Category: Arts & Life

  • A compelling alternative history

    Title: My Name is Okoro
    Author: Sam Omatseye
    Reviewer: Ademola Adesola
    No of Pages: 302
    Year of publication: 2016L

    iterature, unarguably, is a human-centred enterprise. Accordingly, if literature derives its nourishment from happenings in the human world, then it is an easy conjecture that war, being a reality of the human space, contributes largely to the sustenance of literary productions. Put differently, war may be awfully toxic to any human commune,but it is tonic to the imaginative minds of that commune who witness and survive it or who decades after discover it in tomes. War is atincture that powers the creative minds of fabulists. Wherever war happens, literature prospers.In reaching the same conclusion, ChinyereNwahunanyaavers that ‘the five hundred and twelve novels produced by the American civil war indicate how fertile wars can be as material for creative literature’.

    Like in many other countries of the world, what goes by the classification, Nigerian Literature, received a major boost from the poorly resolved drama of secession that is described in various ways but most notably as the Nigerian Civil War. As this writer argues elsewhere, ‘No one single event since the political independence of Nigeria has richly impacted the creative enterprise of the most populous Black nation like its thirty-month Civil War (1967-70).’

    From that decimating force – particularly the human tragedy it throws up, its socioeconomic, political, and ethnic questions – has emerged a huge body of works that has influenced and shaped the literature of the country. So proteinous is the material from the war that the prognostication of Nwahunanya, to wit that ‘the Nigerian Civil War has become so dominant as a theme in post-war Nigerian writing and may remain so for a long time[to come]’, has become a glaring reality. Indeed, as ChidiAmuta too argues, many decades after the war, ‘Nigerian literary scene still reverberates with the thematic echoes and formal patterns that the war experience made imperative’.

    Clearly, the emergence in 2016, 46 years after the end of the Nigerian Civil War, of Sam Omatseye’s compellingly readable novel, My Name Is Okoro, affirms the correctness of all of the foregoing averments. With the rare precision of a canny medieval archer, Omatseye’s muse connects fittingly with the core of the Nigerian Civil War loom and from it emerges a well-woven, riveting, provocative, and entertaining tale. With clear artistic vision, the writer transforms the material of the history of the war and creates in the process a believable fictional universe. It is in this connection that the novel merits the description as a compelling alternative history, for as Henry James contends in his famous essay, ‘The Artof Fiction’, like a picture projects reality, ‘so the novel is history’.

    My Name Is Okoro is a marvellously readable novel about the plight of the minority groups of the old Eastern and Midwestern Nigeria caught between the Charybdis of war and the Scylla of domination by a bigger ethnic group. Written in lapidary style, the novel dramatizes the story of Samson Okoro, an Urhobo who hails from the Midwest of the 1960s. Before he finds himself at the centre of the senselessness that is the massacre in Northern Nigeria after his return from the United States of America, where he is already a citizen, the name ‘Okoro’ could well embody the void that Juliet, Shakespeare’s heroine in the play Romeo and Juliet, harps on. But as the pogrom gives way to full-blown war, the name becomes a burden – at one turn he narrowly escapes death and at the other bend he is harried. ‘What is in a name?’ receives a condign answer. To his Northern assailants, ‘Okoro’ makes him Igbo. And the Igbo may call him that, but ‘he would not part’ with the fact that his ‘Okoro’ is not Igbo but Urhobo.

    Through the character of Okoro, a PhD holder in Economics whose American name is John Fox, and a few others, the author explores the Byzantine complexities ofidentitarianpolitics, the sustained injustice against minority groups, the phoniness of nationhood, and the human misery and the follies and paradox inspired by war. Just as cheap deaths and harrowing suffering decimate the people, there are others who find solace in the abode of Cupid.

    Incapable of boredom on account of its sparkling expressions, picturesque descriptions, and muscular plot, the 30-chapter novel teems with irony, humour, epigram, paradox, literary/biblical allusion, symbolism, paradox, and anecdote. Its deftly deployed omniscient narrative technique enables the author to make full use of the material of the war from which he refracts and reflects the travails of the Midwesterners, nay minority groups, and the indiscriminately disruptive effects of (the) war. Its characterisation is engaging and its characters plausible. Killers, like the killed, have humanity, and their Jekyll and Hyde are vividly portrayed.

    A movingly fictionalised account of Nigeria’s fratricidal war, My Name Is Okorois anacademy of history through which the history-lacking mind of many a young Nigerian can be equipped. It is also a treasure trove of history from which a lot of historical facts about Nigeria can be garnered. So abundant are the gemsin the trove that the novel risks being mistaken for a history tome. Happily, the novel is redeemed by the fact that the historical particulars are plotted in a tellingly entertaining way that conventional history books are not. It is as enormously a historical fiction as it is compellingly an alternative history. By its sturdy recreation of the Nigerian Civil War history, the novel stands out as a good addition to the corpus of Nigerian WarLiterature and historical fiction.

    James, to quote his essay again, is right when he observes that ‘[a] novel is in its broadest definition a personal, a direct impression of life’. What Omatseye has produced through his fictive Okoro and other characters is a conflation of his experience – direct and vicarious – of the war as he knows it and of course his creative imagination.

    It is no unctuous conclusion that whatever a reader considers the chink in the gilded armour of My Name Is Okorocannot dwarf its allures. It would be interesting, for example, for the reader to find out whether the novel revises, reinforces, or deconstructs rigid ethnic stereotypes and identities. The novel is highly recommended. Buy it, read it, gift it, and above all, critique it, for as James observes, ‘[a]rt lives upon discussion […] upon the exchange of views and the comparison of standpoints’.

  • Our next target is a university

    MD, Stella Maris Schools, Emeka Anyaene recently extolled the virtues of the school as it clocked twenty and points the way forward. Olugbenga Adanikin reports from Abuja

    THE Managing Director, Stella Maris Schools, Emeka Anyaene has disclosed plans of the school’s management to establish a standard institution of higher learning in the not too distant future.

    Having contributed immensely to education in the country over the years, Anyaene said it has become necessary to consider extending the organisation’s good work to university level.

    He was however quick to emphasise that the school is prudent and very conservative.

    Anyaene spoke in Abuja recently during the school’s Cultural Day event, part of activities lined up to celebrate 20 years anniversary of Stella Maris Schools, Abuja.

    Other activities lined up to commemorate the anniversary include an inter-house sports, alumni cocktail, gala night, alumni friendly match with students and a thanksgiving service.

    He reiterated the school’s commitment to knowledge, excellence and discipline, emphasising that it is not necessarily out to rival any school.

    “We have actually grown from grass to grace. It’s been 20 years of different challenges, opinions and structure but we thank God today that the school has been upgraded from the way it was when our late mother left to the way it is now.

    “So 20 years from now, the school might grow into a higher institution. We are very prudent people and we are a bit conservative. At the moment, we have five schools and one more coming up which will bring us close to about 4,000 students.”

    He said the school management made it a policy to always engage qualified teachers, pass disciplinary actions when necessary and engage them in regular trainings for best practice.

    “We have won several awards as the best school in FCT…. We have a standing name as a top-class institution and we also learn from our competitors. We are not there to win trophies but out to always maintain excellence, which ought to thrive through the child’s days in life,” he stated.

    In his remark, the principal, Mr Jacob Dawodu said the college, which now has 543 students, started out on September 24, 2001 with only 17 students and 13 teachers. He thus ascribed its growth to hardwork and commitment.

    ‎The Academic Adviser, Stella Maris Nursery and Primary school, Mr. James Arllo said the Cultural Day celebration among other lined up events was to promote indigenous culture such as food, cloths, work of arts among others.

  • Benue’s sports  betting culture

    Benue’s sports betting culture

    Benjamin Idoko and Amos Abba x-ray the unprecedented craze and passion for sports betting currently pervading the north central state of Benue and indeed Nigeria, as well as the implications

    FOR sixteen year-old  Terkula Terfa, a primary six pupil of Local Government Education Authority (LGEA) Primary School,  Gboko, an urban settlement in Benue State, his best hopes of attaining success lies not in education  but in sheer luck.

    Wearing a dampened countenance that contrasts with his humorous demeanor, he looks out of place as he sits on a wooden bench, looking out into the busy street. Barely 72 hours earlier, he had illegally purchased a sports betting ticket from one of the online sports betting offices in Gboko.

    Despite claims by sports betting companies that only punters 18 years old and above are allowed to stake games; this is far from the truth, as there is hardly any procedural mechanism in place to cross-examine their ages.

    Terfa staked N100 for twenty football matches being played across Europe and Asia that week. He had a quiet desperation to know the result of his predictions, which could earn him enough cash to live on for some time, should his predictions turn out right. Disappointment overwhelmed him when his prediction of one of the matches failed. That singular loss caused him great pain.

