The Nation Newspaper

Category: Arts & Life

  • Herdsmen, farmers crises: time bomb waiting to explode

    Herdsmen, farmers crises: time bomb waiting to explode

    Things are no longer at ease in Oyo State because of herdsmen attacks. There are fears that if not checked, they may lead to clashes between herdsmen and farmers.

    About  eight villages and settlers in Ilora Farm Settlement, Afijio Local Government Area of the state, have declared war on the cattle rearers. The villages are Oluwatedo, Temidire, Idode, Kaye, Fitila, Isale-Awon` and Ekefa.  The angry-looking villagers who are peasant farmers narrated how they lost millions of naira to malicious damages done to their farm produce by herdsmen.

    Spokespersons for the villagers Sunday Adeladan and Jacob Ayoola said invasion of their farmlands by the cattle rearers started late last year, noting that efforts to check the criminal acts were often met with violent attacks by the cattle rearers.

    “Villagers from each of the communities planted cassava, maize and yams on about 50 acres of farmland each, but were unable to harvest five ridges because  the Bororo rearers’ cattle  had eaten up all the crops.

    “Whenever we contacted them on the damages and the need for compensation, they would draw out their sharp daggers and cork their double-barrel guns in readiness for attack,” Mr Adeladan said.

    Adeladan and Ayoola added that they  were owing about N20 million as loans, which they could not pay back because “there is no means of doing so. “Our means of livelihood have been damaged and eaten up by cows; we have no other means of sustenance.  Our families are dying of hunger, nothing for us to eat, let alone allowing our children to go to schools.

    “No money to buy text books, sandals, not to mention uniforms. It is as serious as that. Failure to comply with the ultimatum may invoke anger and violent reactions from us because a hungry person is a mad person. Authorities concerned must intervene now before it is too late,” they said

    Similarly, Chairman, Ilora Farm Settlers Association, Alhaji Azeez Giwa, disclosed that “over 8,009 acres of farmland were eaten up and destroyed by the cows”.

    It was gathered that following the protracted crises, a committee was constituted in each of the 33 local governments. The committee is to be headed by council chairmen, while a Divisional Police Officer will serve as the secretary.

    Other members include heads and representatives of the communities and representatives of the cattle rearers. What do you expect from us when our source of existence is threatened? The encroachment on grazing fields and routes by farmers is a call to war,” Abdullahi Sadeeq, a Fulani herdsman, said in an interview in Saki town.

    Critics have, however, called for the law enforcement agencies to check the proliferation of small arm and light weapons. A legal practitioner, Mr Wale Adeoye, has suggested that cattle routes and grazing reserves should be “phased out” to lay emphasis on ranching. Adeoye also identified cattle rustling as a disincentive to ranching and called for “better policing”.

    “State governments which have large livestock population should maintain grazing reserves. The three-tier government should equally embark on a contentious “modernisation programme” in which nomadic herdsmen will be integrated into settled communities based on established cattle ranches with fodder development technologies, including abattoirs, processors and other businesses on the livestock value chain.

    “The integrated development programme should be undertaken and wrapped up within a period of five  to 10 years after which such settlements should have become self-sustaining with the full integration of the nomadic herdsmen community into modern Nigeria political economy.”

    He also advocated that traditional institutions should be primarily responsible for conflict resolution between herdsmen and farmers, and also their respective associations. “The farmers would want their crops to be protected, while the cattleman will also want their cattle to feed. So the government should fashion out a peaceful means to end the crisis.”

     

  • Samsung, Rele Gallery partner on What’s Cooking?

    Samsung, Rele Gallery partner on What’s Cooking?

    Art and technology share a unique relationship, according to Smartphone technology experts. They spoke at the culinary art, photography exhibition and online competition organised by Samsung Electronics West Africa and Rele Gallery.

    With the theme What’s Cooking? the event opened at the Rele Gallery in Lagos with the works of two photographers – Kelechi Amadi-Obi and Ade Asiko Okelarin – and the overall winner of the food contest, Ms Haneefah Adam.

    The project, Rele Gallery founder & curator, Adenrele Sonariwo said, was an eye-opener, observing that: “we’ve come to discover food is much more than something we eat”.

