The Nation Newspaper

Category: Arts & Life

  • CORA at 25: a reassessment of the past

    CORA at 25: a reassessment of the past

    The Committee of Relevant Arts (CORA) recently celebrated its 25th anniversary at the Freedom Park, Lagos. The event, which doubled as one of the body’s renowned Art Stampedes provided a platform for reassessment of its goals, Paul ADE-ADELEYE and AJIBOLA OLUWATOYIN write.

    The committee for relevant arts recently organised its 25th anniversary and had a host of members of the culture, literary, and theatre sectors in attendance. They all gathered, with a cavalry of journalists in tow, to discuss art and take stock of CORA’s accomplishments over the course of a quarter century.

    The stampede, which holds quarterly, has an unwavering modus operandi, and this edition, themed ‘25 Years of Culture Advocacy: What gains? What prospects?’, followed in its predecessors’ footsteps. There was a panel, consisting of panellists and a moderator. They steered the course of the discussions, and, the audience was also given room to vent their contributions as well as express whatever areas of the art sector they were disgruntled with. Hence, the term, stampede.

    Moderating this panel, which comprised Tony Kan (author), Tunji Azeez (dramatist), Victor Nwokocha (dramatist), and Dr Reuben Abati (writer and journalist), was author Omolara Wood, who asked the panellists to air their perspectives of the relevance thus far of CORA to the art sector.

    Speaking first was Nwokocha, who said that: “CORA provided a platform for people to show what they have, regardless of who they are. I think that they have achieved a lot in that regard because there are some persons who will always owe all their achievements in the Arts to CORA. CORA has also been a pain in the neck for those that have been afraid of the truth. Whenever CORA convenes an art stampede, some people really get stampeded because their works get reviewed.”

    Also talking about CORA’s successes was Azeez, who said “One of CORA’s major accomplishments is that it has been able to bring together people from different backgrounds. Akinosho (CORA secretary general) and I used to talk a lot about different ideas that we had.”

    He however urged CORA to establish a ‘CORA House’ where such people should gather and discuss about whatever ideas they had.

    Expressing his view of CORA, Kan said: “CORA for me has been a gift that keeps on giving. When I was much younger, I heard, once when I was in Lagos on holidays, about an event for writers. That hot Sunday afternoon, without eating, I rushed to the venue and over the course of four hours, I saw everybody that was anybody in the Nigerian cultural landscape, even Reuben Abati. It was one of CORA’s art stampedes and there was no Facebook then. That platform made me meet many people who I would otherwise not have had the opportunity to meet. But CORA needs to be a bit more official and try to project into the future with business.

    Meanwhile, Reuben Abati, jocularly ruing the dangers of being the last speaker, noted that: “The dangers of being the last speaker is that everything may have been said, but I am lucky that not all the issues have exhausted. First, let me thank God that I am back from sabbatical.” He made the latter statement in response to friendly banter that his previous appointment on board the Goodluck Jonathan administration had served him and his affairs well.

    Recalling the earlier years of CORA, he commented that CORA provided opportunities for many of the young artistes then who eventually became popular musicians in Nigeria.

    He also praised the courage of the CORA executives through the years. “I congratulate those who have been with CORA during their 25-year journey. When Tony Kan talked about giving, I concur that CORA has been giving back to the society and their example should be a source of inspiration to younger people.”

    This also seemed to echo a previous statement by Jahman Anikulapo, a trustee of CORA’s board and prominent culture advocate, who earlier mentioned that: “One of the successes of this body, CORA, is that we have people who joined us when they were students, but they are now successful.”

    Enthused about the 25th anniversary of CORA was Akinosho who noted that it was a nice thing for friends to get together again and reminisce about old long since. “It is also good to know what it is that they have not been saying,” he said.

    Continuing, the culture advocate added: “I am a self-critic and I worry about whether what we are doing is sustainable, whether what we are doing will provide a good foundation for the future.”

    Projects that have been spawned by CORA include; publishing the quarterly Lagos – The City Arts Guide; staging the monthly The Great Highlife Party; organising the yearly Lagos Book and Art Festival, among others.

     

     

     

     

     

     

  • Lagos_Live: a celebration of contemporary art

    Lagos_Live: a celebration of contemporary art

    The Goethe-Institut in Nigeria recently organised the Lagos_Live Festival to celebrate contemporary art in a series of performances and exhibitions, Paul Ade-Adeleye writes.

    Society evolves, faster and more dynamic, with each passing day. The present is the past of the future, but the present can oftentimes be misleading. The Goethe-Institut however, in what would be the last cultural event organised by its incumbent director, Marc-André Schmachtel, provided an exclusive avenue for artists to express contemporaneous art.