    When he spoke with these reporters, he explained the reason behind his self-induced gambling habit in the local pidgin parlance: “My need for money makes me stake games. My father who is a bricklayer is aging and my mother’s burukutu (locally made beer) business is no longer as profitable as it used to be. It cannot cater for my own needs, not to talk of our entire family. The highest winnings I have made so far is just N1720,” he said.

    Explaining further, he said: “I started sports betting to help my family and provide for my upkeep.  I am not happy that I’m indulging in such a habit as a mere primary six pupil, but paying my school feels and buying textbooks has been an issue for my parents. I am tired of having to stay in and out of school,” he lamented.

    In recent years,  there have been an upsurge in the patronage of sports betting in Nigeria among enthusiasts and youths, especially young adults. It is unsurprising for young adults, even teenagers to earn a living or secure a source of livelihood in a nation of strivers like Nigeria but must the luck-driven industry take the centre stage?

    Kolawole Ola, a three hundred level student of Physiology at Ambrose Alli University Ekpoma, Edo state started showing interests in sports betting in a bid to supplement the pocket money he gets from his benefactor (his uncle). Little did he know that he would soon get addicted, to the extent of staking his school fees.

    He recounted his ordeals; “I started initially by placing bets on games my instincts were very sure of the outcome. My highest winnings was about N125,000 when I staked about N2,000. Thereafter, I continued staking games with greater hope, but I wasn’t winning any reasonable amount until I began staking, using money from my school fees. I knew of course that I had made a big mistake. I had to lie to my uncle to get extra cash to complete my fees and also borrow from some of my friends.”

    Sports betting form about 70% of the gaming industry in Nigeria. Gaming is a generic name for other areas like lotteries, casinos, pokers, amongst others. Sports betting does not exist in isolation but is anchored on sporting and entertainment activities. With football having garnered huge clubsides’ followership in Nigeria, it is unsurprising to see football fans brandishing betting “tickets” when watching football games at viewing centers. Popular sports betting companies include bet9ja, Nairabet, Surebet, Betcolony, Sahara bet, bet365, ParknBet, Winasbet, bet365naija amongst others.

    It involves punters predicting the outcome of football matches or other options associated with the game of their choice and if the result corresponds with their prediction after staking certain amounts of money, then their predictions are rewarded with stipulated earnings.

    With football fans having discovered that watching football matches as a leisurely pastime is also lucrative, new doors of opportunities seem to have literally opened up. Inevitably, the situation has also transformed the business landscape for sports betting companies.

    New money-spinning industry

    The unprecedented craving for sports betting amongst Nigerians can be linked to the possibility of raking thousands of naira by staking games with  amounts as little as N100 & above. This has provided enough motivation for punters across the country to bet on a daily basis, with sport betting companies posting impressive profit as a result.

    In a recent study carried out by PriceWaterHouse Coopers, a consultancy company, it is estimated that the sports betting industry is currently worth about $65 million and would have risen to $117 million by 2017. For the period of forecast, it’s expected that revenue would expand at a projected 10 percent compound annual rate by $60 million in 2018. With an access to the internet, sports betting companies and punters are always online, checking out match codes to stake games and also to know their fate via the outcome of their predictions.

    For Olukayode Mosuro, who is the manager of bet9ja Gkoko main office, he views sports betting as his financial lifeline. Trained as an Electronics and Computer Engineer from the Lagos State University, he naturally sought for a white collar job after graduation. With nothing worthwhile coming out of his various business experiments, Mosuro struck the proverbial pot of gold with the sports betting industry in November 2015, when he moved in from Lagos to Gboko to establish the business.

    He said; “I currently have thirty four people working for me. Sports betting actually gave me a chance to become self-employed since November, 2015 when I moved to Gboko.”

    One of Olukayode’s betting shop patrons, Elijah Agada, a 200 Level Chemistry Education student of the University of Agriculture, Markurdi said that he knows people who have been making money from sports betting.

    “Initially, I thought it was one of those gimmicks used by gaming-savvy companies to lure people to betting. When I found out that some of my friends were making easy cash from betting, I had to grab my own share and that is why I am into it now”, he added.

    LUCK  and LOSES

    The ardent belief of punters to get lucky someday as they hedge their bets and wait for their aspirations of winning big cannot be indelibly separated from greed.

    Another Gboko resident, Anthony Ideha disclosed that he won N5300 the first time he placed a bet on some football matches.

    “I thought it would continue like that but there was a slow pace to my new luck. I have not won anything in a long while. Most times, the mistake is just one match wrongly predicted on my ticket.  My business crashed because I used my capital to stake matches and never won anything,” he submitted.

    In an attitude of stubborn optimism which resonates with most sports lovers, Anthony is optimistic of a big win any time soon, as he announced that sports betting is like a daily contribution.

    “ I will certainly get my returns in a big way on a day of reckoning”, he said.

    An expert Psychologist and lecturer at the University of Agriculture, Makurdi, Dr.(Mrs.) Ooga Amali pointed to the focal point behind the increased mass appeal of youths to get involved in sports betting. She affirmed  that the economic hardship currently being experienced in the country has made most people, especially youths to become prone to exploring diverse means of making money.

    “There is a general believe that when you take risks by betting, you may be lucky and when you’re lucky, you are happy”.

    Explaining the adverse effect of sports betting, she said, “Sports betting is like two sides of  a coin; just as alcohol. Betting can be very addictive and when you are addicted, whether you have the means or not to bet, you are likely to do anything to just bet. There are instances, where people have staked their assets and source of livelihood, which has led to indebtedness, destroyed marriages and battered lives,” she added.

    This is however not to say that betting companies do not record their own share of losses. Sylvester Akuva, an agent of a leading sports betting company had a sour experience when a cashier mistakenly printed three tickets for a punter and the predictions turned out right. The agent had no excuse than to pay the punter his total winnings/returns for the three tickets which amounted to N60,000.

    “It was really a bad day for me because of my cashier’s mistake. I was compelled to pay this punter his N60,000, which the bet company will not deposit into my account.” He lamented.

    Moral implications

    John Maxwell, an artisan, sees sports betting and staking for matches as any other viable legal businesses. He said: “Sports betting and staking for matches are not different from doing legitimate business, which involves risk. Sometimes you lose and sometimes you win. I don’t see anything wrong with people staking for football matches but personally, I am not involved in sports betting.”

    Dr (Mrs) Ooga Amali decried the attitude of parents towards teenagers’ involvement in sports betting, to forestall a morally bankrupt generation.

    “Parents are so pre-occupied with money that they don’t provide adequate and proper supervision of their children’s activities. If teenagers get into sports betting at their tender age, what would be the hope of instilling the values of hard work and ethics of reward of labour in them?” She questioned.

    “Parents should rise up to their responsibilities and nip this ugly trend in their homes before it condemns our youths into a black hole of moral bankruptcy.” She concluded.

  • Talking about tradition and talent

    Book Title: Visions and Recollections
    Author: Abdul R. Yesufu
    Publisher: Deaconry Press Limited
    Year of Publication: 2016
    No of Pages: 95
    Reviewer: Sunday Osinloye

    After over a three-decade experience in the vocation of researching, writing and teaching literary writing in English Language (in Africa and the United States), Abdul R. Yesufu has graciously published his long overdue volume of poetry.

    Before identifying the cosmopolitan motifs in the text, I wish to appropriate the title of T.S. Eliot’s essay, Tradition and the Individual Talent (1916) to briefly review the form and order of Visions and Recollections (2016). In his essay, Eliot opines that: “No poet, no artist of any art has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists… I mean this is a principle of aesthetics… Poetry is not a turning loose of emotion, but an escape from emotion.”

    This position is reinforced by the author’s commentary on the form and meaning of the collection. In the preface, Yesufu excuses the widely held notion of the “academic and highly allusive tenor of the pieces” in the light of his exposure to “an extensive diet of poetry of all kinds and qualities – from the oral of several climes and ages to the highly symbolic variety of the High Modernist Mode of the Western tradition, and several other types in-between” (X). The poet also says: “the poems are steeped in the socio-political realities and encompassing Weltanschauugen of the environment they attempt to recreate” (X).

    In view of this background, Visions and Recollections appeals to the reader as a work of art inspired or envisioned by poetic impulses of a highly talented artistic word-smith. At another level, it is a composition from the various deposits of literary conventions of the verse mode.One striking aesthetic appeal of the poems is the heightened, almost spontaneous, expression of the language. For example, the first poem “The Year’s End”, which foreshadows the writer’s Visions and Recollections, showcases condensed poetic craftsmanship.