    The gallery, Sonariwo added, is committed to changing the way we consume; navigate the world around us through art.

    “Through this project we highlight that there is an art to cooking and presenting it. For the first time ever, Nigerian cuisine got to be documented as an art piece, to inspire experimentation and exploration of the possibilities. Technology has, once again, proven to be an important, reliable partner in establishing this narrative.”

    One interesting feat of the exhibition was that the photographs showcased were captured by Samsung Galaxy S7 edge Smartphone.

    Moved by the creative richness of the exhibits, Managing Director, Samsung Electronics West Africa, Mr Paul Lee, observed that art and technology draw strength and muse from each other. “Technology and art have had an unfamiliar relationship over the years, with many people wondering what the nature of this relationship is. Art and technology derive strength and inspiration from one another. Hosting a competition for chefs is logical as cooking is a form of art. With this novelty, Samsung is rebooting the relationship between art and technology by being a part of exhibitions and initiatives that will foster new collaborations across both disciplines and industries,” he said.

    Amadi-Obi and Okelarin said they drew inspiration from Nigerian cuisine created by three leading chefs, Tiyan Alile, Ozoz Sokoh (Kitchen Butterfly) and Dunni Obata (Dooney’s Kitchen). The exhibition was preceded by the online culinary art contest, which, the organisers said, attracted over 300 entries from across the country. The three winners were announced at a private viewing to mark the beginning of the four-week exhibition. Ms Adam, a medical scientist and lifestyle blogger, who came first, was rewarded with Samsung’s flagship Galaxy S7 Edge Smartphone. Her work on display depicts the African woman with ingredients of the South-eastern states delicacy.  Second and third runners-up got a Samsung Galaxy Tab A and Galaxy Tab E.

    According to the organisers, talented Nigerians from across the country, trying their hands at culinary artistry by creating an original work of art using real food, in line with the exhibition theme, participated in the competition.

    “The entries were uploaded by participants on www.techmeetsart.ng, who were asked to state what inspired their food art. All entries were judged by a panel of chefs and photographers based on published guidelines,” they said.

    On the online contest, Samsung Electronics West Africa, Director of Information Technology and Mobility, Mr Emmanuoil Revmatas, expressed satisfaction with the quality of entries received as he restated Samsung’s mission in making life better and more exciting.

    He said: “There are a number of necessities that are imperative in life, and two of them are food and technology. The collaboration between Samsung and Rele Gallery has produced the #TechMeetsArtNG initiative, a platform where technology helps to enhance art on different levels. This year’s theme, ‘What’s Cooking’ is all about fusing technology and art as well as food. The special culinary delights were brought into focus with the use of Samsung Galaxy S7 edge Smartphone by renowned photographers such as Kelechi Amadi-Obi and Ade Okelarin (Asiko) to capture Nigerian art food created by all three distinguished chefs.’’

     

  • Etisalat seeks more publishers for €15,000 African literary prize

    Etisalat seeks more publishers for €15,000 African literary prize

    Etisalat Nigeria has urged more African publishers to enter for its $15,000 pan-African literary prize.

    The call was made in Lagos by its Chief Executive Officer, Mr Matthew Willsher, at a briefing to call for entries for this year’s edition and unveil the judges for the contest.

    The 2015 edition of the prize was won by Democratic Republic of Congo’s Fiston Mwanza Mujila with his first novel, Tram 83.

    The prize, Willsher said, “holds great benefits for the writer and the publisher”.

    Not only does it  come with a cash prize of €15,000, the winner will take part in a fellowship at the prestigious University of East Anglia, United Kingdom, under the mentorship of Prof Giles Foden, the award-winning author of The Last King of England, according to Willsher.

    “The prize also incorporates an award for Flash Fiction – an online-based competition for non-published African writers of short stories. We really value your support and hopes that it continues to increase this year as it has in the previous year,” Willsher urged the publishers.

    The briefing was attended by two of the prize patrons – renowned literary icon, Prof Kole Omotoso and awards-winning author, Dele Olojede -Nigeria’s award-winning writer/scholar Helon Habila and the media.