    Who would guess that electromagnetic waves could be deployed as art? Christina Kubisch did, and, armed with a special headphone that amplifies the perceptibility of electrical currents, and a map marked with local magnetic landmarks, she took visitors through a new dimension of art. Tagged Electrical Walks, participators listened as auditory substance was bestowed upon otherwise virtually imperceptible wavelengths and charges by these headphones.

    In addition to the sound art, a series of performances, which took place at Freedom Park, Lagos, were also components of the Lagos_Live festival. One of such performances was ‘Silent no More’; a collaborative effort by Crown Troupe of Africa, Adolphus Opara, and Olusola Otori.

    The performance comprised a series of semi-abstract, semi-pantomimic dance sequences, punctuated with poetic renditions, and replete with orchestral accompaniment; the stylemark of the troupe. These dance sequences spoke to vices which underprivileged children in the society are exposed to; including rape, cultism, drug addiction, crime, and alcoholism.

    One salient point to note about Crown Troupe’s performances is the emphasis they place on aesthetic perfection. The dances are usually painstakingly choreographed, and sometimes, the players, are made to execute individual dance moves depending on their positions. If any mistake crept into the performance, the audience has no way of being savvy to it.

    The orchestra comprised of a band of male sirens whose mellifluent gimmicks appositely set the mood, tone, and pace of the performance as a whole. One salient component of theatre, spectacle, which is often overlooked, was also incorporated into the performance, such that it bore admirable semblance to an incarnation of what Aristotle would refer to as a complete dramatic performance.

    The uniform costumery, mostly a seamster’s craft with white material and transparent nylon, was indubitably semiotic. It’s symbolic connotations however, remain a dark horse to many, including the writer, at the hour of writing.

    The curation of Alafuro Sikoki-Coleman, which spawned an assemblage of works by Danielle Dean, Loza Maléombho, Odun Orimolade, Adeju Thompson, and Segun Adefila, constituted the exhibition aspect of the festival themed ‘The Long Road is Safer than the Shortcut’. Sikoki-Coleman said of her choice of artists that: “I realised that all their (the artists’) works related, in different ways, to the theme which I already had in mind. The theme itself is from a Bayelsa proverb which I encountered in my study of Nigerian proverbs.”

    She went further to reveal that their artworks deal with time, journey, and identity. Brazil-born Maléombho’s collection, a series of photographic self-portraits contemporaneously referred to as ‘selfies’, was tagged #AlienEdits.

    In each framed picture, Maléombho poses, with different objects balanced on her head; each object foregrounded to symbolise things she believes in. One is a sewing machine, another is a bunch of flowers, then a cockerel, and a host of other objects surrounding a projected animation of herself in multiple appearances.

    With these, she challenges society, which she believes refers to selfies as a narcissistic trend. With these images yet again, which she had edited to surreally emphasise her dark complexion, she projects the beauty of the African skin. She visually declaims that there is beauty to be appreciated in the darkness of the African skin.

    British-Nigerian Dean displayed a series of videos, which deal with the interrelationship between people and their society, as well as the society and people. This she does by creating advertorial videos; adapting either dialogue or plot from video advertisements.

    One striking video, ‘A Portrait of True Red’, more of an exposé actually, featured a single subject rendering an impassioned monologue which narrates how dehumanising conduct was being meted out to workers in a Nike shoe factory in China.

    The festival, which was backed by Ford Foundation Nigeria, Julius Berger Nigeria, Air France, Alliance Francaise, was rounded up by a concert which held at freedom Park.

  • ‘There’s nothing impossible for Nigerians’

    ‘There’s nothing impossible for Nigerians’

    For 27 years, Mrs. Dehab Ghebreab served in the Foreign Service of the United States (U.S.). She spent 15 years in Africa, serving as Public Affairs Officer of the U.S. Consulates in Nigeria, Ghana, Liberia and Zimbabwe. In this interview with WALE AJETUNMOBI, she relives her experience and the values she is taking away from the continent.

    You have served in the United States’ Foreign Service for 27 years. Would you say you are satisfied with your experience?

    Yes, I do feel that way. This is because we have an assessment and evaluation process in place. We get promoted based on our performance and I have benefited from this process. That is an indication that I served well and I have been rewarded for the work that I’ve done.

    During this period, how many years did you work in Africa?

    I worked in Africa for 15 years, but in different countries. I did two assignments in Nigeria. I served in Zambia, Ghana, Liberia and a short assignment in Zimbabwe. But, in the course of my job, I have travelled to almost every part of Africa.

    Why did you choose Africa as a destination for your diplomatic assignment?