    Another attribute of the verses in the collection is their inter-textual appeal. This comes out very strong in “The Weaverbird (A Tribute to Okot, after Laban Erapu)”, “Who Made the Hills of Roma (After William Blake)”, “The Illusion of Renown (After James Shirley)”, “Viande – Ronge et Blanche (After T.S.E)”. “The Machine of Islando (After J.P. Clark)” and several others. For instance, in “The Weaverbird”, the poet quizzes: Did you say that the bird is gone/Weaver of songs and mirth/Never to be seen or heard again?/That it has taken wing on the wind/And flown into the ‘unreturnable’ distance?/But distance is not absence/Except measured by span and sight…/unflagging in their voluble disputations/Lawino, Ocol, Prisoner, Malaya/Proxy voices of eternity now/Speak to us in their master’s voice (8).

    Moreover, Visions and Recollections is also remarkable for its eclectic Romantic ethos. This is well signified in poems such as “The Full Moon”, “Circles of the Seasons (Nigeria)”, “An Afternoon Rainstorm (After Rubadiri)”, “The August Break”, “The Hills of Roma” and “En Route Main South I at Night”. In these poems, natural phenomena are invested with various shades of philosophical worldview. We also note that the volume is spiced with Haiku poetic modes. This perhaps demonstrates the artist’s affinity with the Japanese literary convention.

    Above all, Abdul R. Yesufu may have been a Nigerian-born, African-bred scholar and writer, yet his vision in this collection is clearly cosmopolitan. The poetic personae wears the mask of cosmopolitan narrator, observer and societal gadfly. And like the Mask’s camouflage of the ancient city of Benin “…confluence if ancient and modern/where the musty and the glossy/like two master wrestlers/Are locked in a perennial duel…”, Yesufu’s lyricism is Romantic, yet elegiac about Man’s rites of passage and seasons of life. His use of language, like “The Full Moon”, is ripe and well-rounded by “Fecund Time/Like a plump pumpkin.”

     

  • Sagbokoji Rustic Lagos community,  where offenders are still punished by flogging

    Sagbokoji Rustic Lagos community, where offenders are still punished by flogging

    On the other side of well-lit Lagos mega city lie certain communities literally starved of civilisation. Aside a one-off effort by a former Lagos State governor to provide them with power through solar a few years back, the community of six villages have probably never experienced electricity in the real sense. They also lack virtually all the good things that come with the present modern age, and are still steeped in primitive adjudication methods, which have so far served them well. Dorcas Egede and Mary Fabeyo who visited the community report.

    IT was a less than fifteen minutes boat journey from Apapa Wharf, but it was nevertheless fraught with trepidation and dread. Half-way into the journey, the boat sputtered, jerked and came to a halt in the middle of the blackish water. Fear gripped these reporters, who weren’t so familiar with such a situation. Taking in the vast gleaming water in one split second, they felt as if the world was closing in on them. But the local Ogu (Egun) traders on board simply continued with their banters in their language, as if oblivious of the immediate development. To them, this was a non-issue, something merely akin to a danfo bus braking-down on a Lagos road. Luckily the engine came back to life after some five long minutes of mechanical battle, and the boat continued on its slow steady journey to Sagbokoji.

    As the boat inched near the bank, the sprawling community literally opened up, coming alive with activities. The jetty at Sagbokoji was awash with pigs, so much so that you wondered if the new arrivals were being given a ‘piggy’ welcome. Aside the pigs, young men and women, boys and girls of school age could also be seen everywhere peddling their various wares or working on the crayfish and fishes they had harvested on the day. Those not engaged in any kind of work were seen in various little groups, chatting away.

    Somehow, you wonder why these kids weren’t in school; but the answer to this was soon to dawn on these visitors.

    Light years from light

    After ascertaining that these reporters had come with the best of intentions, the community head otherwise called Baale of Sagbokoji, Chief Anthony Ovime, invited them into his palace, where he reeled out a brief history of the community, carefully detailing the issues they’ve been facing since the days of yore. He revealed that the community must be over a hundred years old. He also disclosed that even though the community was birthed by the Eguns, other tribes across Nigeria have come to find a home in the place and cohabit peacefully with them.

    “We have the Yoruba, Hausa, Igbo, Ilaje, Ijaw and many other tribes here. The Egun constitute the majority because this is an Egun land.” The baale said glowing with pride.

    Ovime revealed that he is from the ruling house and that he became baale at the age of 16 in 1976, following his father’s demise. But even as far back, the baale recalled that, “We have never had NEPA light.”

    As a result, the people depend on electricity generating sets for power. Businesses are run solely on generators. Umaru Mustafa, a youth leader who runs a bar in neighbouring Bishop Kodji told The Nation that he has been running the bar with generators since he settled in the community about seven years ago. For this reason, he has had to sell his drinks at slightly higher rates than what obtains in other bars on the other (city) side of the creek, where electricity is a part of their lives and cost is low.

    To make ends meet, Mustafa said he has had to engage in other streams of income.

    He told The Nation that the administration of former Governor Bola Ahmed Tinubu, in an attempt to solve the power problem back in 2007 built a solar power generating system in the community; but it was soon vandalised due to poor management, after functioning for only a short while.

    Poor school facilities

    Adejube Ojo is a clerk at the Local Authority Nursery and Primary School, the only government-owned school in the community, but also doubles as a teacher. That is because the school, which serves the roughly 200,000 population (so the Baale claims), lacks enough teachers. He told these reporters that he commutes from his home in Igando, a suburb on the Badagry axis of Lagos to and from the island every school day, to fulfil his responsibility with the Lagos State Ministry of Education, his employers.

    For a school so far away from ‘civilisation’, the structures aren’t so bad, except for the lack of perimeter fence and enough teachers. Adejube revealed that he has been working in the school for 11 years but lamented the fact that “Pigs and goats freely stroll in and around the school compound” and wondered how “the pupils concentrate with so much distraction?”

    “Sometimes, when we return to school on Monday morning, the pupils have to start picking broken bottles from the ground to prevent accidents. This is because members of the community would have used the school premises to hold different kinds of events, including football games, meetings and even parties.”

    He revealed that the school only has two teaching staff employed directly by the government; hence the non-teaching staff have had to complement their efforts, along with a few more teachers employed by the community. Adejube, who spoke on behalf of other staff also present, told The Nation that they would appreciate an upgrade of the teaching staff strength. “It will be nice for instance to upgrade these community-employed teachers to government teachers, so they can enjoy better pay and welfare packages government teachers across the state enjoy. Even the clerical staff doing the work of a teacher should also be upgraded.”

    Apart from this primary school established by the Amuwo-Odofin Local Government on May 29, 1990, there is no government secondary school in Sagbokoji. Pupils who pass out of the primary school therefore have to enrol in the few private secondary schools in the community – and that’s for those whose parents can afford it – or enrol in any of the government secondary schools on the  Apapa axis across the creek.

    While giving an independent assessment of the primary school, Kelvin Okereke, a member of the community told The Nation that the school is at best a glorified nursery school, noting that it does not have enough qualified teachers.  He therefore declared that he cannot allow his children to attend the school, since he desires a solid educational foundation for them.

    Okereke’s son attends a private primary school owned and run by the Redeemed Christian Church of God.

    The situation in a neighbouring community, Bishop Kodji, is even worse. When The Nation visited, the only government primary school there was in a very sorry state. The school, which has only three classrooms, has even fewer teachers than what obtains at Sagbokoji. A female staff of the school, who spoke to our reporters on the basis of anonymity, revealed that they had to combine classrooms to maximise space, as well as manage the number of people that man the classrooms.

    She said the nursery classes are all merged, same for primaries one and two, three and four and so on, leaving one to wonder how effective education happens there.

    Like the school in Sagbokoji, this school also has no fence, causing it to put up with human and animal invasion, and inevitably, distractions.

    Transport

    If you visit the Alex area of Apapa wharf in the early hours of the day, you’re likely to spot hoards of students and grown-ups trooping out of a corner street. These people most probably just got off the boat from Sagbokoji, Bishop Kodji and their other four neighbouring communities. Having disembarked from the boat, they walk up to a foot bridge where they pay a pass fee of N20. Some of the students leave their life-jackets in care of the attendants on the foot bridge, and pick them up on their return journey.

    A first time traveller on the water to any of the communities however may not want a repeat experience. This is because of the poor and epileptic state of the boats, which often causes them to break down in the middle of the vast water. Chief Dosu Victor, a member of one of the communities, who spoke to The Nation, revealed that the immediate past chairman of the Amuwo-Odofin Local Government Area together with the National Inland Waterways Authority (NIWA) at one time or the other, provided the students with life-jackets to ensure safety and hopes they would move a step further by supporting the communities with more effective and safe boats.