    This year’s panel, Willsher also announced, is to be chaired by Habila, and has South African writer and activist Elinor Sisulu and Ivorian writer, Edwige Rene Dro as members.

    He added: “We are delighted to champion the cause for celebrating the richness and strength of African literature. Etisalat Prize for Literature is about discovering and bringing to the world stage the many creative talents Africa boasts of.”

    Only books by debutant writers published not later than 24 months before submission, Willsher said, will qualify for entry. “They must also be by registered publishing houses not less than six years as incorporated publishers with registered ISBN Number or the equivalent, and who must have published a minimum of six authors. All entries should be accompanied by seven copies of the book entered along with an acceptance of our publicity terms. A publisher may submit a maximum of three books. The rules and guidelines for entry are available at prize.etisalat.com.ng.”

    Meanwhile, Habila decried that African literature is under-appreciated globally, observing that although African literature has come a long way from Things Fall Apart  in writing and publishing, more  has to be done in correcting the notion and improving the continent’s literature. “The prize is a timely correction from Etisalat. I’ve always been a champion of African literature; and this is an opportunity for me to do that,” he said.

    The briefing held at the Wheatbaker Hotel.

     

  • Hospitality group adopts new platform

    Fahrenheit Hospitality Limited (FHL) is adopting a platform for improving its service delivery, the group, which is the parent company for the  Maison Fahrenheit Hotel and Fahrenheit Loft, has said.

    With its recent adoption of SlimTrader’s ‘MoBiashara for Hotels’ platform, according to the Managing Director of Maison Fahrenheit Hotel Mr Anthony Shishler, FHL is moving to a new era of hotel inventory management. One, which, he believes will see an improvement in their room sales and efficient hotel processes automation.

    The partnership, he said, is a part of the Fahrenheit Hospitality Limited’s efforts to subscribe to the #BuyNaijaAndGrow TheNaira movement which encourages Nigerians invest locally.

    “Before the coming of this solution; hotels in Nigeria were completely unplugged. Now, this plugs us in and more people would be able to view our rooms and book them online. It simplifies processes immensely for FHL and for our customers, who can now book and pay for our rooms anywhere in the world, and in any currency. Our hotel staff will not be bogged down with currency conversions, forex limitations or the hassle of consolidating offline with online records,” he said.

    With the Channel Manager feature, Shishler was of the view that FHL hotels’ rooms would be available for purchase on international and local online travel agencies, stating that “The platform supports both online and offline payments as well as automatic syncing and reconciliation between FHL hotels’ creditand debit card machineswith computer records”.  Commenting on the partnership, SlimTrader’s General Manager, Commercial, Mr Magaji Buba said: “SlimTrader is delighted to partner with FHL towards supporting their business and facilitating effortless transactions. We are confident that our MoBiashara for Hotels platform is a must have management system for businesses in the hospitality sector.”

     

     

     

  • Fundraiser to end women’s pain

    Fundraiser to end women’s pain

    Health and medical specialists gathered in Lagos to discuss Endometriosis and raise fund to support its enlightenment campaign. OYEYEMI GBENGA-MUSTAPHA was there.

    It is common in some homes girls to see women writhe in pains, especially during their menstrual period. Such condition needs to be investigated. It may not be an ordinary menstrual pain, but Endometriosis. So, men have been urged to pay close attention to women in their lives that experience pains, especially during their menstrual period, and bring them to the hospital, to determine if such pain is Endometriosis.

    Endometriosis is a condition whereby the lining of the uterus, called endometrium is found outside the uterus and causes intense pain in women, especially during the monthly menstrual cycle and during intercourse. The condition can cause premature menopause, as well as a broken home when the woman refuses intercourse due to the pain she undergoes during the act.

    The Medical Director of Duro Soleye Hospitals, Dr Duro Soleye, made this appeal at the Gala Night/Fund Raising ceremony of the Endometriosis Support Group Nigeria, ESGN. Dr Soleye said he lived with about two women who have the condition- his ex-wife, Chief Nike Oshinowo and his immediate senior sister; but because he had known about the condition, he was able to offer assistance to the two. “I am advocating for early diagnosis of the ailment, as this would help in the treatment and management process,” he said.