    I would say that I am an Africanist and my focus has been Africa. Most of the diplomats have opportunities to choose different regions to serve. They prefer to choose two regions and that is part of recommendations that we get as we passed through professional development. The aim of this is to serve and have expertise of the two regions. My preference has been focused on Africa and it has worked really well for me.

    How would you describe the relationship between the U.S. and the African countries you have served?

    Obviously, the U.S. relationship with Africa is very important. The U.S. government has a very strong relationship with Nigeria. We have strong relationship with Ghana as well. I will say the same goes for Zambia and Liberia. I have been fortunate to work in African countries, that we have good relationship with.

    Do you think the objectives of the U.S. inter-faith programme in Africa are being achieved?

    I think so. In the United States, we have freedom of religion. The religious adherents come together for inter-faith dialogue to better understand one another and work together in communities. Our goal is to see the same initiative developed in other countries as well. With their different faiths, leaders can come together and build a relationship and understanding, so that there will not be conflict between the various communities. In Nigeria, we have seen religious conflict and it is important we advocate that freedom of faith should be respected. Religious leaders should come together to create peace and advocate for unity.

    With your experience, do you believe these programmes are worth sustaining?

    Yes. The programmes have been going on for years. There is no reason not to believe that the exchange programmes will continue. The most recent initiative of President Barack Obama is the Mandela Washington Fellowship Programme. That initiative will continue as far as we know. But, after President Obama leaves office, we will find out in what form it will continue with the State Department.

    What have been your challenges working in Nigeria?

    For me, the challenges have been minimal, because I have bad and great experience in Nigeria. I have been here for seven years. I feel privileged to have participated in many activities, including the general elections during which I worked with young people. The challenges are connected with the traffic congestion… going to different places and spending hours on the road. It is difficult managing my time as well. As much as Public Diplomacy means going out and cultivateing relationships, you need to go out and spend a lot of time on the road. When you go for events, most don’t start on time. Sometimes, you have to wait for one or two hours for the event to start. Those were the challenges that I faced.

    Do you have high and low moments in doing your job in Nigeria?

    I can talk about a lot of high moments. But, there is no particular low moment. I think there were times when one heard about loss of lives, because of conflict that goes on. That affects the way you feel about the country in which you are working. My hope is that the federal, state and local governments and Nigerians in general would come together and address the source of the conflict. They should come up with a solution that will include the input of the stakeholders, so that it would be sustainable. The U.S. Consulate has worked with Nigerian kids a lot through various projects. We have Dawn in the Creeks project that  we supported in the Niger Delta. There’s a lot of investment in that project. But, to see what is happening now in Niger Delta; it is really discomforting. So, there has to be lasting solution to the problems that have been in existence for many years.

    How would you describe your experience working with Nigerian journalists?

    I guess it is great. It is wonderful working with the Nigerian media. Without your support, we would not have been able to convey our messages; I mean everything the U.S. Mission is doing to support Nigeria. Compared to my first visit to Nigeria, I can say the Nigerian media has developed a lot and it is vibrant. There are some capacity-building issues that we see, but during the last general elections, Nigerian journalists demonstrated that they can be objective and really inform the public as to what is going on in the country. I believe journalists contributed to the peaceful outcome of the election. The bar of professionalism has been raised. The U.S. Consulate facilitated about 10 capacity training programmes since I have been here. We will continue to do that. We have been sending journalists to the U.S. for training programmes, because we believe the press plays a central role in terms of strengthening democratic principles. Also, they are educating the public on their role to hold the government accountable. The news media plays central role and we will look at capacity building in the future.

    What were your impressions about Nigeria before you came here and what are the impressions you are leaving with?

    When I came to Lagos in 2012, I knew it would be my last assignment in Foreign Service. I came with the thought that it would be a tough and difficult assignment. I said it’s okay and I won’t miss my work because I would be retiring after this assignment. But, it didn’t turn out to be that way. I really had a great time here. We have wonderful initiative that we supported. With the Mandela Washington Fellowship programme in the last three years; it gave us an opportunity to really travel to different locations to get to know this country. Nigeria has tremendous potential that we have seen, especially the young people. Without the government’s handouts, they really take steps to be creative, using technology to impact the communities and to create jobs in many cases. So, all of that potential that we have seen through various programmes; when they come back, they are touching other people’s lives. They are building networks; so that has to contribute to the development of the country and at some point, we are going to see dramatic change in Nigeria. I believe so. We will focus on the backbone of this country, which is the youth. I believe we will see changes.

    What are the lessons you are taking away from Nigeria?

