Category: Arts & Life

  • Some consequences of failed abortion

    Some consequences of failed abortion

    Are there repercussions for failed abortions? Are there any links between deformities in newly born babies and attempts made by their mothers to terminate them in their foetal stages. Medinat Kanabe explores the possibilities.

    Mrs Akintoye’s youngest daughter was one year and eight months old, when she got pregnant again. her husband had however told her he didn’t want another child until their daughter was three years old. This new pregnancy therefore put her in a dilemma. He told her point-blank that she must remove it, but being too scared of going to a hospital for an evacuation, she decided to take some drugs and concoction to flush out the unwanted foetus.

    “I took the drugs and soon stopped feeling pregnant. I actually started my menstruation again, which was a relief. But less than five months after, I got pregnant again. So this time, I didn’t bother to tell my husband, since I felt I already knew the solution to my problem. I just went and took the drugs and concoctions, but this time, the pregnancy didn’t go away. I continued taking the drug until I saw my period one day and was relieved. I however bled for six days instead of the normal 3-4 days. But the feeling of being pregnant didn’t go away. I decided to wait for my next period but it never came until my tummy started to protrude and the evidence of pregnancy could not be hidden or removed anymore.

     “Hubby was angry but couldn’t do anything but support me. I went into labour and had my child but I was shocked when the doctors told me the child would not be normal. They said he has microcephalus, a medical condition in which the brain does not develop properly, resulting in the child having a smaller than normal head circumference.

    Esther on her part got pregnant a few months before her wedding. She however didn’t want to look fat and bloated in her already ordered wedding gown, so she decided to remove the pregnancy by taking some drugs given to her by a friend.

    After taking the drugs, she bled a little during her menstruation and thought the foetus had come down. Unknown to her, the pregnancy progressed until she could not do anything about it. After nine months, she delivered the baby in a government hospital in Lagos with abnormalities. The child’s eyes were damaged beyond repair.

    Angela was however lucky. She was brought into the hospital by her boyfriend, writhing in pains. She needed to go through an urgent evacuation to clean her womb of the remnant of a foetus she tried to remove. As she was being wheeled into the theatre she began to curse her boyfriend: “If anything happens to me, I will not forgive you; I told you I don’t want to drink that lime liquid but you forced me. I could have carried the child and have it without you in my life.”

    She was in the hospital for two days before the doctors discharged her with a warning never to take any such thing ever again, else she or her baby (if he does not come down), suffers a serious repercussion.

    Cases like those of Mrs Akintoye, Esther and Angela abound; even in worse doses of repercussion. Many new born babies grow up  with ailments literally forced on them by insensibility of their mothers. True they mostly would not be able to say it openly, but they suffer an unending sense of guilt and pain deep inside them. They regret their actions, but unfortunately cannot turn back the hands of the clock.

    A  paediatrician, Dr Henry Ayanbolu of the Obafemi Awolowo University Teaching Hospital in an interview, explained that defects in children is any abnormality, usually structural or functional, which is seen at birth. He said the three major causes of defect in children are environmental, genetic or the ones that are multi-factorial; that is, a combination of various factors that cannot be placed purely on genetic or environmental.

     According to him, things that pregnant women ingest can cause their children to have defects when they are born.

    “Generally, the defects of which a large number of them are environmental arise from drugs that are unsafe. The drugs can be orthodox or non- orthodox. For instance, people that consume tetracycline, anti-hypertensive; or anti-convulsant (for people that are epileptic); when they are on those drugs and get pregnant, they may not know that they are pregnant and continue on those drugs which can affect the child.”

    He said defects can also be caused by nutritional deficiencies in the mother. “One thing we have to know is that there is a critical window of period that the mother is mostly prone to having a baby with defect, and that is between the third to eight weeks of gestation. This is the embryonic stage and the unfortunate thing is that, during that period, a lot of mothers don’t know that they are pregnant. Defects can still happen outside that time, but that is the critical window. By the eighth weeks, people become conscious of their conditions, so they are more careful of what they take. Eight weeks to when the baby is born is the foetal period and damage can still be done, but not as much as the early period, which is the embryonic period when the major organs are being formed.”

    Asked if attempted abortion can cause defects in children and how, he said many failed abortions lead to defects, especially when the mother injests local medicines or herbs.

    “Some combination of the herbs includes things like alabukun (powder), lime orange and ogogoro. Alcohol can injure a baby at any period of pregnancy because it can deform the heart, the bones, the face; various parts of the body. Alcohol, in any form is very bad for the baby and many of those herbs that these women use to commit abortion are made with alcohol. Why they go for those herbs is because they are widely available and sales are not regulated.  Some of the sellers also use canfor because it adds a flavour that makes the herbs hot; so most of the time, especially the herbs for jedi and the ones that are used to purge things from the system contain canfor.