    Dr Soleye said about 30 to 40 per cent of Nigerian women and girls suffer from endometriosis, while over 176 million women suffer from the condition globally.

    He said a recent study also revealed that about 11 per cent of women and girls with no symptoms or complaints suggestive of endometriosis were actually living with the disorder in the country, as the women were often unaware of the ailment for years before it is diagnosed by a medical practitioner.

    According to him several women and girls across the country have been silently battling with the disease, even as it causes them so much pain and other discomforts that affect both health and the social lifestyle of the sufferers.

    “Symptoms of endometriosis could be severe pain during menstruation, which may lead to temporary incapacitation. Most times the pain is also intense when the woman is having intercourse,’ said Dr Soleye.

    Wife of the Vice President, Mrs Dolapo Osinbajo, who was the special guest of honour, equally challenged Nigerian medical experts and researchers to rise up to the challenge  of finding solution to the problem posed by endometriosis as a chronic, inflammatory disorder and a leading cause of infertility and other gynecological complications that affect women and girls of reproductive age.

    Mrs Osinbajo said the reality of women that suffer from endometriosis, their carers and their loved ones demands response from all Nigerians. “Endometriosis cause infertility, and women and girls are precious. Let’s keep it that way. I enjoin our medical experts and indeed all of us to help improve the quality of life of women and girls suffering from endometriosis. It is scary and disturbing to me that millions of women and girls are living with this condition without diagnosis and more sad that several are misdiagnosed and heartbreaking to think that as we speak, so many are suffering because of the condition.”

    Osinbajo said endometriosis is one more threat and obstacle for women and girls to contend with at a time violence against women and girls is higher than ever before. “What does a woman represent to you? What do you think when you see little girls, young girls, mothers, laughing and playing? Can we stand to see them suffer? I cannot imagine the pain of surgeries, but one thing I can imagine is the inner strength of those living with the disorder. As I appreciate all the work done by the ESGN, I must salute the courage of Chief Nike Oshinowo, our beauty queen and world ambassador for this cause. I salute her courage for speaking out about her personal experiences in a society like ours that judges so quickly, and speaks so definitively about her opinions. I believe this is indeed a great personal sacrifice. Today, her personal experience is bare for the sake of ensuring there is awareness about endometriosis. Our clinical practitioners are encouraged to watch out for it and treat it to help sufferers and hopefully, find a cure,” she stated

    Narrating her experience with endometriosis, former Miss Nigeria and ESGN Global Ambassador, Chief Nike Oshinowo, who has lived with the condition since the age of 11, called for policies that would stimulate research into the causes and possible cures for the condition. “No doctor has told me why I suffer so much because of endometriosis. Why me, I keep asking. I turned 50 recently and I’m looking forward to menopause. However in spite of endometriosis, I have had an amazing life,” she said.

  • How not to preserve museums, cultural landscapes (II)

    How not to preserve museums, cultural landscapes (II)

    To this end, Part II section 18 of the legal instrument “forbids any person to willfully destroy, deface, alter, remove or excavate any monument else, the offender shall be guilty of an offence and shall be liable on conviction to fine of  N1000.00 or twice the value of such monument (whichever is higher) or to imprisonment for 12 months or to both fine and imprisonment”.

    Without mincing words, the statutory institution for the protection and preservation of monument in Nigeria whether as Federal Department of Antiquities or its metamorphosis; the National Commission for Museums and Monuments, have not fared well in this direction. Granted that the provisions of the legal instrument is fraught with glaring short comings because of the kid blow penalties for offenders, there is no       gainsaying that the Federal Department of Antiquities and its successor, the National Commission for Museums and Monuments have not performed creditably well in the preservation and protection of the Benin City Walls and Moats. It may be argued that the limitation on the part of the Federal Department of Antiquities stems from lack of trained personnel and funding. But the same cannot be said of the National Commission for Museums and Monuments whose funding can be considered as adequate and has the trained personnel at its disposal.