    What I see in Nigeria are very creative and industrious people, who are struggling and finding their ways. We have people engaging in five or six different things simultaneously; going to school, working part-time, having non-governmental organisations to impact on the communities and advancing in their professional careers. Some enrol in degree programmes and at the same time pursuing two Master’s degrees. I have never seen anything like that before I came here. I will use this can-do-spirit of Nigerians to inspire young people in the rest of Africa by saying, ‘you can do it’. For me, I didn’t know it was possible to do all these things at the same time. But, I’m now convinced it is possible.

    What legacies are you leaving behind in the U.S. Consulate Public Affairs office?

    We have a very robust office here and it has been very productive. The work that we have done has been supported by the U.S. Mission and the State Department, but, more importantly, by the Nigerian people. The way Nigerians have responded, our activities would not have been successful without the support we got from the Nigerian people. These are things I will remember and I hope we will continue to have a strong office to continue with all the work we have done.

    What is your plan after retirement?

    There is so much going on my mind. I can’t focus on any particular thing until September. But I’m thinking that doing values that I picked up from here will be fine. That is, I want to be an author; I want to write a book. A lot of people, who have stories to tell here, write books. And that is what I want to do.

     

    What do you want to remember about Nigeria and Africa?

    There is so much. It can’t be one or two things. There are lots of things. But, my being here and witnessing the 2015 general elections to see how people peacefully decided they wanted to change the government in a very peaceful manner. They made their voices heard and brought about change. That’s remarkable. This kind of cooperation should happen regularly in Africa. We have seen that in Ghana, where there has been peaceful transition three or four times. We saw that happened in 2015 in Nigeria. This is historic. I will continue to remember those times.

  • Choral fiesta targets the youth

    Choral fiesta targets the youth

    TO empower youths and diversify

    the nation’s revenue base, the National Council for Arts and Culture (NCAC) is partnering corporate spon-

    sors to host the first National Choralfest in Lagos this year.

    The event, designed to increase the frequency of festivals, demographic access to cultural events and level of stakeholders’ partnership, is one way the council is providing a platform for the private sector to support the thriving culture of festival in the country.

    The partners are Different Aesthetics ACM, B-Clef Music, Minstrelcraft and Quadrant Company.

    The festival will feature regional competition covering four geo-political zones in junior and senior categories. This will culminate into final competition to be held in Lagos and participants will be judged in classical, traditional and contemporary styles. The winning participants and choirs from the four zones will perform at an award concert in Lagos. It will be a week-long event and will feature exhibition of musical instruments, workshops and training sessions.

    NCAC’s Director-General, Mrs Dayo Keshi, who spoke in Lagos, said the festival was expected to attract participants from four geo-political zones, adding that it would feature the unique, rich and spectacular choral music of the various ethnic groups in the country.

    She said the potency of the festival as a tool for tourism lies in the Nigerianness of the product. She added that the festival would involve the youth and secondary school pupils ‘’as it would make them become professionals in choral music. It is to the youth we owe much’’.

    “While music is universal, the world is always thrilled to experience a people-specific use of that language. Riding on the crest of the many successes that Nigerian music has attained in recent times, the world is sure to eagerly await a Nigerian perspective on the Choral Music Art, enabling the festival to draw international attention at both the level of participation and visitors.

    “With regard to the domestic audience, this festival would not only celebrate our diversity, but also seek to unfold untapped potentials by discovering new talents,” she said.

    Keshi, who commended the efforts of Ogun State in its successful hosting of the recent National Drum Festival in Abeokuta, said going by the impact of the festival, it is a proof that there is room for many more festivals to be launched into the cultural space.

    Igwe Laz Ekwueme, who is Chairman Festival Organising Committee, described the feasta  as a good and wise start to promote the nation’s cultural heritage noting that when people sing together, they project their culture.

    Igwe Ekwueme, a University of Lagos retired professor of Music, said choral festivals across the globe are monumental gatherings of singers, praying that it would grow from strength to strength while citizens must sow seed for its growth.

    Aremo Tope Babayemi of Different Aesthetic ACM said the success of the festival is hinged on the strategic partnership driven by a political will of the government. “This partnership will mobilise resources – cash and expertise as well as identify persons who can contribute to the sustainability of the festival,” he added.

    Babafemi Ogundipe of B-Clef Music explained that the guidelines would be provided to participants across the zones from which the contest will kick off. He noted that there would be build up from the zones that would culminate to the festival in Lagos. He assured that the issue of tourist visa would be discussed with the relevant agencies to facilitate visitors’ easier access to visa.