    Also lamenting the precarious transportation system they’ve had to put up with, Okereke said, “Since there are no government secondary schools here, most of our children cross to Apapa to access secondary school education. But do you know that there are no boats? If you go to Igbologun, they have boats that ferry students free of charge. But, here there is nothing like that. If the government donates a boat, strictly for students, it will be easier.”

    As for inter-community movement on the island, Okereke said virtually everywhere in Sagbokoji is a walking distance, so there’s virtually no need for motorbikes and their attending cacophony.  Even the distance between the neighbouring communities of Sagbokoji, Bishop Kodji, KwraKodji, Kamje Koji, Akopunawa and Irede are all walking distances.

    Just one poor PHC

    Only one primary health care centre serves the six communities on this island and it is located in Sagbokoji. Again, the centre is ill-equipped and lacks staff. The Baale of Sagbokoji, Chief Ovime aptly captured the scenario when he said: “We have a health centre which has no health practitioner. We thus have to travel to Apapa and other neighbouring communities for medical treatment, most especially when our women want to put to bed. We however have a few private medical personnel who try to help out in whatever way they can, when the need arises.”

    A visit to the PHC however opened up another dimension to this discourse. First, our reporters got a far from warm welcome; even the matron was so hostile you’d think she had had some unpleasant encounter with the reporters before. And when she was asked why she was so cold, her disdainful reply: “Some people that came here earlier caused a lot of trouble. If you want to get any information, go to Festac.”

    This again brings to the fore the poor hospitality level of Nigeria’s public health workers.

    The Baale showed our reporters some medical supplies, which he said one of the authorities brought, promising to return, but never did. He thus wondered what they expected them to do with the supplies, when there are no medical personnel on ground to administer them.

    He revealed that the health centre has a residence for doctors, and called on the government to send them at least one resident doctor, so that at every point in time, the locals would have a doctor to attend to their medical needs.

    Okereke on his part called on the multi-national companies domiciled in the community to as part of their corporate social responsibility, see to the establishment of world class medical centres in the area.

    He said, “Our women don’t have access to hospital facilities when it comes to childbirth. You don’t want to imagine what could happen if a woman is in labour at around 2 o’clock in the night.”

    No potable water

    Sagbokoji and its neighbouring communities do not have access to water for general use, much less potable. They have to go across the water with water tanks to buy water from Makoko and CMS. Okereke, who spoke passionately about their lack of access to water said, “We buy water here. It’s a private enterprise. The sellers go to CMS and Makoko with their big boats to buy the water, come here and transfer it into tanks, from where they dispense at ‘extremely expensive’ retail prices to the people. But if these companies around us give us standard borehole and treated water, I don’t think anyone would need to buy water from these sources, whose hygiene we can’t even trust.”

    He said “One 25-litre jerry can of water sells at N60, while four little paint bucket sell at N15. Meanwhile, if you go outside this island, the same 25-litre jerry can go for N5. You can therefore imagine how much an average family man in these communities spends on water. Let’s assume I spend N180 on water per day; multiply it by as many as nine years that I’ve lived on this island. That is a fortune, yet water is very important.”

    Open defecation

    Most of the houses in these communities are built without toilets. Open defecation by humans and livestock (dogs, goats, particularly pigs) is therefore a lifestyle.

    About this, Okereke said majority of the landlords in Sagbokoji didn’t build their houses with toilets. He said “If you know how they literally have to go through the eye of a needle to get water, then you’d probably understand why open defecation is for now a better option for them.”

    At Bishop Kodji, where a good number of the houses are wooden, very little is left to the imagination as  to why they do not have toilets. Unlike their big brother community, Sagbokoji, however, they have a general toilet and bathroom, which sits afloat the creek. When they defecate or have their baths, it goes directly into the water.

    Poor waste disposal culture

    As one approaches the jetty at Sagbokoji, the sight that greets you is that of huge refuse on water. It was therefore not a shock to see heaps of refuse and wastes in every nook and cranny of the community.

    The Nation learnt that NIMASA (the Nigerian Maritime Administration and Safety Agency) and NIWA (National Inland Waterways Authority) visit the community from time to time to tell them the importance of keeping the waterways free of refuse. But our man, Okereke said matter-of-factly that it would be impossible for the waterways to be clean, as long as the community lacks proper waste disposal systems.

     “Most of our people here throw their refuse into the water, which is not advisable. But they do that because there are no alternatives. If the government can help institute proper waste disposal systems, such as the big waste disposal containers you find in Apapa and other areas, it will help a great deal.

    Again Okereke is calling on the big companies in the environs to come to their rescue, noting that government alone cannot do everything.

    As secure as they come

    Perhaps one of the highest points of these backwater communities is the security. The community leaders at Sagbokoji and Bishop Kodji proudly told these reporters that their communities are safe. “Here, people don’t steal. You can be sure of the safety of your property, and also feel safe to move around at any time of the night without fear of being robbed of your phone or valuables. The only problem we have here is domestic disputes, mostly between husbands and wives, or lovers and perhaps neighbours.” Mustafa, the youth leader said.

    Unlike  Igbologun, a similar backwater community, which has two police posts, Sagbokoji has no police post. Chief Ovime revealed that for many years, he and his fellow chiefs were the ones adjudicating and settling disputes and generally ensuring that peace reigned in the communities. But after several years, he said, “It dawned on me that I was wearing myself out fast, settling endless disputes; so I decided, with the permission of the Oba in charge of all the riverine communities in this area, to divide the communities into five. That’s why we have six ‘Koji’ communities today.”

    The chief, who said he took over in his father’s stead in 1967, however called on the government to establish a police post in the community, to take the pressure off him and his fellow chiefs.

    Chief Dosu took these reporters on a tour of the community; he showed them a grown-up man who had been tied to a stake in the town hall, for beating and inflicting injuries on his wife. His wife, it was said, is a deaf/mute woman, whom the youth leaders considered defenceless; hence they felt infuriated that he could go to that length with her.

    As further punishment, Dosu said the man would be given some strokes of the cane by the youth leaders.

    On another visit, The Nation met the leaders of Sagbokoji at the Baale’s palace. They had gathered to receive these reporters, having been notified of their visit ahead. They also seized the opportunity to settle a dispute between two young men, whom Okereke said had almost killed each in a fight.

    Said Okereke: “We have a large number of youths doing virtually nothing, and before you know it, crime is on the increase. What we’re settling now is a case of two people fighting with knives; they were almost going to kill each other before our ‘Igbakeji’ (second in command) intervened. I can tell you that if they have work, they won’t wake up in the morning and start fighting.”

    Indeed the community has found a way of maintaining peace and order in the absence of law enforcement agents.

    The Baale and his second in command nevertheless said a police post in the community would significantly reduce the rate at which people tear at each other and also reduce the many unsightly incidents that have occurred owing to fighting among community dwellers.

  • WAKAA! goes to London

    Bolanle Austen-Peters (BAP) Productions will be taking its play, WAKAA! The Musical, to London. This was made known at a briefing at Terra Kulture, Victoria Island, Lagos.

    Supporting the temporary translocation of the production are MIXTA Africa, MTN, Bank of Industry, Nigerian Export Promotion Council (NEPC), Nigerian Ministry of Information and Culture, Ministry of Foreign Affairs, TV Continental, Africa Magic, Ebony Life TV, Africa Movie Channel, Beat FM, Waka Now, Arik Air, and others.

    The play has been successfully staged several times in Nigeria. It embodies an affecting satirical representation of the the country’s socio-political clime, and also explores the peculiarly woven web of intrigues and treachery, which people spin in their lives.

    Austen-Peters said it was by popular demand that the musical was heading to  London, and that it could boost cultural diplomacy and promote Nigeria’s cultural heritage abroad.

    On the importance of taking the production to the English stage, Austen-Peters said: “It is historic. We represent us, as Nigerians at our best, and we also create jobs for the young ones. There is a lot of cultural exposition; the best of which we will be showing. We have tried to create a berth for our people.”

    Meanwhile, Toyin Osinulu of MIXTA Africa said: “We are sponsoring this production because it is an original African export. Our support is well aligned with our strategy for the Diaspora market. 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.”

    Echoing this sentiment was Babatunde Faleke, Regional Co-ordinator of the NEPC, who said: “There is a foreign exchange deficit and people may not know it, but one of the ways we can boost our currency is through export. Not just export of products, but export of services. BAP productions is doing just that because through them, we are exporting entertainment.”

    Also, Chinelo Mbonu of Waka Now, said: “Our support is in line with a new initiative, which we launched in partnership with Ebony TV called destinations Africa where we foreground African ideals, heritages, and places that should be visited. With our support to this production, we are trying to show that Africa is beyond impoverished children. We are trying to promote African culture.”

    Lindsey Oliver, Chief Commercial Officer of Continental Broadcasting Service, representing TVC News, said: “TVC News is keen to promote the performance to not only the Nigerians in the United Kingdom, where we have broad coverage, but also to everyone all over the world. We are keen to promote more performances that showcase African culture.”