    Having pointed out the ineffectiveness of the agencies responsible for the protection and preservation of cultural landscapes in Nigeria, it must be recorded also for objectivity sake that the residents of Benin City living close to the moats as well as successive governments of the day from the Midwestern Region through Bendel and Edo  states have not helped matters in the protection and preservation issue. Against the sign – post caution and stern warning of the agents responsible for the protection and preservation of cultural landscapes, the recalcitrant residents turned the moats to building sites, burrow pits or rubbish dumps while the successive governments in the name of urban renewal bulldozed  the moats to serve as burrow pits or sewage for flood control. The state government approving agency for building plans is equally guilty as they approved building plans cited near the moats. In an ideal situation, as obtainable in developed countries, it is for government and the preservation agency to collaborate and forestall encroachment on cultural landscape.

    Apart from the Imperial Benin City Walls and Moats, there are other cultural landscapes and sites that have not received fair treatment from the statutory institution responsible for their maintenance. The most spectacular is the Museum of Traditional Nigerian Architecture popularly referred to as MOTNA in Jos Museum, first in Africa. MOTNA was a Mecca of a sort to tourists, local and international, who came to catch a glimpse of the finest examples of a painstaking and time consuming project of traditional architecture from different parts of Nigeria replicated by the indefatigable Polish landscape architect, Professor Zbigniew Dmochowski of blessed memory and documented in three volumes of publication. It was a pride to be part of the management of these cultural landscapes because of the complementing remarks on the lips of the numerous visitors and tourists who visited the site. But a close look today at a couple of some of the MOTNA photographs featured here tells the whole story of reckless abandonment by the successive leadership of the National Commission for Museums and Monuments which will cause Prof. Dmochowski’s body to roll in his grave over what he had spent a life – time to build.

    Other examples which are legion exist but cannot be chronicled here for want of space except for a selected few important ones spread across the country. These include, but not in order of importance, the Obu house, Elu Ohafia (Abia State), Rabeh’s house/fort, Dikwa (Borno State), Shira rock paintings, Shira (Bauchi State), Shadawanka rock paintings (Bauchi State), First mining beacon, Tilden (Bauchi State), Gobirau minaret, Katsina (Katsina State), Habe mosque, Bebeji (Kano State), Imperial Kano city walls, Kano (Kano State), Gidan Makama, Kano (Kano State), Lord Lugard bridge, Kaduna (Kaduna State), Zaria city walls, Zaria (Kaduna State), Kufena hills near Zaria (Kaduna State), Stone causeway at Batura, Tading and Forof in Bokkos (Plateau State), Old Residency, Calabar (Cross River State), Ilojo bar, Lagos Island (Lagos State), Old  Secretariat, Marina (Lagos State), Water House, Lagos Island (Lagos State), Ita Yemoo, Ile Ife (Osun State), Iwo Eleru cave near Owo (Ondo State), Sugbon Shrine (Ogun State) etc

    In conclusion, the theme of this year’s International Museum Day celebration is a big knock on the heads of those defaulting ICOM member states’ statutory organisations responsible for cultural landscapes. It is equally a wake – up call aimed at awakening  the sleeping cultural heritage power houses of ICOM member states to pay attention to intangible cultural heritage outside the museum walls. But as it relates to Nigeria, it is an indictment of the National Commission for Museums and Monuments now known for its knack for abdication and dereliction of responsibilities. This unfortunate situation puts a question mark on the leadership and composition of the boards appointed to govern purely professional parastatals in Nigeria as they appear to be square pegs in round holes and meant to satisfy political whims and caprices. If that is not the case, supervision of the various aspects of the museum is supposed to be one of the oversight functions of the governing board aside from acting as check and balance. This ineptitude which has brought the system to comatose is unacceptable and therefore, for the umpteenth time, make this  Macedonian call on the supervising ministry for proactive measure before we find ourselves clothed in shame in the court of posterity.

     

  • How to stimulate rural development, by Alaafin

    How to stimulate rural development, by Alaafin

    The Alaafin of Oyo, Oba Lamidi Olayiwola Adeyemi 111, has demanded the inclusion of Nigerian arts and culture in schools curricula. Their inclusion of arts in the curricula of primary, secondary and tertiary institutions, he said, would go a long way in ensuring cultural reorientation of youngsters.