     “There are also some other things that are added like potash, which many women use to cook. It has been banned in the US by FDA (Food and Drugs Administration), because they discover that people import it raw and sell to blacks as it is a common remedy amongst blacks. It is believed to help in evacuating the baby in abortion but they found that it contains a high level of dangerous lead and arsenic, which are dangerous chemicals that can affect babies.”

    Dr Ayanbolu further explained that “When the women take these herbs and drugs and the babies are not successfully aborted, they come with various forms of defects when they finally arrive. And usually, when their mothers discover this, they end up dumping them. This is why many of the abandoned babies have one form of defect or the other.

    “Deformities that can happen from failed abortion include facial anomalies which includes cleft lips, heart defects, congenital heart defects, microcephalus, caused mostly by alcohol used to mix herbs and mental retardation.”

     Dr Ayanbolu insisted that these herbs can also affect the mother in many ways, as a number of them can affect the mother’s kidney. “They take it in very high dose, which may lead to heavy bleeding. The ones with local tobacco can affect the brain and heart of the mother.”

    He called on churches to be lenient with pregnant members, to avoid things like this. “Some of these ladies have lost their lives, which is increasing our cases of maternal and child mortality.”

  • Crown Troupe marks 20 years on stage

    Crown Troupe marks 20 years on stage

    Crown Troupe of Africa, one of the leading Nigerian theatre groups, has marked its 20th anniversary. Different theatre troupes featured at the celebrations  held at Freedom Park, Lagos,  PAUL ADE-ADELEYE reports.

    For two decades, Crown Troupe of Africa has steadily grown to be one of the leading troupes in Nigerian theatre. Perhaps as a way of appreciating the troupe for its active role in the industry, some theatre companies came together to organise free performances week.

    The anniversary started with an opening ceremony, which featured a seminar, with Prof Sophie Oluwole as guest speaker, a carnival procession, and five drama performances. Freedom Park, Lagos, was venue of the celebration, and for the five evenings of each performance, the air was rent with the projections of the players and the hollering of the excited audience.

    The first play was Wats Dis All About, a performance that sang placebo to the importance of popular thespian, Toyin Osinaike to Nigerian drama and theatre. He wrote the play himself, having adapted it from its South African counterpart, Woza Albert. He also directed and produced the play through his theatre company, One-Six Productions.

    In this play, the audience is treated to a rapid progression of scenes with little or no deceleration in pace. Ochuko (Toyin Osinaike) and Boboy (Simisola Hassan) play out the role of different character types in the society while eagerly awaiting the arrival of the Son of Man. While Boboy is sceptical about the authenticity of the Son of Man, Ochuko devotes his existence to awaiting this messianic figure.

    Through their imitations of numerous characters, they lampooned the foibles peculiar to each character type and also visit their dramatic satire on vices that have synergised to plunge the country into depression. These vices range from the repeated interventions of the military in political affairs, to the ambitionless desires of hack-workers, before resting on religious extremism.

    While forces have conspired to exempt the next play, The Waiting Room, by Renegade Theatre from the ongoing reportage, the third play, Jungle Justice by Kininso Koncepts proved another engaging production.

    The play depicts a day in the court of the character, Judge (Opeyemi Dada), the most outlandish legal-practicing character yet depicted. Written by Nollywood actor and thespian, Femi Branch, it is not clear whether any inspiration for the play stems from Ola Rotimi’s ‘Man Talk, Woman Talk’. However, it is notable that both plays bear great semblance.

    In Branch’s ‘Jungle Justice’, the audience plays court spectators to the outlandish trial of Ijimere Ika (Enechukwu Uche), a suspected murderer. The play thrives on the irony that due to its setting in a court room, and seeing as it chronicled a legal process, it should have featured the upholding of the law.

    However, it features the rapid break-down of law and order and the reign of anarchy in the trial process. A cast of seven was required to produce this engaging performance, which, like its preceding play, drew attention to the marketability of the theatre industry in the country.

    Following Jungle Justice was another performance of Osinaike’s creative direction. The play, ‘Grip Am’, written by Ola Rotimi, is one of the finest specimens of the playwright’s ingenuity, and was produced by Oxzygen Koncepts.

    Featuring Osinaike as Ise, a disgruntled scrap collector who lives with his wife (Angela Peters) under an orange tree, this highly humorous play does not seem to have any political undertones. However, it uses humour to turn a bad wish into a powerful one, as Ise’s wish for autonomy over an orange tree allows him autonomy over death itself.

    To round off the theatre ensemble was a production of one of Wole Soyinka’s finest plays, Death and the King’s Horseman. The celebrating troupe manned the helms of producing the play, which is renowned more for its success as literature than its success as a performance.

    The play revolves around the historical Yoruba practise of the king’s horseman committing ritual suicide after the king has died so that he can accompany him in the afterlife. Crown Troupe laced their performance of this play with choreography and character splitting. Three of the major characters in the play – Elesin, Olohun-Iyo, and Iyaloja – were split and played by two individuals, who played the roles simultaneously.