    The play will be staged from July 21 to 25 at The Shaw Theatre, 100-110 Euston Road, London’s West End.

     

  • Weaverbird of sculptures

    Weaverbird of sculptures

    Tony Akudinobi is a versatile sculptor who understands the hidden-creative potential of his primary medium, wood. He carves wood with the imaginative impulse of a weaverbird. As a cultural archivist and (a cultural) entrepreneur, he has explored the vast resources of his cultural homeland for his art. He has done so through his cultivated mastery of proverbs and oral narratives, art lore as an incarnation of that cultural wisdom that invests art with its seamless imageries.

    Most of his sculptural themes are driven from Igbo oral lore. From them, he has defined the cultural spaces and meanings for his sculptures. He has immense love and empathy for the Nigerian culture, particularly, his Igbo culture. They provide him with the creative and cultural platform for the creative berthing of his inventive sculptures. He uses cultural norms and practices as a template for his creative exploration into modernity. In his sculptures, modernity engages tradition in a creative dialogue. These have led to new discoveries and transformations in his sculptural production. His sculptures are diverse and are a product of new explorative technologies.

    Like Chinua Achebe, he believes that a man must know where the rain began to beat him, while at the same time, embracing the creative resources of modernity. This is reflected in his industrially based carving tools. He explores their potentials in engaging and transforming several levels of cultural, social and economic connectivities into works of art. He is a master of his creative spaces: local, national and global. His sculptures may be produced at the local site of his creative industry, but he knows quite fully well that they are potent as signal of self-empowerment and cultural entrepreneurship. For him, art is a tool in the search economic nationalism. In a condition of economic uncertainty, which is driven by the urgency of economic diversification, his art provides an ample fodder from which to beat back the shadows of economic downturn. In this setting, the resources of his art can be harnessed as one of the most variable options in the reinvention of a national economy. My advocacy is that the art industry provides a highly productive terrain.

    The government ought to harness this because works of art represents hidden economic treasures, already fully exploited by the West, particularly the United States of America, as they steer the world in the ship of late capitalism, while constructing the other.

    Obi’s art provides an economic counter narrative to the west and the potential of art in income generation especially at a fertile level of artistic production.

    His sculptures are good indicators of the interface between cultural production and the politics of economic revival and regeneration. He has a range of sculptures that simulate traditional chairs and tables with a keen eye for their surface effects, technical management and the strategic use of indigenous patterns. His mastery of indigenous sculpture iconography is shown in his visually engaging sculptures, original and eventful. The aesthetic merits of his sculptures define a commanding presence in any global setting such as art fairs, economic and cultural exchanges, and even, in international trade fairs. His works represent a creative domestication of our cultural treasures in a modern economic environment. They are products of creative mastery. Their visual idioms speak across cultural boundaries. This is why they can serve as economic bridges because they rise from a local cultural/national site and across global art boundaries. They engage the world with the stridency of their visual qualities

    The sculptor has created a body of works that are enticing and delightful, from his mixed media furniture’s to a variety of stools, thrones and other abstract works that celebrate art as an aesthetic event. Their surfaces explore textile art, found objects; combine carving with stitching in the mixed media orientation. His understanding of the metal medium lies in his manipulation of positive and negative spaces, especially his linearism. These are quite enchanting. He celebrates functions in his works yet he transcends them to ignite the aesthetic. These are innovative statements from his cultural site. For him art can serve the ways of functions but soon transcended them. The works can at best be described as creative invocations to culture, their source of origin and from which they define their autonomous aesthetic spaces and through which the sculptor challenges us with works of art par excellence. They can easily find new homes as part of collections in western galleries and museums, even while the elites can purchase them as symbols of cultural interchange in a globalised world. His works betray a sculptor’s intellectual and creative insights in his media versatility, good technical handling and his gift of sculptural forms that define the changing boundaries of modernity only to interconnect the postmodern aesthetics of art and its sematic possibilities and variations. He tells us about the richness of our cultural homeland and the potentials that they offer for reconnecting the modern world. The triumph of his works lies in his creative harnessing of the epigrammatic qualities of proverbs, myths and other oral resources. In this sense, his works constitute visual/verbal metaphors of the past, present and future. They emerge in the fullness of their visual cadence, aesthetic merits and with an elusive beauty as if they are sculptural bodies with enthralling ornaments. They are at once poetic imageries driven by a mythic imagination in search of cognate metaphors of culture, change as they engage modernity as a kindred spirit.

    Some sampling of his works

    One of his works, ‘OSINIME’, is a stylised carved seat clothed with striated abstract patterns; a proximate simulation of Igbo carved doors and title stools. Forcefully abstract, it is sturdy without losing the sculptural energy that gives it aesthetic life. In its visual coding, the sculptor writes,

    “Still each ocean flows into the vastness of all life.

    At the end tattered boats and paddles

    float away after serving their purposes.

    The drama plays on for the

    flowers on the shores

    for each must set sail at dawn

    For him, a sculpture piece, static and immobile, delights with its alluring beauty. What is static is simultaneously in aesthetic motion, as motion begets motion. Borne on the stream of these motions, we crisscross both old and new boundaries of meanings. A solid object, a piece of sculpture is dematerialised and yields hidden secrets of the human condition, nay experience.

    In another sculpture, UKO OKANGA (The Coven), the sculptor again in tones,

    “From Nostradamus to the

    cave of the ancients

    …what to be may

    have since become in

    the wombs of time.

     

    From the sculptor’s wombs of time, he has produced five deftly carved thrones in wood, with anthropomorphic hints as to their forms and ornate surfaces, including others that vary in their qualities of organism. They face a central table on top of which is a fan. The thrones have become icons themselves since they no longer symbolise. They have become that which they already symbolised. As symbols, they have incarnated into visual icons, as spiritual avatars on the side of eternal shadows. As material objects, they have transformed their external identities into spiritual bodies. In this way, sculptor has shown his capacity for transforming material objects into extra-spiritual phenomena; given a voice that speaks of the nether world where reality is a narrative beyond immediate knowledge, the mystery of the eternal present, and of art as a metaphor, a tool of myth making and recovery even within the shadows of a cosmos that defines as it erases. The work, OTAGBURUAGU, is an abstract furniture draped with the music of fabric surfaces and exudes a self confidence that easiest earns it unique status in any regal space. Symmetric and asymmetric designs are strategically deployed to achieve a compelling aesthetic statement. The furniture is ultimately a mixed media presentation that is rare in modern furniture art. For him, producing furniture is like music making. The production constituents of solid wood, pure cow hide leather (seat) and hand-woven akwete cloths may pose their technical problems. The sculptor, however, knows how to constitute them into a new creative partnership. This house furniture shares various editions and varies in their aesthetic energy. In deploying a variety of materials, whether woven cloths, raffia, modern fabrics, etc., the sculptor elevates his stools, chairs, furniture and other works to a high level of creative inventiveness in their material/production base. His abstract stools are innovative openwork abstractions in wood. They are no longer seats. But works of art in their aesthetic sufficiency, especially in the blending of form, space and textures. They define shifting boundaries of form within cultural frames and historical time. His sculptures interrogate our unstable and ever-shifting locations in the Nigerian project while providing us with a clear anchor in the stability of art, its capacity to induce a futuristic version in our national life.

    The time is now right to support a large scale production of his works on a national support base. Our art cultural industries should provide a platform for new dimensions of economic diversification in a mono-economic environment. I endorse the sculptor’s creative versatility. I endorse his sculptural idioms. I endorse their aesthetic merits as well as their self-sufficient integrity. These works are collectables in any global art markets.

     

    Prof. Aniakor is of the  Cross River University of Technology, Calabar.

  • Perceptive creativity in the intellectual cosmos of dele jegede (2)

    Perceptive creativity in the intellectual cosmos of dele jegede (2)

    Art is better appreciated when there is a basic understanding of what inspired the forms. Content of art is, therefore, a major criterion in art appreciation. It is important to briefly analyse the context of jegede’s themes. The first is rooted in severe personal loss and stoic self-recovery while the other is on the traumatic after-effects of Boko Haram attacks with paradoxical comical contemplations.

    Visualising Memory

    It was Ali Mazrui, the erudite professor that quoted William Wordsmith’s definition of poetry as “powerful emotions recollected in tranquility.” Mazrui was justifying his first short novel titled: The Trial of Christopher Okigbo, which he wrote in 1971 after the untimely death of  Okigbo in 1967 during the Biafran war. Jegede’s anguish was intense even if disguised behind his sagacious gaze when on December 23, 2011, he lost his beloved son Ayo. He bore the grief with stoical equanimity. The devastating loss, however, left a gaping vacuum in his heart, which he continually fills with visual and poetic metaphors.