    The Alaafin said since the major index of development is high living standard of the people, cultural heritage promotion should be part of the country’s development efforts.

    He stated this at a town hall meeting held with people in the ancient town.

    Alaafin pointed out that there is a critical need to find solutions to problems of cultural destitution and destruction in the name of modernisation.

    He added that what Nigerians must first do as a nation is to protect, cherish and nurture their cultural heritage through the pursuit of sustainable development policies that will marry culture and development.

    This, he said, is because any development that destroys our culture is counter-productive, so also is any culture that does not allow for development.

    According to Oba Adeyemi, “the graduation of the Asian Tigers, particularly China, from underdeveloped countries to developed countries was culture-driven. The root of Chinese development success was in the 1965-1968 cultural revolution that was meant to restore the cultural principles of the Chinese people and revolutionise political opinion and behaviour. Today, China is one of the strongest economies in the world courtesy of its development efforts driven by cultural rejuvenation and revolution. The foundation of our efforts at development must be the rejuvenation, protection and appreciation of our cultural heritage, which will be the bedrock of selling it to outsiders. If we do not appreciate our own cultural values, there is no way we can harness it for our development.”

    He said: “We must strive to maximise economic opportunities of our cultural artefacts and festivals for our development. All these can be developed to meeting international tourist standard and thus yield enormous foreign earnings to our governments at various levels. In the first instance, there would be a stimulation of rural development since most of the tourist attraction areas are located in the rural areas. Second, it would also lead to drastic reduction in rural-urban migration and human congestion in the urban centres which is one of the major economic problems of the contemporary Nigerian state because of employment opportunities and income generation that will be opened up for rural dwellers.”

    Alaafin cited the instance of the Yoruba which possessed famous traditions of art, precisely because they had productive economies and vibrant commercial systems, which allowed artists and craft workers freedom from scarcity and provided access to metals, woods and clay sculpture.

    The Yoruba, Oba Adeyemi said, have also created sophisticated institutions of government.

    “The Yoruba cultural impact is so great not only in Nigeria but also in modern Brazil, Cuba and the Americas where their religion and culture have remained pervasive. This remarkable cultural triumph makes the Yoruba experience one of the most fascinating subjects of historical study in the world. This rich history has placed a significant onus on the Yoruba people and their leaders in the contemporary society given particularly the developmental challenges confronting the Nigerian nation.”

    He continued: “the Yoruba are heirs to an ancient, rich and cultured civilisation. This culture is known for its artistic triumphs,extraordinary oral literature, complex pantheon of gods and an urban lifestyle. Yoruba cultures are rooted in excellence, hard work, dedication, determination, sincerity, frankness, truthfulness, ingenuity, industry, and resourcefulness. This is the main reason why

    “Yoruba people are the engine of growth of the development of this great country. They are at the fore front of the various sectors of the national economy such as health, education, agriculture and so on”.

    Oba Adeyemi also elaborated on Ifa divination, which he referred to an ancient Yoruba knowledge system that “reveals to us the coherence, logicality, precision and profundity of thoughts, philosophy, mathematics and computer science as known and practised by the Yoruba before the 11th century A.D.”

    He described Ifa as the greatest unwritten Holy Book on earth, a perennial fountain of esoteric knowledge from which all prophets derive their inspiration.

    To the Alaafin, “science, especially computer science is ‘Ifa compatible’. The computer like Ifa is based on the binary system.

    Implicit in this development is the ease with which national unity could be forged if these unifying cultural strands are carefully studied and emphasised.

  • ‘I’m an accidental journalist’

    ‘I’m an accidental journalist’

    Last Sunday, Sunday Dare, journalist, ace communicator,  Chief of Staff and Special Adviser (Media) to former Governor of Lagos State and All Progressives Congress (APC) National Leader Asiwaju Bola Ahmed Tinubu,  clocked 50. He relives his practice in an encounter with ROBERT EGBE.

    You were 50 on Sunday. Would you say you’ve achieved your goals for this age?