    Meanwhile, huge question marks hovered around some of their depictions of the Englishmen. However, it is admitted that the act of an English white man is difficult to pull off, especially when the actor is essentially born and bred away from English folk.

    Shortly before their performance was a re-enactment of ‘Silent Majority’, a music drama in Crown Troupe’s repertoire, which attendees at Goethe-Institut’s Lagos_Live festival should be familiar with. Kings and Queens Art academy, a children’s theatre group, took it upon their capabilities as dramatists to pull this off.

    Although they put in a hearty performance, they were not quite equipped with the physical attributes to, as dramatists say when trying to describe performances well above par, kill the show. Even though the audience could hardly hear them, they still applauded their spirit and commitment to the cause.

    Crown Troupe of Africa’s success would not have been of any worth without its leader, the heavily dreadlocked Segun Adefila, whose dedication and passion was celebrated as a way of putting a lid on the week-long celebration that marked their 20th anniversary.

     

     

  • ‘I am grateful to my constituency’

    ‘I am grateful to my constituency’

    Nigerian performance artist and winner of 2015 Prince Claus Prize for Culture Development, Atiku Jelili, has hailed the art community for its support during his six-month trial at the Magistrate Court, Lagos. He said he was particularly happy that his hypothesis, which he tried to establish through the performance of Aragamago will rid this land of terrorism, was right.

    He said he felt extremely happy that the criminal charges against him and five others were dropped. “I tried to say that it was through the feminism energy that our world would be rid of terrorism. The case was presided over by a woman, who used the energy in her to do justice,” he said.

    Atiku and five others were arraigned for criminal charges of ‘constituting public disturbance, and inciting the public with his performance on January 14, 2016.’ The charges also included that the artist conspired with four others to ‘commit felony’ with his art. Magistrate J.O. Adeyemi of the Magistrate Court, Lagos, however, acquinted him from all the charges brought against him and five others last month.

    He noted that it would have been impossible for ‘us as defenders in the case without the support of the art communities in Nigeria and abroad, citing the efforts of Committee for Relevant Arts (CORA), Arterial Networks Nigeria, Society of Nigerian Artists (SNA), International Artists Forum in Germany and many other organisations like Frontline Defenders as outstanding and marvelous. “I wondered what we would have done without their efforts,” he added.

    According to Jelilil, the support of the art community and the artists is not only a demonstration of their relevance in re-engineering the society for change, but also the power of art and culture in promoting critical dialogue in every society.

    “The power of arts and culture has once again come to the fore as an important societal element in promoting critical dialogue essential in addressing topical issues. However, the collective energy of artists and cultural officers can set arts free when under attack by any social or political regime. These are the lessons I learned during the trial,” he said. To him, the ruling class would always wish to silence the arts and the artists, but he urged the artists to be truthful and honest to arts and its values.

  • Group publishes anthology on human trafficking

    Group publishes anthology on human trafficking

    A non-profit, non-denominational and non-partisan organisation, Media Initiative Against Human Trafficking and Women Rights Abuse (MIAHWRA), has published a collection of poetry on human trafficking.

    The publication, entitled: I Am Not to Be Sold, is part of activities marking this year’s World Day Against Trafficking in Persons and part of its #EndHumanTrafficking debut project.

    The anthology, which is written by secondary school pupils aged eight to 14, was the product of the organisation’s secondary school outreach programme last year in Lagos. Published by Parrésia Publishers Ltd, MIAHWRA founder, Ms Tobore Ovuorie, the publication is in line with its principles of intervention and philosophy is oriented by a human rights and gender-based perspective.

    According to her, the anthology comes highly recommended with a foreword by the National Agency for the Prohibition of Trafficking in Persons (NAPTIP) for use in schools, churches, mosques, in combating the sad reality of human trafficking.

    Ms Ovuorie, who edited the anthology, recounted the journey to publishing the anthology: “While educating the pupils about the A-Z of human trafficking, Ms. Ovuorie said, MIAHWRA held poetry and writing competitions with the theme: I Am Not To Be Sold, to bring to fore the inhumanity of the modern day slavery.

    “After giving them prizes, we decided to put together some of the outstanding works which has birthed the first human trafficking anthology. The published secondary school poets, through this collection of short poems, are advocating for the protection of their rights.”

    She said the publication will be a yearly project, noting that entries for the 2017 edition will be open when schools resume next month.

    “The anthology will be published every year, while the literary genres would be rotated with secondary school students being the authors and next year will birth short stories collection. MIAHWRA believes that this book will help to further the fight against human trafficking by reducing illiteracy and ignorance amongst the vulnerable groups,   rural community dwellers across Nigeria and expanding awareness on the ills and dangers of this criminal trade.

