It is part of his job. That is not the full summary of the article but the premise – and I offered a defence. If I didn’t go into government, I probably would have had a different perspective. But if you ask me 100 times, I would defend it because I was there and I know that Presidents don’t go on tourist trips. It is not a jamboree; it is a lot of work because I was involved. And recently when John Kerry was visiting Nigeria, I wrote a piece, John Kerry’s visit: Beyond the cover story. If I had not been in government, I probably would not have been able to write such a piece. Somebody who had not had my kind of experience would probably just write a general copy, full stop.

    But I was there. I was involved in interfacing with the Foreign Affairs ministry; I was involved in preparing briefs on international trips, on foreign visits and diplomats coming to see the President. I was involved in helping to edit their copies, walking with diplomats, discussing with them and attending meetings. So, I had an idea. I know what a President would face when he has an important visitor like that. So, I could prepare a brief to guide foreign affairs. If I had not been there, I would not have been able to write such a copy.

      But some critics say the President does not need to travel so much since the Foreign Affairs Minister is there?

    No, it is not the same thing in international relations. It is not enough to say, when the Minister of Foreign Affairs is there, why does he need to travel? It is not the same thing. Every minister is an appointee of the President. Even when he sends an ambassador, they are there as his agents. And the highest level of government-to-government relations is  between the  presidents of countries A and country B, sitting together and exchanging views. And it is a serious business. People can complain about the size of delegation;  that is not what I am talking about. But they cannot say the President cannot do his job as the country’s Number One citizen.

    What is your take on the way the Niger Delta crisis is being handled?

    I have written on that. In my last article on that I was saying, there was no point in adopting violence or military repression as a strategy – that the issues at the basis of the renewed protests would still need to be addressed.

    Some say your articles are no longer as critical since your voyage into government …

    That is not true. Since I left office, I have written on the Niger Delta Avengers; I have written on MASSOB. There is no topical issue that I have not actually treated. But I have not been doing frontline political writing because it could be misinterpreted as sour grapes. You can’t be a spokesman for the immediate past President, and immediately, you start criticising the people who are there. That would be sour grapes.

    Do you have any regrets going into politics that you don’t want to talk about?

    No regrets. In fact, it was a good experience. If you are in the private sector, you probably would not know what goes on in the public sector. But if you have that kind of experience that moving from one side to the other offers, in the long run, it’s an advantage.

    It was an opportunity to learn a lot – I learnt a lot. Looking back, the kind of experience I have had, not too many people have been that privileged. So, it is not a thing to talk about regrets: it’s a thing to be grateful for because in 100 years, not many Nigerians would have the opportunity to even have that exposure.

    I am sure you’ve had many people asking you, what next, after being presidential spokesperson? Let me be presumptuous, what next – journalism or memoirs?

    Well, I have never left journalism. Immediately I left Abuja, I went to Oxford to do a programme on the side so that I could refresh, having been in the midst of politicians for four years. And immediately I came back, The Guardian asked me to continue writing my columns. And I have been writing those columns – Saturday and Sunday – for more than a year now.

    Segun Adeniyi and Governor El-Rufai each wrote a book about their experiences while in government, are we expecting one from you?

    Definitely, but when? I cannot say. Certainly, the experience was so rich and the exposure was so useful that it would be a disservice not to at least, someday, sit down and reflect on it. But, when you leave the government, I don’t think it would be a good idea to rush quickly and go and write. At the end of the day, you’d discover certain gaps. It probably helps to give some time for reflection. And in the light of what has been happening in the last one-and-a-half years, there are new revelations coming up that could guide anyone who wants to write about the President Jonathan years.

    Basically, I think the kind of experience that we had should be documented and I would like to do it. Although when I was in office, there were people on the social media who were saying “we know Abati would write a book one day. And if he writes it, we would not read it, we would not buy it. And I used to be amazed – that a book that has not been written, people are already saying they would not read it”. (Laughs).

     

    Have your phones started ringing…again?

    The first line in my article, some weeks ago was that “It looked like my phones were gradually beginning to play Lazarus”. (Laughs).

  • Changing Times: Nigeria in  a master artist’s eyes

    Changing Times: Nigeria in a master artist’s eyes

    Many artistes have documented various aspects of the nation’s socio-political life since 1999, using books, drama, music and movies as formats. The latest of such documentaries is Kolade Oshinowo’s Changing Times, which reflects the nation’s dark side, consequences of bad governance and lack of desire for progress, Assistant Editor (Arts) OZOLUA UHAKHEME reports.  