    It is, therefore, instructive that a few years thereafter, jegede’s emotions were sufficiently conditioned to ruminate over personal and national losses thereby culminating in the production of robust visual illusions and realities that further define him as a master aesthete.

    While explaining the concept behind the Celestial Aesthetics series, jegede noted that the paintings represent his fascination with terminality and infinity. They were to draw attention to what he described as “cosmic vastness”. This is a conscious and subconscious reaction not only to the physical realities of the universe, but also to the ecstatic rhetoric behind life and death. Beyond the incomprehensible depth of the earth’s geological diversity, there is the infinite vastness of the Solar System where global secrets lurk.

    Religion has paved fluid pathways in the arid desert of human imagination, and human contemplations have adduced spiritual presence to the shrouded essence of the universe. With binocular vision, it is possible to perceive metaphysical entities. It is even assumed that the abode of all departed saintly souls is in heaven—a blissful haven located in spatial infinitum. Having contemplated on the origin and the magnificence of the universe, jegede’s artistic mind therefore indulged in the visuo-spatial poetics of cosmic realities.

    Celestial Aesthetics

    The Celestial Aesthetic Series shares affinities with the paintings exhibited in his 2011 Peregrinations solo exhibition in Lagos, in which he explored issues relating to environmental pollution in the Niger Delta region as a result of crude oil spillage. He also examined the resultant armed militancy of the Ijaw Youths who protested the lackadaisical attitude of the Nigerian government towards environmental safety.

    In Peregrinations, Jegede matched visual forms with thematic relevance by employing stylistic and content correlation. In depicting the oil spillage and the pollution that devastated the Niger Delta land and rivers, jegede used marbling effect to create liquidised features. He used colourdrips to run over the canvases thereby generating pictorial fluidity. He tamed out recognisable forms that defined his chosen themes. This sub-style is equally present in the exhibition and can be seen in the Boko Haram series.

    However, the works in the Celestial Aesthetics series have less defined images because the central preoccupation of jegede was to depict the “inexhaustibility and prowess of cosmic vastness”. It is also instructive that while the paintings in Peregrinations exposed earthly problems, the celestial series celebrates the eternal glory of the Milky Way and its galaxies. Employing a masterly manipulation of the marbling technique, he turned the colour-splash accidents to deliberate designs by conditioning the marbling to generate volume and void schematic splashes into discernable images.

    He appropriated the ambivalent volume and void effect of the color splashes into deliberate visual illusions that depict infinite depth of the heavens. jegede used the Celestial Aesthetics series to elevate human imagination from mundane realities into the esoteric realm of celestial escapism. He lured our mental sensibilities to appreciate prophetic possibilities of life thereafter by conjuring colors with varying degrees of intensity and value. In Celestial Aesthetics Series 1, the dark night skyline became effervescent with sparkling dots of brilliant tones. Speckles of tinted hues illuminate the depth of the heavens and thus animated the spatial constellation.

    Celestial Aesthetics Series 1 is, particularly interesting, because it allows associated cultural imaging of jegede’s creative mind. He seems to have extrapolated the chromatic taxonomy of the Yoruba and appropriated the emotive relevance of color symbolism. In Yoruba palette consciousness, all colours are classified into three generic groups namely dudu (darkish), pupa (reddish) and funfun (whitish). This chromatic connotation accommodates all cool and warm hues including the achromatic black and white colours. jegede used his knowledge of Yoruba visual and verbal poetics to explore colour symbolism in Celestial Aesthetics Series 2. He applied blue, red and white which are major colours in the chromatic lexicon of the Yoruba to articulate and contextualise the thematic relevance of the painting.

    It is, therefore, plausible to associate the emotive content of the painting with a popular Yoruba dirge often chanted by the bereaved while lamenting the loss of a beloved. The chant rendered in Yoruba can be translated to English thus:

    “He who knows the blue touraco

    Mourn the death of Indigo

    He who knows the red wood cock

    Lament the demise of cam-wood pigment

    He who knows the cattle egret

    Empathise with the transition of white chalk.”

    The above Yoruba dirge conceptualises grief in colours by personifying some beautiful birds with comely plumages as visual metaphor for cherished personalities. It was perhaps the above dolor that prompted the use of blue, red and white colours in Celestial Aesthetics Series 1. The series of paintings were done by jegede in memory of Ayo, his beloved son whose sparkling sun set so suddenly.

     

  • Ode to Adekunle Fajuyi at 90

    Ode to Adekunle Fajuyi at 90

    Oloye ‘Lekan Alabi writes on the first military governor of the now defunct Western Region the late Lieutenant-Colonel Francis Adekunle Fajuyi who would have turned 90 years last Sunday June 26. 

    ON Sunday, 26 June, 2016, would have, in all probabilities, been the 90th birthday of the first Military Governor of the now-defunct Western Region of Nigeria, the late Lieutenant – Colonel Francis Adekunle Fajuyi, had he not been assassinated along with Nigeria’s first military Head of State, the late Major – General Johnson Thomas Umanikuwe Aguiyi – Ironsi, on that counter coup day, 29 July, 1966, in Ibadan, Oyo State.

    General Ironsi, the Supreme Commander of the Armed Forces, emerged military head of state sequel to Nigeria’s first military putsch, on 15 January, 1966, led by the late Major Chukwuma Kaduna Nzegwu, which overthrew the (civilian) Federal Government headed by the Prime Minister, the late Alhaji Tafawa Balewa. The Northern, Western, Eastern and Mid-Western regional governments were also overthrown with the premiers of the Western and Northern Regions, the late Chief Samuel Ladoke Akintola, and the late Sir Ahmadu Bello respectively losing their lives.

    Of the four military governors appointed to run the affairs of the regions in January 1966, Lt-Col Fajuyi was posted to the Western Region. Born on June 26, 1926, to the late Pa. Isaiah and Felicia Osundunke Fajuyi of Ado-Ekiti in Ekiti State, the late Col. Fajuyi attended St. George’s Catholic School, Ado-Ekiti. He joined the army on November 16, 1943. After the basic military training in Zaria, he proceeded to the Army Clerks Training School, Yaba. The late Col. Fajuyi also attended courses in Teshi, Ghana and the Officers Cadet School in the United Kingdom, where he was commissioned as a Lieutenant in 1954.

    He served as Military Adviser, Headquarters ONUC, Congo (August – December, 1961), 2 i/c 3rd Battalion NA, Kaduna; Commanding Officer, 1st Battalion, NA, Enugu and Commander, Abeokuta Garrison. He served in Germany on attachment to the British Army. In 1957, he attended the Platoon Commanders course in England. He also trained as an officer in Pakistan in 1964. He was married and had children. He was decorated several times for gallantry and resourcefulness.

    The late hero Col. Fajuyi offered to die along with his guest, Gen. Ironsi, who had just concluded a nationwide tour in Ibadan, a day before the coupists stormed the Government House, Agodi, Ibadan on 15 January, 1966. Fajuyi paid the supreme sacrifice so that Nigeria could live, just a month after his 40th birthday.

    By its letter of 5th  May 1993, and signed by its Executive Secretary, Mr. Donald Olufemi Fajuyi, the lawyer-son of the late Colonel, the Adekunle Fajuyi Foundation, appointed me as a member of its launching committee and I communicated my humble acceptance in writing to the Foundation on September 14, 1993. The launching committee held its maiden meeting in Ibadan on Thursday, 24th February, 1994 and the following were elected as executives – the late Dr. Akin Baba, a businessman (Chairman); Professor Mark Nwagwu, then of the University of Ibadan; Alhaji Ahmed Zungeru, Seriki Hausawa of Ibadanland; and myself as Honorary Secretary. In summary, the principal objective of the Adekunle Fajuyi Foundation encompasses the desire to keep the gallant soldier’s spirit aglow, promote national unity and sacrifice to the fatherland. The Foundation proposes to build a civic centre and operate as a non-profit making, independent organ. May I state, at this point, that the Oyo State League of Veteran Journalists, has since 2008 been organizing an annual Adekunle Fajuyi Memorial Lecture in Ibadan. I shall touch on this year’s programme at the end of this piece.

    On March 17, 1994, a joint meeting  of the launching committee and its sub-committees comprising eminent Nigerians in various professional callings was held at the NUJ Press Centre, Ibadan, Oyo State where nominations to the Foundation’s Board of Trustees and Patrons were considered and approved. Offers were made to some eminent Nigerians. Majority of them accepted the offers, while a few, citing personal commitments, politely declined; but still offered to assist in less demanding capacities.