    “Considered as a serious crime and utmost violation of human rights, trafficking, every year, sees thousands of men, women and children fall into the hands of traffickers, whether here in Nigeria or in other countries. Trafficking affects almost every country in the world, whether as a country of origin, transit or destination for victims. It has become urgent for us to take action, and everybody must be involved. We must all join in the fight against the trafficking of children and individuals and the abuse of women. That is what MIAHWRA believes in. That is what MIAHWRA is passionate about,” Ms Ovuorie said.

    The collection, which Acting Director General of NAPTIP, Mr Abdulrazak Dangiri, who wrote its foreword dubbed ”an anti-human trafficking anthology”, MIAHWRA said is free for students during school outreaches and available for sale online on www.konga.com. Mr Dangiri wrote in his foreword:  “I Am Not To Be Sold brings out the feelings and perceptions of some young people in our society about the importance of protecting human dignity. These young ones have demonstrated, through this collection of poems, that they are aware of their worth as human beings. The anthology is thus a collective voice of freedom and a call to those who are out to coerce, deceive and exploit their fellow human beings that human life is too precious and must not to be bought or sold.”

  • Etisalat sponsors Lagos photo festival

    Etisalat sponsors Lagos photo festival

    Nigeria’s leading telecommunications company, Etisalat, in line with its commitment to promote innovation and creativity, has announced the opening of the 2016 Etisalat Photography Competition.

    The Etisalat Photography Competition encourages emerging photographers to capture and celebrate fascinating pictures that reflect the diversity and daring spirit of our expressions. The competition kicks off series of activities leading to the opening of the 7th edition of the Etisalat-sponsored annual Lagos Photo Festival.

    The Director, Brands & Experience, Etisalat Nigeria, Elvis Ogiemwanye, while speaking about the Etisalat Photography Competition, revealed that submission of entries opens from August 8th to September 1st, 2016.  “This year’s edition of Etisalat Photo Competition is tagged Performance; action repeated constantly, becomes a ritual, its transference into other spaces of engagement becomes a performance. We wish to explore further these performances through the strength of photography in depicting our daily routines and celebratory activities and expressions. Under the categories daily routines and celebratory, the competition serves as a platform fostering expressions and creativity at its peak,” he said.

    According to Ogiemwanye, Etisalat Photography Competition uses the power of photography to create compelling stories that encapsulate individual experiences and identities from across Africa.

    “To enter for this year’s competition, participants are required to visit photo.etisalat.com.ng  to register and submit entries for both Daily routines and Celebratory. Voting will be announced after entry closes on September 1, 2016. The top 50 images from each category will be reviewed by a jury who will then unveil the finalists at the Grand opening of the LagosPhoto Festival”

    He added that the first prize winner will receive a Canon Camera; the second prize winner will get an iPhone, while the third prize winner will receive a Samsung. The shortlisted photographers will also be enrolled at LagosPhoto Summer School where they are expected to hone their skills.

    Etisalat is committed to nurturing talent in Photography through the Etisalat Photography Competition and the support of LagosPhoto Festival; the first and only international arts  festival of photography which features exhibitions, workshops, artist presentations, discussions, screenings, and large scale outdoor installations in public spaces in Lagos.

     

     

  • Nigeria’s Wakaa! sold out in London

    Nigeria’s Wakaa! sold out in London

    If the size of the audience, its quality and responses are parameters to measure the success of a musical play, then, Nigeria’s Wakaa! outing in London, last month, was a success. Little wonder the two-hour play, which is Nigeria’s first musical play in London, sold out at the Shaw Theatre, London. The seven shows (one each on July 21, 22 and 25, and two each on 23 and 24), were presented at a capacity filled theatre.

    Wakaa, the musical, also got standing ovations throughout the shows. The home-grown musical is the first of its kind to make its debut at the Shaw Theatre, London. There seems to be high demand for productions of African and indeed, Nigerian origin in London as there were calls for the show to be extended or for it to be brought back soon.

    The successful outing was attended by dignitaries such as the Minister of Information and culture ,Mr. Lai Mohammed; the Chief Executive Officer (CEO) of the Nigerian Export Promotion Council, Mr. Segun Awolowo; Director-General of the Nigerian Pension Commission, Mrs. Chinelo Amazu-Anohu; Managing Director, Bank of Industry, Mr. Waheed Olagunju; Managing Director, MIXTA AFRICA, Mr. Deji Alli; member of the House of Lords and Trade Envoy to Angola, Baroness Lindsay Northover; and Chair, Nigeria All Parliamentary Party Group, Ms Kate Osamor (MP).

    The BBC Art Editor, Will Gompertz, described Wakaa the musical, as “soulful, colorful and dynamic” and having “a spirit and sensibility that is fresh and true.”