    Chibok Girls, Internally Displaced Persons (IDPs), Cries from Sambisa Forest, Immigrants and No Fuel, No Work: these artworks signpost Kolade Oshinowo’s collection of paintings and drawings in his forthcoming solo art exhibition Changing Times holding at Terra Kulture Gallery on Victoria Island, Lagos.

    In reaction to these developments, especially insecurity, Oshinowo, who was working on fabric collage as theme of his exhibition, opted for the challenges plaguing the nation. Expectedly, scanning most of the works is akin to reading a newspaper filled with horrifying reports on insecurity and its attendant casualties.

    Despite the tragic nature of some of the issues, Oshinowo renders the paintings in subtle tones that leaves viewers less troubled by the visual representation. For instance, paintings, such as Tears from Sambisa, Escape from Sambisa and Immigration, which mirror some of these horrible situations, are still colourful and interesting to behold. This trait is not unexpected of the former Deputy Rector, Yaba College of Technology, Lagos, who has sustained an artistic practice for over four decades as a professional.

    Oshinowo graduated from Ahmadu Bello University(ABU), Zaria in 1972, a period that witnessed the post-Zarianist ideology that impacted on visual arts practice in Nigeria. Apart from the miseries on the land, the retired art teacher also mirrors the changing realities in the socio-economic spheres such as fuel scarcity, commerce, religion among others. No fuel, No work, Omo Oloja, The Arena, Return to Oyingbo, Divine Encounters, Enclosed market and The Assembly are some of the paintings Oshinowo uses to document the changing times in the society. Instructively, the theme of the exhibition aptly expresses the diversity of the collection as well as moments in the nation’s history.

    Like many famous male artists, Oshinowo is never shy to paint female figures, especially in a group setting like market scene. Paintings, such as Youth wing, Neighbourhood fish hawkers, They come from Makoko, Celebrity and Socialites confirm the artist’s penchant for female figures. But the rendition of the works reflects the maturity of the artist in handling colours.

    According to the artist, these are, indeed, troubling times. “My output includes works that attempt to reflect our dark side and the consequences of several wrong choices we have made as a nation. Negative reports have invariably overshadowed what we always assumed to be our ‘normal’ life. Our state of wickedness and penchant for ‘man’s inhumanity to man’ has continued to assault our collective psyche robbing us of our genuine desire for progress,” he said.

    How does Oshinowo handle some of these realities? He finds it difficult to remove himself fromcertain elements. For instance, he has been painting divine intervention since 1998 and he is still painting it. “There is hopelessness in the land, so we seek God’s intervention. I work with a great deal of energy and passion; unending streams of responses to various stimuli within our socio-economic, political, cultural and environmental space. Decades of uninterrupted studio practice, searching, researching, exploring and discovering has often resulted in my desire to outdo myself.

    “I try to subject reality to a preferential process of selection and choosing only what it is in concert or harmony with my own disposition. I allow my paintings to talk to me in a meditative engagement in my work. This dialogue has enabled me to give life to a large body of work,” he said.

    Primarily, Oshinowo dedicates many of his  paintings to raising people’s consciousness about the excess luggage that come with absence of good governance and corruption in the society. He believes that he may not be able to solve the problems using painting as a platform, but can highlight them for the public. “For a long time to come, Sambisa forest will not be forgotten in a hurry because of the imagery it has created in people’s minds. In fact, any painting or drawing must have a story line, that is one sure way for it to remain timeless,” he said.

    Oshinowo urged younger artists to be more creative and dig deeper in their works rather than lifting other famous artists’works. “In the short run, it may work, but in the long run, it will be disaster,” he added.

    Changing Times, which will open from September 17 to 27, will feature 52 paintings and drawings. They include Lone umbrella, Survival, Ancestral masquerade, Vanity, Brothers, Return to Oyingbo, Omo Oloja, Enclosed market, The Arena and The assembly.

  • Akwa Ibom to host NAFEST 2016

    Akwa Ibom to host NAFEST 2016

    AKWA Ibom Deputy Governor Moses Ekpo has urged culture chiefs to fashion a blueprint for turning the nation’s culture into a major foreign exchange earner.

    This, he said,  became necessary given the Federal Government’s re-investment drive in the culture and tourism.

    Ekpo stated that Nigeria could become a global power in culture and a major exporter of culture with right mix of resources and tourism integration. He stressed the need for a massive cultural revival through strategic acculturation.

    He spoke at the 45th meeting of the Chief Executives of Culture of the Federation (CEC) at the Governor’s Office Annex in Uyo.

    The festival’s theme: Exploring the goldmine inherent in Nigeria’s creative industries, was adopted at the meeting. It will hold in Uyo between October 2 and 9.