    The aims of the festival include provision of opportunity and platform for composers, directors and singers to express themselves to local and international audience, promotion of tourism via choral performance, provision of a forum for a healthy conversation and dialogue on issues affecting musical heritage in Nigeria and to preserve, promote and develop indigenous language through traditional choral repertoire.

  • For mothers only

    For mothers only

    From grooming their children and maintaining the societal fabric, mothers’ role in nation-building was re-examined when an accountant-turned writer, Dr Sunny Oby Maduka, unveiled his new novel, A Mother – Her Heart.

    The author has written six books in three years, with two films titled: Blood Communion and Blood Butchers.

    At the event, critics, comprising religious leaders and counsellors, linked the increase in violence and fall in values to women, especially mothers. They said mothers have left their role as teachers and peacemakers, to housemaids and relations. They also expressed concern about the high rate of unemployed youths, stating that if not checked, it might endanger the nation’s future.

    Pastor Michael Baba Ogunbayode observed that mothers are the bedrock of every society,  urging women to take their role seriously. He also urged them to pay more attention to the upbringing of their wards.

    Pastor Moses Ulokwem, who chaired the event, said Nigeria’s problem is foundational. He noted that a child who is badly raised might become a menace to the society when he becomes an adult, saying that Maduka’s book, A Mother- Her Heart, is a good example of the kind of positive influence that mothers have on their wards.

    “A beautiful house does not make a beautiful home. It is good women that makes a make beautiful. And the pride of a family is the kind of children it produces. The foundation of every family – physically or spiritually – is an important factor that determines the essence and value of the home, and by extension, society. Unless we correct the foundation, we have not started. Mothers, honour God and talk to the heart of your children, like the title of today’s book, this will help in resolving the problem we are facing as a nation. I commend Maduka’s efforts: in writing this book, he is living a legacy and is challenge us to revisit our foundation,” he said.

    Moved by the focus of the book, Churchill Udo, who served as the event’s chief launcher, said he was sending seven of the 10 copies of the book he bought with an appreciable amount to the settlement of Internally Displaced Person (IDP) in Borno State.

    The book was reviewed by Mrs Bisi Ogunbayode. Using the story of a hardworking mother and her influence on the greatness of her son, Mrs Ogunbayode said Maduka’s book forces the reader to reexamine the relevance of parenthood on child’s development.

    Maduka said: “My journey to literary world started with God. While writing this book, I was taking only water. And the result is A Mother- Her Heart.”

     

  • Asidere’s Mental Space pricks national conscience

    Asidere’s Mental Space pricks national conscience

    The problems plaguing the country topped the paintings and drawings by Duke Asidere at his  solo art exhibition, Mental Space, which kicked on July 4 at the Wheatbaker Hotel, Ikoyi, Lagos.

    The exhibition, which ends on September 15, is Asidere’s first solo show at the Wheatbaker; it is sponsored by Wheatbaker and Louis Guntrum Wines. The exhibition curator is Sandra Mbanefo Obiago.

    The works feature 38 paintings on paper and canvas, mirroring the many dilemmas in Nigeria. From inadequate power supply to bad governance, impunity, insecurity, senseless looting of national treasury, ethnicity and religious intolerance, among others, Asidere uses his paintings and drawings as platforms for the interrogations of these challenges. The exhibits are in four compartments: Power series, sketches, faces and signature form.

    Asidere uses human figure as his central object and subject, be it sketchy drawing or painting. Though his drawing and painting complement each other, the Ahmadu Bello University, Zaria trained artist believes that ‘’art is a mirror of life, reflecting the eras we go through and the influence they impart on us. It is not tied to mediums, but a mental and emotional space that insulates us from all that’s around’’.

    He said artists should enjoy their art and create for intrinsic reasons, not on demand. “Art is not only for the present. It is a documentation of the present, projects the future, and outlives the artist. Each artist must work in these three spaces – the present, the future and then leave a legacy. It is not about the quantity produced, but the quality and drive,” he said during a preview session of his works in Lagos.

    Thematically, Asidere uses Mental Space to interrogate some of the old stereotypes and mindset that often stole the fire of disunity while drawing attention to critical challenges people go through to survive in Nigeria. One of such is One man, One generator, a painting on electricity supply, which has hit an all time low in many decades. Power and Darkness is another painting that dwells on the implications of inadequate power supply on the people.

    Unlike Victims of information, which is a busy work of acrylic, pen, and pastel on canvas, Power and Darkness is a broad painting of an entire canvas in dark colour with few dotted white and red spots to illustrate the ratio of darkness and light in today’s Nigeria.

    With minimal illustrations, Asidere also relives his mental memories of his ever-growing neighbourhood of Orelope, a suburb in Alimosho Local Government Area of Lagos State in Discovering Orelope Street.