    Wakaa! the musical was able to break new grounds and transcend the demographic barriers of London’s theatre landscape, prompting Will Gompertz to further say that “the show is a little bit different and so is tonight’s audience, the big subsidized theatres here in the UK say they want to attract a more diverse crowd, but struggle to do so, perhaps they should go along and see how it is done.”

    This was further affirmed by Editor of Europe’s Newsweek, Conor Gaffey, who noted that “the show has heart, energy and a great sense of humor, and received a standing ovation on the final night when Newsweek was in attendance.”

    First Nigerian play to be performed in London, Wakaa! The Musical, was a highly successful celebration and exhibition of Nigerian culture.   The two-hour stage musical extravaganza of drama, comedy and live music is dance about the trials, successes and experiences of graduates with varied backgrounds. A wager between them after graduation leads to twists and turns when the realities of life and the folly of their choices hit them.

    Wakaa! the musical presentation in London was made possible by the support of MIXTA AFRICA; MTN; PENCOM; Bank Of Industry; Nigerian Export Promotion Council; the British Council; the Nigerian Ministry of Culture and Information; Ministry of Foreign Affairs; Africa Magic and Channels TV. Others are Ebony life TV; TV Continental; Africa Movie Channel; Beats FM; Wakanow; IBST; Elufowoju jr Ensemble; DJA MEDIA; Lanre Dasilva Ajayi; Arik Air and British Airways, amongst other partners.

     

  • profile of the shortlisted writers for nlng prize

    profile of the shortlisted writers for nlng prize

    On July 14, the advisory board for the Nigeria Prize for Literature, led by Emeritus Professor Ayo Banjo, announced an initial list of 11 books for the  the 2016 contest.

    The $100,000 prize rotates yearly among four genres: fiction, poetry, drama and children’s literature. This year’s edition is focusing on prose-fiction.

    The “first 11” books, chosen from 173 books, were entries from well-known and first-time Nigerian novelists at home and in the Diaspora. The judges were led by Prof. Dan Izevbaye, a literary critic and a professor of English Language; Prof Asabe Usman Kabir and Prof Isidore Diala, first winner of The Nigeria Prize for Literary Criticism. The winning entries are expected to be announced in October, in commemoration of the company’s first LNG export in 1999 .

     

    CHIKA UNIGWE is an award-winning short story writer and the author of two novels written in Dutch. Her  book, Night Dancer (2014), is on this year’s shortlist. It is the story of Mma, who is in a desperate search for her root. Her book, On Black Sisters’ Street, published by Jonathan Cape in 2009, won the prize in 2012.  Unigwe is a judge for the 2017 Manbooker Prize.

     

    EL-NATHAN JOHN is a past contender for the Nigeria Prize for Literature. His work, Born On A Tuesday, on this year’s shortlist explores brotherhood, religious fundamentalism, and  turbulent periods in contemporary Northern Nigeria. John was shortlisted twice for the Caine Prize for African Writing (2013 and 2015). His writing has been published in Per Contra, Evergreen Review and Chimurenga’s Chronic. He is a 2015 Civitella Ranieri Fellow.

    IFEOMA OKOYE, 79 years old, is an award-winning writer and academic. She is on the list with her The Fourth World. The book focuses on Chira (18) and her attempt to escape the deprivations and tragedies of her life in the shanty slum of Enugu’s Kasanga Avenue. Her works, Behind the Clouds and The Village Boy earned her prizes from the Nigerian National Council of Art and Culture (NCAC) in 1983, along with her being the best fiction of the year award for the novel, Men Without Ears, in 1984. In 1985, she received another award for Daily Bread after Eze at the Ife National Book Fair. She was also the African Regional winner for the Commonwealth Short Story Competition in 1999.

     

    ABUBAKAR ADAM IBRAHIM, writer and journalist, is on the list with Season of Crimson Blossoms that captures the angst and dysfunction that are contemporary to Nigerian history and the story Binta.  His debut, a short story collection, The Whispering Trees, was ‘longlisted’ for the Etisalat Prize for Prose and the title story was shortlisted for the prestigious Caine prize for African Writing. He has won the BBC African Performance Prize and the Amatu Braide Prize for Prose and has also been awarded the Gabriel Garcia Marquez Fellowship and the Civitella Ranieri Fellowship. He has been named in the Hay Festival Africa39 list of the most promising African Writers South of the Sahara under the age of 40, who will define future trends in African writing.

     

    Widely-acclaimed writer SEFI ATTA is on the list with her work: A Bit of Difference, which follows the story of 39-year-old single lady, Deola, from London to her home in Nigeria where she meets the charming Wale. In 2006, her debut, Everything Good Will Come, was awarded the inaugural Wole Soyinka Prize for Literature in Africa. Her short stories have also won prizes from Zoetrope and Red Hen Press. Her radio plays have been broadcast by the BBC. She is the winner of PEN International’s 2004/2005 David TK Wong Prize. Her short story collection, Lawless, received the 2009 Noma Award for Publishing in Africa.