    National Council for Arts and Culture and Chairperson (CEC) Director-General, Mrs. Dayo Keshi, said the agenda for the meeting were the final adoption of the NAFEST syllabus, assessment the hosting state’s preparedness to host the fiesta and to elicit the input for a successful NAFEST.

    Keshi charged the executives to find ways of improving on the presentation and marketing of festivals while inventing new ones.

    Akwa Ibom State Commissioner for Culture and Tourism, Otuekong Emmanuel Ibiok, called on stakeholders in the industry to explore the option of partnering with corporate and private investors to organise a  viable and glamorous NAFEST 2016.

    At the meting were representatives of chief executives of federal parastatals of culture (National Institute for Cultural Orientation (NICO) and National Commission for Museums and Monument (NCMM), and 13 Directors of State Council for Arts and Culture/History and Culture Bureaux, including (Abia, Akwa-Ibom, Bauchi, Bayelsa, Ebonyi, Kaduna, Kano, Katsina, Kebbi, Niger, Ogun, Rivers, Plateau).

  • Global school feeding programmes: The journey so far

    Global school feeding programmes: The journey so far

    Global School Feeding Sourcebook – Lessons from 14 Countries (2016) is a publication on the school- feeding programme by the World Bank and the United Nations World Food Programme (WFP), with the Partnership for Child Development (PCD), to understand why so many poor countries were using the programme as a key part of their response to emerging food, fuel and financial crises of 2008.

    The book indicates that 14 countries have implemented the programme, particularly to provide guidelines to decision makers and practitioners on school feeding by analysing programmes in various countries, using a standardised approach and then to compare their case studies to see what lessons can be learned. They are Botswana, Brazil, Cape Verde, Chile, Cote d’Ivoire, Ecuador, Ghana, India, Kenya, Mali, Mexico, Namibia, Nigeria and South Africa.

    Accordingly, the programmes are gaining  recognition for their twin roles as a long-term social protection investment as well as acting as a productive safety net for children and their families in the short-term. The research by developmental partners review that the programme was meant to help get children into school and keep them there, increasing enrolment and reduce absenteeism; and also to contribute to their learning, through aavoiding hunger and enhancing cognitive abilities.

    The programme has been linked to job creation, agricultural sector received boost in terms of demands, helped to guide countries as they make decision about different trade-offs in the design of the program and improved standard of the health of school children, evidenced in particular through a reduction in diarrheal cases, as well as cleanliness in the school environment.

    There are equal numbers of programmes that adopt centralised and decentralised approaches, either to take action at the highest national level or at the most local school level; it is however the context that will determine which approach is more appropriate. Most programs have shown themselves however effective in terms of their outcomes. The programs commonly targeted at public schools with a good percentage of them producing one meal a day except countries such as Chile and Ecuador that gives two rations.

    Approximately 368 children, which is one out of every five, receive a meal in a school day with universal coverage for most countries, excluding Nigeria where Osun State was the focal state.

    The focus of the book is on building understating at country-level and document government school feeding programmes in low-and-middle income countries, ensures that positive contributions are made to food markets and the enabling systems around the countries generates structured and predictable demand for food products, thus benefiting farmers and promoting sustainable local economic development.

    Comparatively, the programmes have shown that there are many routes to achieving a successful school feeding programme. It also shows that the programs themselves are surprisingly fluid and dynamic, often changing drastically as they evolve. This implies a continuing need for countries to monitor their programs in real time and to provide feedback that can lead to evidence-based changes in policy.

    A well-articulated policy and legal framework helps to create a platform for cross sectorial interaction and helps ensure better policy alignment. Whatever the mechanism, some form of regulatory framework closely informed by the national context is a perquisite for effective, sustainable and government-owned school feeding programmes. Countries such as Brazil, Mexico and South-Africa regulates the programme through national Constitution but Osun State (Nigeria) is moving from reliance on technical guidelines towards developing a state level law on school feeding.

    A critical study of Osun State School Feeding (O’MEAL) can be attributed to strong political will as well as effective financial disbursement and food procurement practices. Osun is located in the southwest, with a population of 3.5million out of the 168million Nigerians. Sometime in 2004, the Federal Government initiated the Home Grown School Feeding and Health Programme (HGSFHP) through the Universal Basic Education Act of 2004 (UBEC, 2005). The legislation stipulated that at a minimum all state primary schools must provide one meal (breakfast, lunch or a take-home ration) a day to each pupil. To begin the national program the Federal Ministry of Education in 2005 decided on a phased pilot of the programme, which rolled out in 2006, beginning with 13 states from the six geo-political zones. The l3 pilot states included: Bauchi, Cross River, Enugu, the Federal Capital Territory, Imo, Kano, Kebbi, Kogi, Nasarawa, Ogun, Osun, Rivers, and Yobe. Of the pilot states, the Osun State HGSFHP (OSHGSFHP) was the only programme that remained, representing a model of good practice, among other school feeding initiatives in Nigeria.