    No one ever achieves everything in life, even if you live beyond 50; and 50 is regarded as a milestone, at least, that’s the general perception. In 50 years of your life on earth you should be able to thank God for being alive for that long. But also at that point in your life you should be able to look back and say: “Wow! I’ve achieved this much.”

    I thank God that I’ve not achieved all I set out to do, but I’ve achieved appreciably much, whether in my family life, career-wise or in academic growth and development.

    But, beyond that, on the lessons of life and the experiences I’ve gained from interactions beyond the walls of the institutions I attended, I hold extremely valuable the relationships I’ve had and interactions with people in my political life and professional life. They’ve added so much value to my life and I thank God for those I’ve met on my journey. I thank God for the experiences I’ve had: some pleasant, some unpleasant. It’s been a medley, and here I am, 50 years down the road.

    In other words, you have no regrets?

    There are regrets, but I don’t dwell on my failures or my expectations that were dashed. I use each setback as a launch pad to propel myself to achieve my goal. I see every delay, every unmet expectation as a challenge to my intellect to try and find another way to turn things around. So, are there regrets? Yes. Have I dealt with those regrets effectively? Yes.

    You look barely 40. How do you maintain your youthfulness?

    I run a very busy schedule. My genes could also have something to do with it.

    Your first degree wasn’t directly related to the media. How did your journalism career begin?

    I think I’ve been lucky. I didn’t set out to be a journalist; I set out to be a diplomat. In the course of studying to be a diplomat I saw that I had a talent for writing. So, I’m an accidental journalist. From International Relations – International Studies was my first degree – I moved on to International Law and Diplomacy. So, my first two degrees were not even in journalism, but I was always writing until I went to the New York University and the other university.

    Flowing from this, I’ve had opportunities, you know people from international organisations, media organisations and groups, saying, ‘there’s this opportunity, take it.’ I’ve applied for so many.  I’ve won virtually all I’ve applied for. I was able to get a job in America, right out of the Harvard University, to work with The Voice of America in Washington D.C. for nine years.

    During the period of military dictatorship, we were in the vanguard of really investigative and radical journalism and the European Union, DFID and other groups brought in money for media development and that’s how some of us, as activists and journalists, were able to work under the EU to produce a magazine that promotes democracy and human rights.

    You were born and lived your early years in Jos, a city that has been in the news for tragic events in recent years. What are your memories of that city?

    I have very fond memories of Jos until the early 2000 to 2003, when it was seized by religious convulsions that destroyed and shattered the peace of the city. That convulsion affected my family and that changed my love for Jos. The fond memories now became sad ones.

    The family house we had in Jos was burnt down. My only elder brother was attacked in the house; he was basically butchered on a Sunday morning and burnt with the house. My immediate younger sister’s husband, while scaling the fence to escape the attack, was stopped and hacked to death. My childhood friend while running away was stopped on the street and butchered to death on the spot.

    I can go on and on; and this went on for four to five years. Just terrible memories. I did write a piece when my brother was killed, titled ‘From peace home to killing field,’ because Jos for me had moved from a home of peace and tourism.

    There are many stories out there, of bloodletting, killings, and I wrote critical articles about them and the government of that day that never did enough to stop the carnage. We don’t know the body count, but what happened in Jos was a near genocide and the government of that day let it go on. So, Jos? I have mixed emotions. The early part, I have the good memories and the latter part I have the bad memories.

       You’ve held very high profile positions outside the country, why did you leave all of that to work with Asiwaju?

    I’ve known Asiwaju Bola Tinubu for over 15 years. I’ve not just admired him from a distance, I’ve also studied him up-close. I’ve worked with him in between time; and even though I left the country for 10 to 11 years, I was still in touch. The relationship dates back to almost my advent into mainstream journalism. By the time he came on the scene as a senator from Lagos in charge of the Appropriation and Finance Committee in the Senate, he was one of those that gave us a lot of materials and documents that enhanced our coverage of the political economy of this country. I’ve known him that far back. And then, when June 12 happened, we were all there; when the National Democratic Coalition (NADECO) was formed, we were all there. I was part of the founding team of The News and Tempo magazines, and if you go back in history you will know what The News and Tempo were in this country. We stood at the barricade; we practised what was known as guerrilla journalism at that time, because we were operating from unusual places. We couldn’t stay in the newsroom. We were meeting in beer parlours, stadiums, and a couple of other places. But we made sure we got the stories out. It was courageous journalism, radical to the core, but with a people focus.