     

    ARAMIDE SEGUN is on the list with her novel, Eniitan. Her debut, The Third Dimple, won her the Association of Nigerian Authors Prose Prize and was shortlisted for Commonwealth First Book Prize. Segun enjoys charcoal drawing and painting portraits in her spare time. Her works explore complex themes usually laced with romance. Eniitan x-rays the bronze albino woman in her early 20s and the complexities societal prejudices, love, politics and more.

     

    OGOCHUKWU PROMISE is a novelist, playwright, poet and essayist with over 18 novels. She is founder and coordinator of the Lumina Foundation, which instituted the Wole Soyinka Prize for Literature in Africa. Promise, a two-time contender for NLNG-sponsored prize, is on the shortlist with her book Sorrow’s Joy. The novel is a compelling tale on the onslaught of cancer and courage required to face it. Promise has received seven Association of Nigerian Authors’ (ANA) awards for her fiction and poetry. She also expresses herself in abstract painting. She is an Azikiwe Fellow, Fellow of Stiftung Kulturfonds and the Iowa International writing programme. She holds a Ph.D in Communication and Language Arts.

     

    MANSIM CHUMAH OKAFOR is on the shortlist with The Parable of the Lost Shepherds. The novel highlights the temptations of an otherwise good priest, the intrigues of his protective bishop, the push back by some determined nuns, and an outcome worth  every ounce of faith in the Divine. Okafor has also written Chinelo (Forth Dimension Publishers); Elma: This Will Heal the World (Createspace), Chinua Achebe, The Art of Fiction and a Bottle of Guinness (a tribute to Chinua Achebe).

     

    MARYAM AWAISU, a radio presenter in Kaduna, is a survivor of sickle cell anaemia. Her first novel, Burning Bright, is on the shortlist. The disease did not stop her from getting an education, both in Nigeria and abroad, and earning a degree in business administration. She is a volunteer at Sickle Cell Foundation in Kaduna, providing services to Nigerians, who cannot afford necessary treatment. The Burning Bright is set within the complexities of Nigerian culture. It is the story of an over-achieving young lady, who is determined not to let sickle cell anaemia stand in her way and young people trying to make their way in a world they didn’t make.

     

    Like Awaisu, IFEOLUWA ADENIYI, the writer of On the Bank of the River listed for the NLNG-sponsored prize, is also an On Air Personality (OAP) with Splash FM radio in Ibadan. Adeniyi published her first novella, The Twin Sisters, at age 11, and started writing her debut novel, at her late teens. The book is a story of the ever ironical nature of love, of the paradox of human relationships and of Enitan that grows up with a certain ill-feeling towards a mother, whose past threatens to eclipse the girl’s future.

     

    YEJIDE KILANKO is a writer of poetry and fiction with her debut novel Daughters Who Walk This Path, which is on the shortlist. She started the work in 2009. It was later published in Canada (2012) and in the USA (2013). It focuses on spirited and intelligent, Morayo, who is determined to fiercely protect herself and her sister, Eniayo, in a complex and politically charged country.

  • Goldberg Beer Village promotes commerce at Osun Osogbo festival

    Goldberg Beer Village promotes commerce at Osun Osogbo festival

    indigenes of Osun State and visitors to the ongoing Osun Osogbo Festival have expressed appreciation to Goldberg Lager Beer for unveiling the Goldberg Beer Village, an initiative that enhances trade and commerce in the ancient city.

    The people praised the brand at the Ogo-Oluwa area, venue of the Goldberg Beer Village during the official unveiling by the Ataoja of Osogboland, Oba Jimoh Oyetunji Olanipekun Larooye II and the Goldberg brand team.

    The Baale Elese of Osogboland, Adebayo Moshood, who represented the royal father at the event, showered prayers on the Goldberg team and Nigerian Breweries Plc for setting up a beer village in the town because the initiative would increase and promote socio-cultural activities during the entire period of the Osun Osogbo Festival. He lauded the brand for championing befitting societal and cultural causes of the people.

    Regional Business Manager, Ibadan, Nigerian Breweries Plc Joseph Abodunrin gave thanks to the Ataoja, his chiefs and indigenes of Osogboland for their support and for coming out en-masse to witness the unveiling of the beer village.  “The Osun-Osogbo Festival is an age-long traditional festival that must be honored and celebrated and as the official

  • Writers to corporate brands: Make us your ambassadors

    Writers to corporate brands: Make us your ambassadors

    •NLNG, CORA host 2016 Literature Prize first-11 authors

    The literati, book lovers and enthusiasts thronged the Agip Hall, MUSON Centre, Onikan, Lagos, for the Nigerian Liquefied Natural Gas (NLNG) Limited and the Committee for Relevant Arts (CORA) book party. The cerebral feasting drew attention to ongoing conversations on the book industry’s challenges. EVELYN OSAGIE reports.