    The OSHGSFHP was, however, redesigned in 2012 and is now termed ‘Osun Elementary School Feeding and Health Programme (O-MEALS Programme). It provides a meal a day for over 252,000 primary s in elementary grades 1-4 in all 1,382 public primary schools in Osun State. One cook (commonly known in the O-MEALS Programme as a food vendor) prepares the school meal for at least 50 pupils.

    The O-MEALS Programme receives 40% of the funding from the state and 60% of the funding from the constituting local governments. The total annual budget stands at N2.6 billion ($16.40 million), excluding staff salaries and other support costs covered by other ministries; while per child budget is N10, 080 ($63.40)  yearly. Unlike other school feeding programmes piloted in Nigeria, the O-MEALS Programme does not advocate for in-kind support from parents or from communities as it is in countries such as Mali, Namibia. In addition, N750,000 ($4,717) (N9 million [$56,604] yearly) is budgeted monthly for monitoring and evaluation.

    The O-MEALS Programme is decentralised and community based. Hiring cooks is initiated at community-level. Women and traditional leaders participate in hiring cooks which ensures the credibility of the cooks from within the community. Although there is no document of quality standards for the O-MEALS Programme, the programme mandates a menu-based on the National Guidelines for School Meal Planning adjusted to accommodate seasonality and local availability.

    Like Brazil School Feeding Programme, which is known as ‘ProgramaNacional de Alimentacao Escolar (PNAE) – the National School Feeding Programme was first introduced in early 1940s. Until 1993, school feeding implementation in Brazil was centralised at Federal level. It is an example of universal program, completely regulated and sponsored by the national government.

    As at 2014, the programme has reached 42,333,722 children in 163,000 public schools – children with special education needs; kindergarten; pre-primary; primary, secondary, youth and adult education; indigenous; and slave-descendant communities are benefitting from the programme, making it the second largest programme in the world behind India.

    When Cape Verde school feeding started in 1979, following independence with WFP assistance, it was an intervention to address food insecurity but in 2010, the government of Cape Verde took full responsibility of the program and has since changed the role of the program. The programme is universal, which covers children in primary schools from grade one to six as well as children in public pre-primary schools and provides a total of 85,079 pre-primary and primary school child with one meal per day.

    Chile School feeding programme named Programa de Alimentacion Escolar (PAE) began as far back as 1929 and it covers 9,670 primary and secondary schools reaching 1,850,000 children with at least two rations depending on the categories (Breakfast and Lunch).

    Cote d’Ivoire programme was adopted by the government as a means of achieving universal education. Earlier, they were supported by parents and United Nations Children’s Fund (UNICEF). WFP from 1989 to 1998 supported various projects through the government’s initiative, the Integrated Programme for the Sustainability of School Canteens ‘ProgrammeIntegre de Perennisation des CantinesScolaires’ was one of such.

    In this context, the Ecuador government has  emphasised the development of an inclusive- social policy and in the consolidation of food assistance programmes such as school feeding.

     

  • Firm rewards customers with N50m Dubai holiday

    Firm rewards customers with N50m Dubai holiday

    Fifty-five loyal customers of Helping Lives, a joint initiative of A2W Ltd, Natures Pure Marvel and Generis Solutions, have been selected to take part in a six-day holiday trip to Dubai, in a rare gesture described by the organisation as a way of rewarding excellence.

    The organisation, which has Ruzu Bitters as its flagship product, seeks to address three key issues of health, wealth and education. It is spending N50 million on the all-expenses paid trip where the beneficiaries will have the opportunity of an educative and empowerment conference participation, an amazing city tour, shopping in the biggest mall in the world, having a Dhow Cruise, enjoying the Desert Safari and dining in the only seven-star hotel – The Burj Al Arab in Dubai.

    Speaking in Lagos on Friday during the departure of the contingents, its Managing Director, Mr. Adeolu Akinyemi, said: “Few companies are making a difference to the bottom of the pyramid here in Nigeria as we have with Helping Lives.”

    Helping Lives, according to him, is about eight months old and, in that short time, has empowered over 20,000 Nigerians with monthly income ranging from N10,000 to N2million.

    “In that same of space, over 200 students have been given scholarships to return to school, not to mention the amazing health testimonies recorded via the use of her flagship product, Ruzu Bitters across Nigeria,” he said.