    The work, though shows little visuals, is a product of the artist’s mental negotiations of what to reflect on canvas about the transformation of the street. Hence, he uses faces (of dialoguing entrepreneurs who are mainly women) turned to different directions of the canvas as only visuals on the plain yellow piece.

    Other exhibits on display are Story Time, Simple Dreams, Looking Ahead, Headless Figures, Distortion facts and Historical Lies and The Day Off.

    No doubt, Asidere is among Nigeria’s most talented contemporary artists. For over 25 years, he has commented on Nigeria’s socio-political landscape through various genre, including pencil, engravings, oil and acrylic, pastels, and collage. His practice all these years speak to artistic boldness and confidence. To many of his admirers and followers, the former art teacher at Auchi Polytechnic, Edo State is as restless as his sketches and drawings, which he does effortlessly at any given spare time.

    On the state of the nation, Asidere said in as much as ‘’we crave for a better world, everyone needs sanity and peace in the society for growth. Unfortunately, the government never had the political will to deal with corruption because anyone who steals a handset is sent to jail while treasury looters go to court in entourage of security guards and sympathisers who wear Aso ebi (uniformed dress).

    According to the curator of the exhibition, Sandra, Asidere’s drawing of the market woman selling tomatoes with dollar price doodles scribbled in the shadows is a wry commentary on Nigeria’s runaway exchange rates and galloping inflation apparently asphyxiating even the sale of locally grown produce.

    “Duke looks at painting from the lens similar to that of many older masters. This is the lens of simplicity – the lens of sincerity,” wrote the famous artist, Gani Odutokun (1946-1995) who mentored Asidere while teaching at Ahmadu Bello University.

    “Duke possesses the kind of sincerity that has brought enormous recognition to artists, such as abstract expressionists – Philip Guston & De Kooning. These are artists who feel the urge to say something and will not like to be inhibited no matter how unpalatable to the society, what they might have to say. They will not create even a square centimeter of a picture just to please. But paint they will, to express an inner urgency. Duke belongs to this fold.”

    Sandra explains that Mental Space is Asidere’s external response to an internal, multi-layered landscape of deep thought, questions, and critique.

    “Through his drawings, he challenges us to reflect on a constantly changing political context, in which he highlights the crazy and controversial excesses in our lives with bold, often humorous poignancy,” she adds.

  • NGO presents book on Oyo communities

    NGO presents book on Oyo communities

    TO promote good governance and growth, a non-governmental organisation, Information Aid Network, has presented a book on Oyo communities.

    The project, Village Book, is designed to provide data for investors in agriculture, culture and tourism and education.

    The book, which covers communities such as Isale Togun, Oke Otun and Maya in Ibarapa East Local Government Area of the state, was launched recently.

    The presentation brought together community heads (Bales), local government chairman and other stakeholders.

    The Village Book details women rights and other vital areas in rural development. From this, the communities have brought to the fore areas of needs for development, which they have started working on to improve the lives and standards of their people through community efforts.

    The initiative is supported by Action Aid, Information Aid network. Media support was offered bya  voluntary partner Cowry Arts Foundation.

  • Mixta Africa takes WAKAA to London

    Mixta Africa takes WAKAA to London

    After its successful run last December,  in Lagos, Bolanle Austen-Peters Productions’ Wakaa!, will hit London’s West End for five days – July 21 till 25 – with seven shows.

    This first foreign performance of the musical is supported by Africa’s leading Spain-based real estate firm, Mixta Africa.

    Mixta Africa Chairman/ CEO, Deji Alli made this known at a joint press conference in Lagos with Bolanle Austin-Peters Production, (BAP) the award-winning production firm that also produced the popular Saro The Musical.

    According to Mixta Africa Communications Manager, Imma Puche, ‘’We are proud to be the lead sponsor of Wakaa!The Musical.’  Wakaa! is an original African export that tells the African story, the African way. It illustrates the  reality of the typical African youth who is looking for a way out of Africa and failing to see the opportunities that exist in here.

    He added: “When BAP Productions approached us about their intention to take Wakaa! to the global stage, it was easy for us to connect with, firstly, because we want to support the arts, an industry with immense potential. Our support also demonstrates what Mixta Africa is about: harnessing opportunities, which we do by building communities across Africa,” he said.

    Wakaa! The Musical is a play about the trials, successes and experiences of young graduates with varied background.A wager between them after graduation has a twist when the realities of life and the folly of their choices hit them. The story reveals the struggle and challenge young people face in present-day Africa and abroad. Wakaa The Musical takes you on an emotional roller coaster and is a strong satire of the Nigeria’s politics.