    The following distinguished citizens were appointed to the Board of Trustees: a late Deji of Akure, HRH Oba Adebobajo Adesida, a late Emir of Kano, HRH Alhaji Ado Bayero, Alhaji Ahmed Zungeru, Sarki Hausawa, Ibadan, Professor Bolanle Awe, Chief (Dr) Emmanuel Iwuanyanwu, Otunba (Dr) Kunle Olajide, Air Commodore Kola Falope (rtd) Professor Mark Nwagwu, Chief (Dr) Raymond Dokpesi, Dr. Akin Baba, Donald Oluwafemi Fajuyi, Esq and my humble-self, Honorary Secretary. The processes for the incorporation of the Foundation with the Corporate Affairs Commission were later contracted to consultants in 1995. We commenced work and a plan of action with three major assignments drawn-up – (i) launch of a N500 million Adekunle Fajuyi Foundation at Akure Sports Stadium, (ii) Symposium at the Conference Centre, University of Ibadan, and (iii) a 4-day 30th memorial celebrations starting on Friday, July 26, 1996.

    The first assignment enumerated above never saw the light of day because individuals / authorities lobbied by the Committee gave one excuse or the other such as “unfavourable political climate”. After fruitless visits, letters, telephone calls to Abuja and places where we thought power resided in, we shelved the launch and embarked on plan number two. I must mention the great enthusiasm, material, and financial support given to the committee by the former Military Administrators of the old Ondo State, Colonel Mike Torrey; Commander Anthony Udofia of Osun State; and Colonel Ike Nwosu of Oyo State, in our efforts to actualize our plan of action.

    Our plan number two was a symposium titled, “The Leadership question in Nigerian politics”, scheduled to hold on Monday, June 26, 1995 to coincide with Col. Fajuyi’s posthumous 69th birthday. We paid for and secured the use of the Conference Centre, University of Ibadan. Our invited discussants were Dr. O.B.C Nwolise, now a Professor at the University of Ibadan, the late Professor Adelani Ogunrinade, also of the University of Ibadan, the late Dr. Bala Usman of Ahmadu Bello University, and the then Rev. Father Matthew  Hassan Kukah of the Catholic Secretariat, Lagos.

    The Committee also formally invited retired Brigadier Mobolaji Johnson, the first Military Governor of Lagos State to chair the symposium, Prince Tony Momoh veteran journalist and former Minister of Information, as moderator, and Dr. Walter Ofonagoro, then Minister of Information and the late Alhaji Wada Nas, then Minister of Special Duties as guests of honour with the Military Administrators of Oyo, Ondo, Ogun, Osun, Lagos, Kwara, and Kogi states as hosts.

    We thought everything was sealed until feelers, about two weeks to the event, reached us indicating a last minute cancellation plan by the authorities. The excuse to be given, we were informed, would be our failure to obtain police permit. I, on June 12, 1995, therefore, quickly wrote an application for police permit to hold the symposium. I personally delivered same to the Commissioner of Police through the Police Public Relations Officer at the Police Headquarters, Eleyele, Ibadan. Three days after, a reply dated 15th June 1995, reference no: CB 3422/OY/Vol.5/328 and signed by Mr. J.B Onwubuya, Deputy Commissioner of Police, on behalf of the Commissioner of Police, was delivered to me. In it, the Commissioner of Police regretted to inform “that in view of the uneasy calm currently prevailing in the country, it is considered inappropriate to hold any symposium of the above matter for now. Consequently, your application is not approved. In view of the fact that the symposium can be postponed, you are advised to consider the option to take place at a more auspicious time, later in the year, please”.

    We ran round those we assumed could help us out, but all pleas fell on deaf ears. Thus moral, financial, and personal efforts were, once again, flushed away. By then, parents had started pulling the ears of their children, wives were warning their husbands against “undue radicalism” and “patriots” sounded caution against “brinkmanship”. Nigeria had begun the slide to totalitarian rule. We receded, apologized to invited participants and guests and bidded for the “auspicious time” as advised by the police.

    In 1996, the committee resolved to actualize its third plan i.e. a four-day programme of activities to mark the 30th anniversary of the death of the hero, Col. Adekunle Fajuyi. These were Jumat service at the Central Mosque, Oja’Ba, Ibadan on Friday, 26th July, 1996: Mass on Sunday, July 28th, 1996, at the St. Mary’s Cathedral, Oke Padre, Ibadan (because Colonel Fajuyi was a Catholic); memorial lecture on Monday, July 29th, 1996, with Reverend Father Matthew Kukah as guest speaker; and laying of wreaths at Fajuyi’s grave and visit to his family at Ado-Ekiti in the evening of same day.

    This was preceded on Sunday, July 28th 1996 by the Mass, which was poorly attended. Below is an excerpt from the letter written to me on 9th August, 1996 by the then Catholic Archbishop of Ibadan, Dr. Felix Alaba Job, on the poor church attendance. ” I wish to call your attention to the problems created by the special invitees to the celebration who finally did not come. It might be necessary in future to confirm the acceptance of such august guests before informing places of worship who may incur so much expenses and inconveniences…..”

    Without sounding immodest, I believe that my six years as Press Secretary to four Governors (one civilian and three military) of old Oyo State between 1983 and 1989, gave me more than an average insight into protocol. What did we not do to sensitize the mighty and the low in the society on the need to give Fajuyi his dues? Phew!

    On the 30th anniversary lecture day, Monday, 29th July, 1996, everything was in place, or so we thought. After waiting in vain for an hour and a half for the Chairman, the guest of honour, and other VIPs who had earlier accepted our formal invitations, with personal visits and telephone calls by us as reminders, the painful decision was taken that the show must go on. After all, we, the organizers, had given great attention to the preparations vide logistics, public announcements, invitations etc.

    In his opening speech, the ‘commandeered’ Chairman of the occasion, a former Military Governor of the defunct Western State of Nigeria, retired Brigadier Oluwole Rotimi, after scanning the hall, said, if he (Col. Fajuyi, the hero being honoured) were to be of a different hue, the hall would be filled to capacity. But, as it is very often the case, Nigeria had failed to honour one of its heroes. Venue was the Oyo State House of Assembly, Ibadan. The 30th Memorial Lecture’s theme was “Serving with heart, might, and honour”.

    The guest speaker was Reverend Father Matthew Hassan Kukah, then the Secretary -General, Catholic Secretariat of Nigeria, while the guest of honour was the General Officer Commanding, 2 Mechanized Division of the Nigerian Army. The GOC, or his representative, did not attend, despite our formal meeting with him previously at the Odogbo (now the Adekunle Fajuyi) Cantonment, Ojoo, Ibadan, during which he gave us his nod and promise to attend the lecture. But, the army band which he approved its release turned up, as did civilian representatives of the invited Military Administrators. The Guest Speaker, Reverend Father Matthew Kukah, spoke in the same vein with Brigadier Rotimi. He said he had envisaged that only true patriots would honour the invitation to a lecture in honour of a dead hero.

    In his lecture titled, “Yesterday’s Dreamers, Today’s Realities, and Tomorrow’s Heroes”, the Catholic priest touched on the essence of Fajuyi’s philosophy of life and the supreme sacrifice he paid when he said, “Although Fajuyi and Ironsi were not felled by  mystery gunmen, their death was the manifestation of the pact of love, trust, and integrity. Their death was anchored on the tripod of military idealism: honour, bravery, and loyalty. In those moments when to run seemed the noblest option, so that one can live to tell the story, Fajuyi stuck by his friend, thereby displaying that the blood of friendship is stronger than the filthy waters of politics”.

    However, those who respected, and valued honour, gallantry, loyalty, patriotism, and service as exemplified by Col. Fajuyi,  heeded our call to duty in July 1996; particularly the media. Now, to my promised mention on the Oyo Sate League of Veteran Journalists. Come on Friday, 29th July, 2016, this year’s Adekule Fajuyi Memorial Lecture (the eighth in the series) will, DV, hold in Ibadan, courtesy League of Veteran Journalists. I am the chairman of a 7-man planning committee comprising seasoned and patriotic journalists, saddled with the noble task of organizing the golden anniversary lecture, as Fajuyi laid down his life fifty years ago on July 29th , 1996

    I pray for success for our committee and recommend the following portion of Thomas B. Marculay’s essay, “Civil Disabilities of the Jews” written in 1831, to all Nigerians, particularly those who shall attend the 2016 Fajuyi lecture in Ibadan.

    “The feeling of patriotism, when society is in a healthful State, springs up, by a natural and inevitable association, in the minds of citizens who know that they owe all their comforts and pleasures to the bond which unites them in one community.” Fajuyi and other national heroes like him deserve to be seen in their true hues as patriots. May his gallant soul continue to rest in peace. Amen.