    Reeling out various diseases plaguing the country, he said: “Helping Lives was created to help and alleviate the level of poverty we have in our country. By distributing a revolutionary health product, Helping Lives, distributos of Ruzu  Bitterss, have been able to help thousands live healthier, earn extra income and hundreds of students return to School.”

    He said the 55 customers were being rewarded for being the most-driven ambassadors for the company’s product and the Helping Lives Initiative. ‘’It is also to celebrate their commitment to help people and making Nigeria a better place for all to live in,’’ he said.

    Describing the initiative as noble, he said Ruzu Herbal Bitters is 100 per cent made-in-Nigeria, making Helping Lives-compliant with the drive of the government to buy made-in-Nigeria. “For everyone seeking an extra source of income with a passion for helping people, Helping Lives is one initiative to pay attention to,” he advised.

    According to him, the organisation had held over 20 events hosted in various parts of Nigeria and it intended to sponsor local retreats and vacations to boost and encourage  tourism, national integration and a few international vacations to give its top customers the international exposure.

     

  • Alaafin seeks support for festivals

    Alaafin seeks support for festivals

    The Alaafin of Oyo, Oba Lamidi Olayiwola Adeyemi III,  has stressed  the importance of celebrating past heroes, saying it is neither fetish nor against civilisation. The celebration, he said, would enable people to appreciate their ancestors and connect with their roots and heritage.

    He spoke while receiving the Intercontinental Distillers Limited (IDL) team during the Oranmiyan Festival in Oyo.

    The yearly festival, an event held in honour of the first Alaafin of Oyo and past Yoruba heroes, was supported this year by Eagle Aromatic Schnapps, a brand from the stable of Intercontinental Distillers Limited.

    Some of the activities held during the week-long festival included a press conference, visits to cultural sites, exhibitions, and Yoruba quiz.

    Duting the festival, the Gbegiri Day was set aside for welcoming Yoruba in Diaspora. The grand finale included beautiful masquerade dances from Dahomey in Benin Republic.

    IDL Head, Marketing, Mr Mobolaji Alalade, said Eagle Schnapps was at the forefront of promoting culture, hence the brand’s partnership with one biggest festivals in Yorubaland. ‘’Eagle Schnapps is a drink used to make libation as seen when the Alaafin used it to pray for longetivity, good health, prosperity and peace,’’ he said.

    During the feast, visitors had the opportunity of sampling the drink.

     

     

     

  • Art can boost Nigeria’s foreign reserve, say experts

    Art can boost Nigeria’s foreign reserve, say experts

    At a time like this, Nigeria should explore art export to increase its depleting foreign reserve, so say notable art and culture icons at a Yoruba Ethnic Fashion Show in Osogbo, the Osun State capital. They described the arts, culture and tourism industries as good alternatives in the drive towards  diversification of the economy. EVELYN OSAGIE reports.

    Veteran art and culture personalities have urged the government to develop the arts, culture and tourism sector, saying in the face of the county’s economic diversification drive, the sector remains a fertile option.

    They spoke at a Yoruba Ethnic Fashion Show in Osogbo, the Osun State capital.

    While asserting that the country can chart a dependable passage to revive its ailing economy through the enormous potentials offered by the sector, the icons urged that the textile industry be harnessed. Exporting home-made fabrics, artists, their products, and Nigeria’s diverse culture and tourist destinations, they said, would boost foreign exchange and, ultimately, increase the country’s foreign reserve.

    For dramatist and folk singer, Pa Jimi Solanke, paying proper attention to the arts and its labour force would ensure  long-term economic benefit. He said: “The next best treasure after oil is the arts. Performing art, creative arts, dance and music are pivotal to economic development. But we have failed in developing it.

    “If the government could be proactive enough to involve the professionals in the arts industry to develop it, it would go a long way in helping the economy.  If we focus on ethnic fashions, we will able to create and increase our export profile. The money we waste in importing fabrics will reduce. That is why I urge that festivals, such as the Arungungu and Osun-Osogbo, should be promoted and supported by governments at all levels.”

    Veteran actor of The Village Headmaster fame, Larry Williams, called for national reorientation, bemoaning the poor societal orientation on the importance of the industry, especially among the government and the young.

    He advised that instead of having a Theatre Arts department, it should be upgraded into an institute where core professionals in the industry would learn the practical aspects of entertainment, fashion, dancing and other genres of art.

    “Art and culture have a lot of roles to play, especially in the ongoing economic recession in the country, with a view to overcoming it.  Fashion and entertainment are crucial to economic development and have generated a lot of employment for the people. All that is required is for the government to support. If we bring innovation to it, then we shall be able to achieve a mileage in it.