    Corporate brands have been urged to make writers their brand ambassadors. By so doing, they will be encouraging and promoting creative writing across the country, writers and critics said at a book party to celebrate the 11 shortlisted authors for this year’s NLNG-sponsored $100,000 Nigeria Prize for Literature.

    The call, the state of leadership in the book industry, reading culture, lack of infrastructure and high tariff on paper and other printing materials were the focus of conversations at the  party organised by the Nigeria Liquefied Natural Gas (NLNG) Limited and the Committee for Relevant Arts (CORA).

    The feast, the seventh edition, was to honour writers, and celebrate Nigerian prose. It also featured readings, book discussions, conversations and performances.

    Eight of the writers, fondly called “the first-11 authors” at the event, participated in the feast. While three of them were present, five participated via Skype because they were abroad.

    Those present were Maryam Awaisu, author of Burning Bright); Ifeoluwa Adeniyi (On The Bank Of The River and Omowunmi Aramide Segun, daughter of a first generation writer, Mabel Segun. She wrote Eniitan.

    Those who participated via Skype were the author of Born On Tuesday, El-Nathan John; Ifeoma Okoye, who authored The Fourth World; Abubakar Adamu Ibrahim,  (Season Of Crimson Blossoms) Yejide Kilanko (Daughters Who Walk This Path)  and Mansim Chumah Okafor, (The Parable Of The Lost Shepherds). Chuka Unigwe, the 2012 winner of the Prize for Literature and the writer of Night Dancer was ready for the conversation via the Skype, but, technical hitches delayed her participation.

    Ogochukwu Promise (Sorrow’s Joy), and award-winning Sefi Atta, author of A Bit of Difference, did not participate.

    Interestingly, eight of the authors are women, cutting across three generations of post-independence Nigerian writing. This feat CORA Secretary General, Toyin Akinosho observed, makes this year’s edition “almost about The Female voice in Nigerian Literature”. And the women had their say as they voiced their misgivings about the challenges facing the book industry. The writers also decried the lack of electricity, poor distribution network, and absence of libraries and dependable bookshops. In fact, Dr Dami Ajayi, a poet who moderated the event, wondered how creative writers living in Nigeria were able to write and get their works published.

    “It is sad that from my mother Mabel Segun’s time and the time I first published my first book in 1991, the reading culture is still a debate. So many things militate against reading culture. For many people, survival comes first. Bookshops sell books but authors don’t get money back. No proper postal system compounds costs of distribution. Until we have intellectual leaders, reading would continue to take the back seat. If we don’t do something about the state of the country, 20 years from now, we would still be talking about the declining reading culture and lack of infrastructure in the book industry, bemoaned Segun.

    While decrying the lack of infrastructure, Adeniyi urged the government to look into the tariff on printing materials and books published abroad.

    According to her, Nigeria needs intellectual leaders to solve the problem of leadership in the country. She said: “There is no incentive for reading and writing in the country. Why can’t we have writers as brand ambassadors; who says they can’t be brand ambassadors? There are no paper mills in the country and the cost of paper is so high because of the high tariff on paper.”

    On the challenges she encountered before publishing her novel which she wrote at age 17, she said approached virtually all the publishers in Nigeria without any positive response. “They never reject you; they never accept you either. They don’t want to publisher somebody without a name. I became a Disk Jockey (DJ) and On-Air-Personality (OAP). I had to look for best editor and publisher. I’m glad I took a leap of faith and saved up to publish my book. I had a launch that looked like a wedding event.”

    With the many challenges facing writers, Awaisu advised them to look out for themselves by “using a book platform that has a global network and proper editing”.

    The prize, is in its 13th edition. The General Manager, External Relations at NLNG, Dr Kudo Eresia-Eke, noted that there is a huge rise in the quality of books in the country. He said: “The books on this shortlist depict that hard work and nothing short of the pursuit of excellence drove the writing of books. This makes the competition exciting and less predictable.

    One thing which will not change is our quest for excellence. I state it here without doubt, that NLNG remains committed to this principle.

    “At NLNG, excellence is one of our core values, together with teamwork, integrity and caring, which we owe our success to. We believe that we have a lot of potentials which make us world class and able to compete with the best around the world. That is what we intend to do with writers in Nigeria through The Nigeria Prize for Literature.”

    Akinosho called for the enabling environment where reading and community of book readership can thrive.  He said: “This party, which is one of the series of events in our calendar that preface our annual book and art festival,  is our little contribution to growing a community of book lovers was held for the first time seven years ago in 2009 for poetry. It was held at the seaside venue of the Goethe Institut. It is the second time they are focusing on Fiction: in Prose style. The Nigeria Prize itself is on its Fourth round of genres and is featuring Prose for the fourth time. The NLNG sponsored Nigeria Prize for Literature, picks one literary genre every four years. For us at CORA, this is part of a third cycle.