    Mixta Nigeria Managing Director, Mr. Kola Ashiru-Balogun, said Mixta’s support for Wakaa on the London project is also well– aligned with our strategy for the Diaspora market. “As you know, the African real estate sector offers huge opportunities for investment: right from affordable homes to luxury homes. There is a very strong African presence in London and we want to use this medium to reach out to them about the opportunities back home,” Ashiru-Balogun added.

    On taking Nigeria’s first musical to London, Austen-Peters, said: “We should start exporting products, especially culture, from Nigeria and our musicals present us that opportunity. Creating jobs has always been my primary motivation. For example, previously outsourced cottage industries such as costume designing and training for technical roles are now being done in-house. We are birthing industries and developing talent that can rival any of the big institutions in the world.”

    As part of the sponsorship, Mixta Africa will  host a real estate investment cocktail on the July 22 at the Pullman Hotel. It will also host Africans living in London on July 31 at a family fun day event which promises to be home away from home.

  • Invest in arts, govt advised

    Invest in arts, govt advised

    Proprietor of WinArc Gallery in Ikeja, Lagos, Mr Godwin Archie-Abia, has urged the Federal Government to invest in the arts.

    In an interview with The Nation in his gallery, Archie-Abia, who is a strong advocate of economic diversification, said Buhari’s administration must think outside the box to rescue the economy from the doldrums.

    The self-taught artist urged the administration to walk its talk on diversification policy, adding that the government should evolve a viable supportive economic platform for the country. He said no serious nation will undermine the critical role of its creative industry, in which visual art plays a vital role.

    “In developing economy like Nigeria, where total dependence on a mono-product has exposed the country’s economic strength to unsettled instability, all hands must be on deck to evolve a supporting and alternative economic platform for the country to lean on in order to survive. The government from inception has not taken seriously the development of arts sector as vital platform for the re-engineering of the national economy.

    “My appeal to the government, banks and investment institutions is to invest in the arts sector. I advocate that there should be an Art Investment Fund that will not only assist the artist but also provides investors with exposure to the benefit of an appreciating market,” he said.

    He also urged the government to give tax incentives to hospitality business organisations and private firms that deal in arts. He said by so doing, artists would be more productive and consequently reduce unemployment in the sector.

    According to him, artists are trained to create jobs while the government is responsible for providing enabling laws that support and encourage entrepreneurs.

    “The government should come up with a policy that encourages art embellishment of office in our foreign embassies, organising of art exhibitions for artists thereby exposing them to global art market. A society with a bad creative life gets a bad technological growth and a society that lacks these two important things will produce bad leaders,” he added.

    On his new style of painting tagged ‘graven painting’, the Eket-born artist said the medium is unique because of the richness of the materials and colour effect of impasto. “Having practised arts for more than 26 years, I have gained enough knowledge to think and create a medium that will stand the test of time. My new style is ‘graven painting’. The materials are glued to either a board or canvas panel to create a relief format. First, I sketched, provide the materials, engrave the materials before I glue to either board or canvas panel to create a super relief effect. Then I prime the materials on the panel and allowed to dry before applying colours to it. At the end of the day, I am out with a super and unique work,” he recalled the steps to creating his new style.

    Archie-Abia, who is a graduate of History and International Relations from Lagos State University, Ojo, (LASU), has held many solo and group exhibitions in leading art galleries in Lagos.

    He has also done many commissioned projects for private and corporate bodies.They include Franklin Gulf Park, Boston USA, FSB International Bank, Chartered Bank, Covenant University Guest House, Honeywell Group, Dangote Group and Cadbury Plc.

    With over two decades’experience, Archie-Abia’s passion for the art gave rise to the expansion of a new frontier in arts and a platform for dialogue and evangelism.

    Such platforms are the bone collage, mixed media and metal fabrication he finds interesting and challenging. One of his major outdoor pieces is the metal gate to the Tin Can Island Port, Lagos.

  • Qin Dynasty of China showcases in Lagos

    Qin Dynasty of China showcases in Lagos

    The exhibition was entitled Coming to China.  But it dwelt on the Qin Dynasty of China which has a link with the Nok Terracotta cultures in Nigeria.  Explored by an artist, Uzoma Samuel Anyanwu and promoted by Yemisi Shyllon, the photographs and paintings were undertaken by Anyanwu to show the dynamics of intercultural links across nations of the world.  Edozie Udeze reports.

    The history of ancient Nok Terracotta in Nigeria dates thousands of years in history.  In Benue, Plateau and Kaduna States, the discovery of those rich Nok cultures posited that mankind with deep avalanche of traditions and well-patterned way of life had lived in segments and well-ordered settlements.  Yet, not too many scholars had been able to discover further if there were links with other cultures in the past.