    “Graduates of Theatre Arts, who are supposed to go to the arts industry and build a career, miss their way into the banking and other industries. This is another bane of development in the industry. Consequently, all the skills they learnt from school waste away. The result – poor orientation about the values of arts and lack of focus,” Williams said.

    Culture advocate and founder, Nike Art Gallery, Chief Nike Okundaye, notable culture advocate and founder of the Nike Art Gallery, urged that the homeland textile industries be rebuilt and restored, adding that the domestic fabric market, such as batik, adire, aso-oke and akwete production, should be explored.

    She called for support for art/culture promoters, saying culture, heritage, arts and creativity are our hidden treasures.

    She said: “Nigeria is a home of the arts and culture, if appreciated and developed; they can boost our economic fortunes. Textile technology and the arts are crucial to economic development and have more economic value than the oil. There is also a need to build and develop more museums, more art galleries and more workshops. It would develop our economy. The younger generation should not be left out: from the age of six, their interest and orientation can be developed in the arts and culture. Our art curriculum in schools should be richer.”

    Development Agenda for Western Region (DAWN) Commission Director-General, Dipo Famakinwa, called for policies that promote and boost domestic fabrics and its market. “We need to look inwards. If we create our own products and export them, it will boost our foreign exchange. That is why we need to be more creative and passionate about our arts, create more of them and also create markets for them. Our artists, craftsmen, fabric makers and fashion designers, etc., are already producing great things with their hands. Look at our aso-oke, adire, ankara, etc.

    “Policymakers should tap into it, not only by supporting and promoting it, but by enacting policies that ensure the fabric industry thrives. Technical and vocational education is crucial to economic development. We need to turn our crafts to wealth. Our goldsmiths and blacksmiths have gone into extinction,” Famakinwa said.

    This fashion show as well as the awards was one of the events to commemorate the Osun-Osogbo Festival.

    Now in its second year, the fashion and awards were put together by the Yoruba Arts and Festivals Promotions and the Dreamscape Productions. Through the event, the organisers said, they sought to showcase the best of Yoruba heritage through the fashion, domestic textiles, and honour outstanding Yoruba culture promoters.

    At the event were the Orangun of Ila Orogun, Oba Dokun Abolarin; Oloye Lekan Alabi; Dr Charles Akinola; Femi Ifaturoti; Avery Ammon; Femi Adefila; Remi Osiberu; Mr Yomi Layinka; Gbenga Adebusuyi and tourists from the Caribbean.

    Oloye Alabi was honoured by the organisers for his dedication to the promotion of Yoruba culture and fashion.

     

     

     

  • Ooni unveils Olojo Festival logo

    Ooni unveils Olojo Festival logo

    OONI of Ife Oba Adeyeye Enitan Ogunwusi,  has unveiled the logo for the Olojo festival.

    The event was held at the Oonirisa Palace in Ile-Ife.

    It was followed by the signing a Memorandum of Understanding (MoU) between the Festival Planning Committee and INFOGEM Media, a leading festival marketing firm in Nigeria.

    At the event, Osun State Governor  Rauf Aregbesola  praised the Ooni for promoting the Yoruba culture. He described the cultural renaissance and social economic development in Ile-Ife as unprecedented, noting that the conscious effort of the monarch would restore the notion that the state is the foremost cultural centre of the world.

    The governor, represented by the Director-General, Office of Economic and Partnerships, Dr. Charles Akinola, said: “I am aware of the importance of this festival to Kabiyesi. This is the first Olojo you are celebrating on the throne of Oduduwa. You are beginning well and making a very good impression. May you live long to celebrate many more.

    “Olojo is one of the oldest festivals in Ife, and celebrated all over Yorubaland as Ogun, the god of iron, noted for creativity. It is perhaps the most famous of the festivals in Ile-Ife which echoes reverberate all over the world. It is proper, therefore, that it is being branded and presented in modern form. It is going to reinforce the notion of Ife as a foremost cultural centre.

    He noted that beyond cultural projection, there was the economic imperative of culture, foremost of which is tourism. “We can build a thriving economy around our culture and monuments. The annual pilgrimages to Mecca, Jerusalem and Rome are distinct economic activities that sustain these countries. Tourism is a silent money spinner that supports the economies of many nations,” he said.

    According to Aregbesola, Olojo is one of the oldest festivals in Ife and celebrated all over Yorubaland as Ogun, the god of iron, noted for creativity. This, he said, was perhaps the most famous of the festivals in Ile-Ife which echoes reverberate all over the world. “It is proper therefore that it is being branded and presented in modern form. It is going to reinforce the notion of Ife as a foremost cultural centre,” he added.