    “We at CORA have always felt that books that make it to this level in such a major award system as the Nigeria Prize for Literature ought to be known in every community in the country. Our ambition is to help that happen; to extend the star attraction of the award winner beyond the Gala Night of the award. “

    The award, he said, is an opportunity for a series of events to really make books look cool, adding that the promotion of books and reading culture should be beyond.

    “It is also is an opportunity for the promotion of series of book readings and discussions in as many crannies of the country as possible and on TV discussions and radio shows. We should develop a community of book readership enablers; organisations that exist just to spread the joy of reading.

    “Book readership promotion should go beyond big showpieces as Bring Back the Book campaigns or book festivals. It should be about how we as citizens engage the organs of book development in our communities,” he said.

  • Eko’s history to hit cinemas

    Eko’s history to hit cinemas

    As part of the Lagos at 50 anniversary, a new movie titled Eko: Iwure Olofin, is to be premiered in Shell Hall, Muson Centre, Onikan, Lagos. The historical movie is the first of a trilogy chronicling the inception and development of Lagos. It will be screened by 2:30pm on Saturday.

    The movie was initially commissioned in 1983 by one of the former governors of Lagos State, Lateef Jakande. Olumagbon Films called the shots, but two episodes into production, the studio got burnt, destroying all the materials.

    Speaking with reporters, the movie’s executive producer, Fola Onifade, said it is about the history and heritage of Lagos. He said: “It tells the story of Olofin, a young, brave prince from Ile-Ife, who left Ife to found Lagos. It details all the intrigues that followed the journey; how he stopped at Isheri then settled at Iddo; how the Benin royalty came to fight with Olofin; and how King Ado came to be crowned as the first king of Lagos.”

    According to Onifade, the movie is expected to contribute extensively to existing literature on the history of Lagos. “The issue of Lagos being no man’s land is wrong. This movie will set that straight. There are people who actually own Lagos. Some people don’t have other villages they go to. Lagos is their village and it is all they have. So it is not right to have your own village somewhere in another state, come to Lagos, and start calling it no man’s land.”

    He noted that the movie was of such appositeness that the government should support it. “No one wants to forget where they come from. In other countries, they want their stories to be told. However, in Nigeria, history is not even being taught anymore in schools. How do we expect generations coming to know who they are and what their values are? This was why we decided to shoot this film; to document this history and leave something for our children to fall back on. It will surprise you to find that some people, as old as they are, don’t know about the story of Lagos,” he added.

    Onifade recalled some challenges during the movie’s production, citing the major challenge as the compilation of the story. “Everyone will want the story to suit their own side. So, we had to balance the story and make the research thorough. It took us about four months to research and write it, and by the time we were done, we were satisfied that we had a well-balanced story,” he added.

    He opted against using books to tell this controversial bit of history because “people don’t read books; they watch films”. Information for the writing of the script was obtained from the internet, elders, and ‘Slavery and the Birth of an African City’, a book by Kristin Mann.

    Another major challenge the filmmakers faced was to convincingly portray the epic genre under which the movie inescapably fell. Onifade remarked that they were telling a story over 600 years old, and there was no room for any modernisation in it. For parts of the film, they set up camps in the hinterlands – even in remote villages located in such areas as Ifo, Seme, Badagry. Sometimes, they had to create sets from scratch.

    Then there was the issue of finance. “Funding for this movie was 100 per cent private. The money came from my savings and loans, which I got from friends,” Onifade revealed. At a point, he claimed he had lost track of how much the budget was running into. With a cast of over 500 a cow was killed nearly every day to feed them. He disclosed that they may have spent over N50 million.”

    Concerning the casting for the movie, Onifade said that since the story spanned over 600 years, they had to engage a cast numbering over 500 people. The team also found it imperative to include top Nollywood stars to carry it, hence the employment of actors such as Yemi Black, Kwam 1, Bukky Wright, Iya Awero, Ibrahim Saka, Peter Fatomilola, Orisabunmi, among others.

    The movie is set for a Europe tour, a Canada tour as well as airing on television, with DSTV and Startimes already confirmed. While the movie will run for 1 hour 30 minutes, the first season will run for 13 hours and both the movie and the series will be released simultaneously.

    Speaking on behalf of the Eko @ 50 organising committee, Jahman Anikulapo noted that the movie was one of the top projects of the Eko festival. He said: “This movie is either the first or second prime project for the Lagos @ 50. The aim is to tell the story of Lagos’ Origin.”

    Meanwhile, the director, Femi Bright commented that he was privileged to be the director of such a big movie with a story that had always been a controversial issue. He also expressed confidence in the authenticity of the story. On his directorial approach, he noted that “I had to craft a unique style. The story is unique, so I came up with a unique style of directing it. I got all the inspiration and experience for it from the scripts.”