     

  • Celebrating Benson Idonije at 80

    Celebrating Benson Idonije at 80

    Seasoned broadcaster and music critic Benson Idonije popularly known as Benjay turned 80 on June 13. The creative community trooped out to celebrate the man, his music and muse. They paid tributes to him at a weeklong festival of intellectual/music feasts in Lagos, Evelyn Osagie reports. 

    He beamed with smiles as he spotted some colleagues, friends and acquaintances. He waved at some, walked and took the seat reserved for him.

    These days, he takes front seat with a hearty smile. Why? Pa Benson Idonije has  attained the milestone of 80. The creative community celebrated him with week-long activities in Lagos.

    Born on June 13, 1936, in Otuo, Edo State, the octogenarian grew to become a force in the development of the music industry.  Idonije, a seasoned broadcaster known for his promotion of classical music, is one-time manager of the late Afrobeat legend Fela Anikulapo-Kuti and a former recipient of the Life Time Award for Journalism Excellence from the Wole Soyinka Centre for Investigative Journalism.

    His 80th birthday was marked with cerebral feasts and musical funfair.

    The art community marked his birthday  with training sessions, colloquium, tributes, book launch, documentary screening and musical concerts anchored by some notable personalities.

    A huge attended number of Jazz critics, musicians and art lovers.

     

    Idonije the canvas

     

    The celebrations, which were later christened The Benson Idonije @ 80 Celebration by the Committee for Relevant Arts (CORA) and the Cultural Advocates Caucus (CAC), began with Olu Ajayi Studio-inspired Living Legends portraiture at Freedom Park.

    Idonije made history by being the first music critic to be so honoured. Before him, the Living Legends initiative has also documented other notable Nigerians, such as Prof Wole Soyinka, Prof J.P. Clark; the late Benin monarch, Oba Erediauwa; former Head of State General Yakubu Gowon (rtd); iconic artists Bruce Onobrakpeya and Yusuf Grillo.

    Ajayi along with his five colleagues – Dr Emmanuel Irokanulo, Bolaji Ogunwo, Ademorin Aladegbongbe, Theo Lawson and Duke Asidere – immoratalised Idonije on canvas.

     

    Workshop for students

     

    Last Thursday, June 16, there was a workshop for Lagos State University (LASU) Music students coordinated by Biodun Batik. It was a two-day event.

     

    Colloquium, book launch, documentary for Idonije

     

    In the afternoon, the celebration moved to the Agip Hall of the MUSON Centre, Onikan, for a colloquium/session on tributes. The  theme was Essential Benson Idonije and the event was chaired by Pan-Atlantic University Pro-Chancellor, Dr Christopher Kolade. It featured the celebrator’s friends Victor Johnson and Mr Kevin Ejiofor as lead speakers; Chief Biodun Shobanjo as anchor; Mr Tunde Adeniji, Chief Dele Ajakaiye, Osaze Iyamu, among others. Three of Idonije’s books – Dis FelaSef, The Great Highlife Party and All That Jazz – were presented by Chief Rasheed Gbadamosi. They were reviewed by Dr Reuben Abati and Layiwola Adeniji.

    The event ended with a documentary, The Essential Benson Idonije screened in the evening. A musical concert featuring a Mixed grill of Sound was held at the Freedom Park.

     

    All roads lead to celebration

     

    The students’ workshop at LASU continued on June 17 and in the afternoon all roads led to O’Jez Restaurant at the National Stadium,  in Surulere, Lagos for conversation on  highlife music. Founder/Director Bokoor Popular Music Archives Foundation (BAPMAF), Ghana Prof. John Collins presented the keynote address on Highlife – The Evergreen: Looking Back, Looking Ahead, kick-starting a discussion session. The session, chaired by veteran journalist Aremo Olusegun Osoba, featured recorded chronicles and documentaries of highlife music.

    It was followed by Dancing with the Stars, a segment featuring music maestros Victor Olaiya and Jimi Solanke,  among others.

    Music lovers and well-wishers partied all night as highlife bands treated them to classic tunes.

     

    COSON, CORA/CAC celebrate Idonije

     

    June 18, the Copyright Society of Nigeria (COSON) took over with its session in the afternoon. The event was anchored by COSON Chairman Mr Tony Okoroji, who asked that Idonije be given a national honour. It featured interactive session and music performances.

    The train moved to Freedom Park for CORA/CAC’s session where Jazz critic and photographer Tam Fiofori took the audience into the history of Jazz music in his paper titled: All that Jazz: The standards, the crossover, the transformation.

    The session was followed by a concert in collaboration with Lagos International Jazz Festival at another side of the venue where Dede Mabiaku, Yinka Davies, Liberian Music icon Miatta Fahnbulleh, Mike Aremu, Edaoto and others thrilled guests with music.

     

    Burna Boy pays tribute to grandpa

     

    The activities climaxed on June 19  the CORA in collaboration with Nigerian Entertainment Conference (NEC)  held NECLIVE Mini-Series featuring at Freedom Park. The keynote address was given by Mr Ayeni Adekunle; Mr Laolu Akintobi chaired the event. The interactive session featured the author of  Indigo, Molara Wood and Osagie Alonge, among other notable music and culture scholars and enthusiasts in attendance.

    There was a concert tagged: A Toast to Grandad featuring Idonije’s grandson Damini Ogulu popularly known as Burna Boy and notable acts, such as Dede Mabiaku, Phyno, General Pype, Gloria Ibru and DJ Max Kendy.

     

    Season of tributes

     

    Ace poet and social critic Prof Niyi Osundare: “Frequently and assiduously, Mr Idonije trains his focus on music as art and profession, vocation and special calling…Without a speck of doubt, as far as music is concerned, Idonije is a Benson of all trades and master of all… Under his gaze, at his prodding, the evergreens assume a more sonorous depth and richer resonance…This is a piece on Benson Idonije, the Asiwaju of Nigeia’s Social Music Critics, the man who makes sure we never lose the memory of our sound – and sense.”

     

    Dr Kolade: ‘’We must continue to celebrate people like Ben because they give us hope for tomorrow. They have brought so much value, intellectually contributing to the development of Nigeria.I respect him for contributing a counter force to what we are experiencing as a nation. If this country were to find people who would give genuine interest to what we do, we would be better off. Ben is one of the people I have not just respect for, but admiration’’.

     

    Fiofori: “In 1973 Benson Idonije organised Jazz jam sessions for Radio Nigeria from the Floating Buka, featuring a band that included Crossdale Juba on trumpet and Willie Bestman on drums…Thankfully, Black music writers and broadcasters like Amir Baraka, A. B. Spellman, Stanley Crouch and myself while in America and, our own Idonije and Lindsay Barrett in Nigeria continue to set the records straight…There is the need to debunk certain mindsets in Nigeria about Jazz music. Jazz is not Oyibo music or Big Man’s music and, neither is it difficult to understand and like…We should not just concentrate on music for the waist as the head needs nourishment too…Jazz is that music that is cerebrally stimulating.”

     

    Ace thespian Emanuel Francesca: ‘’I welcome him to our club of the 80s. I wish him happy birthday. I came to understand different kinds of Jazz and educate myself better. Although my instrument is voice but I see myself as a lover of Jazz and all kinds of music. Idonije deserves a national honour’’.

     

    Art collector, Chief Gbadamosi: ‘’Tribute in a lifetime is sweeter than any other time’’.

     

    Dr Abati: ‘’Ben Jay deserves to be congratulated on his tenacity in bringing out, against all possible odds, a memoir as he correctly describes it on Fela – legend, maestro, counterculture hero, mystic musician, philanthropist, iconoclast, rebel, patriot and one of Africa’s most significant contributors to the world of art and music in the 20th century’’.

     

    Former PMAN President Tee Mac: ‘’Benson was a very outspoken radio presenter; so, he had his programmes where he had the opportunity to push and discuss good music. Benson will not compromise: he knew what was good music and he pursued those. He was part of Fela’s and many other artists’ promotion. It is only when you have somebody to talk on your behalf, people will know you. So, it was a very important role. I wish him many more happy returns and I wish that the government recognises people like him more’’.

     

    Former colleague and friend Johnson: ‘’Idonije is level-headed and intellectually upright’’.

     

    Molara Wood: ‘’It is a pity that people like him do not ‘’.

     

    The ‘birthday boy’s’reply

     

    ‘’I’d like to thank all of you for the outpouring of love and appreciation. What else can I say that to say: “Eyin naa a dagba”.

    Without Fela, there would be no hiphop. I started managing Fela in 1963; most musicians faded because they lacked originality. He went from Jazz to Afrobeat. His ideals were his staying power. This generation needs to listen more to their elders/leaders like Soyinka to lead and guide them. They are doing the wrong thing and the wrong thing is right for them and what you’re teaching is old school. My quarrel has always been that we are imitating foreign cultures. But my tone of criticism in the last few years has reduced’’