    He said the state government has a tourism master-plan that is being developed within its financial capability. “What is most important now is for entrepreneurs and those interested to partner with the government in order for our state and people to benefit from this tourism money-spinner,” he added.

    The governor, however, reiterated the commitment of his administration to the support of cultural events and tourism programmes for the economic growth of the people.

    Festival Advisory Committee Chairman, Oba Idowu Adediwura, said the ceremony was to signify the commencement of the festival, the first since Oba Ogunwusi ascended the throne. He said  the contents of the festival  logo include the  Aare sacred beaded crown, appearance of the new dawn-‘Ojo’, Ile-Ife, the Ori Olokun insignia, 2016, colour purple and the red ribbon.

    IINFOGEM Media Chairman, Otunba Ayo Olumoko said his firm has the responsibility to market the festival to the world as well as seek corporate sponsors for the event.

    “This is our event, we have to make it successful and we are going to work in line with His Imperial Majesty Oba Ogunwusi’s vision of rebranding the festival,” he said.

    The event featured special prayer Iwure by the Ooni, homage-paying by the traditional chiefs, performances of traditional music and dance by Olosirigi,  Alabi Ogundepo and Arike Ade.

  • Putting smiles on faces of indigent pupils

    Putting smiles on faces of indigent pupils

    Despite the falling reading culture and economic hardship, an art-based non-governmental organisation, GreenHouse Arts Empowerment Centre (GHAEC) in Olambe, Ogun State, has bankrolled an empowerment project for primary and secondary schools pupils. It also awarded scholarships to some of the pupils. Evelyn OsagiE reports.

    •GreenHouse gives out scholarship 

    For 14-year-old Adam Morufat, it was a day of fulfilment and she shed tears of joy. The tears flowed as she walked up to the podium to receive her prize.

    Morufat, a Junior Secondary School III (JSS 3) pupil of Matogun Community High School, Matogun in Ifo Local Government Area of Ogun State, came first in a competition that featured 18 other pupils.

    She was the toast of many. It was too much for the teenager to handle. But, what prize could have drawn such emotion from a bold and outspoken teenager? It was one that came with full secondary school scholarship. Ironically, while the parents of other participants were at the ceremony, Morufat’s parents, Mr Talhat and Mujidat Adams, were not there; but they went with their blessing and support.

    “My parents prayed for and encouraged me. Their words challenged and inspired me to win,” she said.

    Evidently, she was overwhelmed, and so were her counterparts and guests at the GreenHouse Art Empowerment Centre (GHAEC) inter-governmental schools’ essay competition.

    But when Morufat entered for the art-based essay competition, she was not sure of what to expect. “People promised a lot of things but didn’t fulfil it. And I did not know that I would win. But I said to myself that I would put in my best to win.” And win she did; but she was not the only one who went home with a prize.

    Oyeniran Ezekiel, a JSS 3 pupil of Ajuwon High School, the second place winner, went home with one year scholarship worth N120,000. The third place winner, a JSS 2 pupil of Olambe Community Comprehensive High School, Obadina Ayanfeoluwa, received one year scholarship worth N50,000.

    Despite the state of the economy,  GHAEC,  is resolute in giving back to its community. From empowering children, youths, women, teachers and schools with skills and trainings, the centre, established in 2009  by Princess Theresa Iyase-Odozi, has taken its empowerment programmes to another level. This time, it awarded scholarships worth thousands of naira to children in government junior secondary schools in Olambe, Matogun, Akute and Ajuwon.

    It was, a memorable occasion for the pupils, their families, principals, art teachers and community leaders at the grand finale of the competition, which was part of a four-day training and seminar.

    The three winners, along with the 15 other participants  showed promise for the future of art and Nigeria’s educational system. The children impressed the judges, who are experienced art teachers and scholars, and the audience. Each participant also went home with a gift.

    According to Princess Iyase-Odozi, the event was in line with the objectives of promoting visual art education. The competition, she said, would be a yearly event. She said: “Our intention is to explore various ways in which the GreenHouse Art Empowerment Centre can render genuine services to enhance the lives of the children/youths, who cannot afford the private school fees, but resort to attend government /community schools in Olambe, Matokgun, Akute, and Ajuwon. Beyond their tattered uniforms/clothes, I see hope in the eyes.

    “Sometimes, out of curiosity, I randomly check their school bags and find them practically empty. When I go further to see what goes on in the schools, I realise the futile journey with the pupils merely carrying old torn books in their bags all around. As one of the centre objectives, we promote Nigeria art history and culture. We are there to continuously support the efforts of government.”