    However, Uzoma Samuel Anyanwu, an artist and photographer based in Port Harcourt, River State, ventured into time to discover that long-forgotten link between the Nok Terracotta and the ancient Qin Dynasty Terracotta Warriors based in China.  As a matter of expediency, Anyanwu went on an expedition to China where he did more research and took more photographs.  The resultant effect is a photo exhibition entitled Coming to China.  It took place in Lagos last weekend.  Sponsored and projected by Yemisi Shyllon, who incidentally is the Chair of Fine Arts and Design at the University of Port Harcourt, Rivers State, said he lent his weight to the project to further encourage cultural and historical exchange between Nigeria and China.

    In an interview, Shyllon, who is reputed to be the richest and the most committed art collector in Nigeria, explained that the idea is to encourage arts to prosper in the world.  “We need to look beyond Nigeria to see how art can be promoted globally.  History has bestowed us with artistic materials here and there.  It is for us to do our best to promote those issues to make art more acceptable to the world”.  He went on to state that “this exhibition provides us with the opportunity for trans-cultural exchange.  It also offers us a glimpse at the historic era of emperor Qin Shi Huang of China.  Additionally, it gives us a platform for understanding the important similarities between certain cultures and races”.

    To him, art exhibition as one of the high points of cultural productions, offer humanity a window into the thoughts and ideas of various societies.  “As an avid cultural patron and enthusiast, being a part of an exhibition such as this one, is exciting, more so as this show offers the audience a rare view of ancient terracotta sculptures of the first Chinese Emperor called Qin Shi Huang (who lived from 259 – 210 BC) in Nigeria.  This is novel.  This innovative context here, is the educational objective of the project which aims at brokering cultural exchange appreciation and dialogue on the heritage of an ancient China.”

    For the artist, Anyanwu, it was time to dig deeper into the contextual values of photography and paintings to bring to the fore true elements of artistic heritage of a certain era.  As a contemporary Nigerian artist, painter and photographer, this was an opportunity for him to recall culture through the lens in unique frames.  They show and properly initiate and situate intercultural dialogue.  His interest in the two-dimensional arts kicked off with this historical explorations in paintings which he espoused during his training with the department of Fine Art and Design, the University of Port Harcourt.  In fact, his love for the art bloomed in painting until, somehow his passion for art photography found expression at a later period.

    Anyanwu himself said, “oh, yes, I have always sought to queue my art practice into the mainstream of the global art community.  I am keen to do this, having been trained as an African artist.  I have been enamoured with the dream of bringing the world together someday.  But then the venue of this meeting remains an unanswered question.”

    So when the issue of a trip to China came up, his dream to fulfill his expectation came to fruition.  He said, “in my attempt to seek for what other nations and their citizens look like beyond the perspectives of media propaganda, I took an expedition to China.  And having researched about the country’s rich heritages, I took the necessary steps to actualize this.”

    Therefore the works on display showed historical sites in China.  These sites date back into time.  “One exceptional encounter I had was at the site of Qin Dynasty where I encountered the China Terracotta Warriors, immediately I remembered my country’s Nok Terracotta sculptures and how these different ancient art traditions could come together”.

    With over 25 works, with some running in series of miniature arts and so on, Anyanwu produced a galaxy of works that spanned the cultural landscapes of China.  The works depict deep heritages; they dwell on the thematic themes of a society long imbued with sites and signs and symbols.  The ancient Qin Dynasty Terracotta Warriors was only excavated in 1974.  Therefore visiting Nigeria now draws attention to the reality that it is imperative to understand the relationship between power and knowledge.

    In his statement, the project director, Professor Frank Ugiomoh of the University of Port Harcourt, said, “The overall objective of this exhibition is to further the frontiers of knowledge within the background that perfect knowledge resides in the world of human-made things.  The work of art, implying the deployment of skill to offer viable alternative towards the survival of the human species, remains one of the potent histories any age can provide of itself.”

    According to him “The experience of other cultures in their works of art offers valuable insight into what can be learnt.  When the Nigerian archaeologist of blessed memory Professor Ekpo Eyo put together 2000 years of Nigeria Art; he equally brought before the global audience the diversity of the rich cultural heritage of ancient or historical Nigeria.  The documentation, largely a collection of the arts of royal conventions places Nigeria among nations with world class heritage sites of UNESCO ranking.”

    The six day exhibition opened at CIG Motors, Victoria Island, Lagos.  The Chinese representatives said it was time for Nigeria and China to come together for proper cultural exchange.