    The event opened with an interactive session among the schools’ principals, art teachers, parents and community leaders, who addressed and interacted with the pupils and youths. They expressed their experiences on the grand finale, while praising the centre for its contribution to the development of education in the communities. The parents and teachers said it was a well-timed event that gave them an opportunity to learn, interact and expand their knowledge in the arts.

    For Aremo Ramoni Akinola Ogunremi, the Otun Baale of Olambe Town,  art is a core subject in the school’s curriculum, noting that it would help reduce the high rate of unemployment in the country. “Today, this programme is first of its kind, in the history of this community. Beneficiaries of its generator repair, soap, tie and head gear (gele) workshops, and catering services empowerment twice in a year, programmes for our youths, women, can never forget this centre. They have grown from being unemployed to self-and-paid-employed.

    “Her contribution towards the development of Olambe town and its environs, had demonstrated her love for social well-being of a man-kind,” he said.

    The Oganla of Olambe Kingdom, Chief Olaniyi Olowoyeye, said: “This establishment has helped to change the status of this community from a mere rural village to a big town in Ogun State through its constant exhibitions and life-saving programmes. You have not only helped to put Olambe in the world’s map with big cities, like Benin and Onikan.

    “I commend the centre because of the timing of the programme which falls within the time when government, corporate bodies, and even prominent people cannot fulfil most of their financial obligations to others because of the economic meltdown witnessed and experienced by all concerned.”

    GHAEC Chairman Mr Victor Odozi commended the traditional rulers for their cooperation, and the people for their support for the centre, saying the centre hoped to do more in future.

    Odozi, a former Central Bank of Nigeria (CBN) Deputy Governor, said: “Our decision to relocate to Olambe and set up a permanent structure for driving our social contributions initiatives under the auspices of GHAEC is a matter of personal choice and we have no regrets about it. Indeed, since we settled here almost a decade ago, we have been well received and treated by our host community. All is well with us and we are here to stay for the long haul.’’

  • Despite recession, Muson to celebrate 20th festival

    Despite recession, Muson to celebrate 20th festival

    Musical Society of Nigeria (MUSON) Vice Chairman Sir Louis Mbanefo has said the centre will hold its 20th festival on October 14. This is despite the eceonomic recession that has taken its tolls on the Society’s activities, which he said had made sponsors’support and the volume of events to drop drastically.

    He spoke in Lagos during the unveiling of activities for the anniversary.

    He said despite the hardship, the centre would roll out the drums for the celebration. The festival will feature performances in drama, visual arts, poetry and musical concert, such as My kind of music, J P Clark’s The wives revolt, Bedrich Smetana’s The battered bride, Muson Day Concert, Art exhibition, Jazz night and classical concert featuring Muson Orchestra.

    Others include Fela…Arrest the music, Block 13-dance concert and workshop, Ice Nweke: Pincode (Stars on earth) dance and Lagos International Poetry Festival (poetry and music concert). The festival, which will hold at three venues – Agip Recital Hall, Shell Nigeria Hall and Cathedral Church of Christ, Marina, will end on October 30.

    He recalled that at inception of the society, there were many diplomats in Lagos who appreciated the arts and that funding then was not a challenge.

    “But this set of people has left and our local chief executive officers do not value arts like the foreigners. We deliberately kept the government out of the running of MUSON. And we still keep the government out of it. Today, we use the halls to raise money to run MUSON. The volume of events at the halls has dropped and we are in a financial strait.  The Nigerian society has a negative image in the world because we don’t pay attention to what matters and endures in life,” he said.

    He urged well-meaning Nigerians and patrons of the arts to support Muson Centre, describing it as a heritage for Nigerians. “We need funding from Nigerians and if we get a fraction of our billionaires’money, the sky will be our limit,” he added.

    According to Mbanefo, who was MUSON Chairman and initiator of the festival 20 years ago, the founders of the society never dreamt that ‘their modest aspirations to create an avenue for the enjoyment of classical music would blossom into a highly successful organisation.’

    The Festival Planning Committee Chairman, Mr. Kitoye Ibare-Akinsan, said the greatest challenge faced by the society in staging the festival was finding and retaining sponsors for events, adding that the challenge has grown in recent years, leading to a reduction in the scope of the festival. “However, we have been resolute in our resolve that the festival must go on and must meet the highest standard of artistic excellence,” he said.

    The Wives Revolt will be directed by Mr. Ben Tomoloju while Ayo Ajayi will man Fela…Arrest the music.