    During that time, while we led the journalistic advocacy front, he led the pro-democracy wing of that era. He went on exile. He took many people along that joined him in exile. He led meetings; he was organising, arranging, and we were also here doing our work. So, we formed a solid synergy and we learnt so much from him in terms of his fierce commitment to democratic principles, refusal to compromise. His boldness to confront the authorities. He convened a sitting of the Senate outside Abuja. Babangida declared that government illegal and he was arrested and charged with treason.

    What effect did he have on you?

    For us, he was our kind of hero. So, we said if this man can take that risk, as journalists and editors, we would also not compromise our stories, we would not be bought. When I joined him five years ago, I was just ready for another phase, it was a transition. I’d been a journalist for long. I’d worked in the pro-democracy movement, I’d partnered with top political activists like him. So, working with him brought together all of those experiences. Much of what I do is a lot of writing, speeches, press statements but also a lot of brainstorming, sitting together looking at developments in the country, looking at resources that can be used to make policies, develop political strategies. But I can tell you that working with him has brought together, brought meaning to all of my academic and professional skills. I’ve had the opportunity to operate in a political environment of opportunity, of creativity and inquisitiveness that have enhanced my skills as a thinker and writer, deepened the depths of my intellectualism, expanded my network within the professional group and political class. But, above all, it has also put me in a vantage position to see the government and how it operates; to see how the operators of government operate.

    Asiwaju Jagaban’s title appears to have mass appeal, especially among young people, with R&B artistes even singing about it and some adopting the title. How do you manage to keep the Asiwaju brand socially relevant?

    If anyone lays claim to building the Asiwaju brand, they would just be lying. The person that owns the key and the patent to the brand is Asiwaju himself because of the way he has conducted his politics, because of the way he has also developed people, teamed up with people. Those are part of the composites that built this brand and he alone deserves the credit for that. People like me come along to help that brand flourish and to add what is necessary to make the brand continue to remain virile and impactful. When he got the Jagaban, I’m not even sure I was in the country. The timing was just perfect. He had achieved so much up to that point and he needed a title. People were just expectant to see one, it is a title that resonate, the way it sounds, its meaning captures the very essence of the man. Since then, Jagaban has almost overrode the Asiwaju title. But then the only person that has the patent to that brand is the man himself. He is the very essence of that brand.

    You’re obviously a very busy man, how does your family cope with your lifestyle, especially since they live so far away from you?

    My wife and kids live in the United States of America, I moved back about five years ago, not willingly, but Asiwaju said, ‘Sunday, you have to come back.’ And I said, okay, I’ll come for one year, but he said ‘No, it’s a long distance journey. Just come home. Why are you putting a time limit on it? Why do you think you can’t work for this country? Why do you want to sit there in America? You don’t want to develop your country? He didn’t give me an option, I had no option. So, without even checking in with my family, I started work here. I look back five years and I thank him for leaving me with no option than to return home and work here — to learn at the feet of one of the greatest and articulate minds I have ever known. And I’m not patronising here. At 50, I can look back and say how many people have really impacted me this strongly? If I were to name just three of them, he would be one of them. Of course, my father comes first. I’ve had editors, I’ve had managers and the rest, but he comes second. I’ve learnt so much, even in the silent moments when I just watch him talk on the phone or take decisions, or when I’m writing and he says ‘No, you don’t write it that way, do it this way’, or I make mistakes and he gets angry and says ‘No, you don’t that, much is expected of you.” Or when he challenges me and asks, “Do you know something about this?” And when I say no, he asks me to go and read it up and get back to him. So, under him I’ve been able to develop some potential that were latent, I was able to bring them to the fore. I do miss my family and I know they miss me too, but I know so many professionals who left Europe and America and left their families behind so they can concentrate on doing something for this country. That’s the way it is for me. I go back as often as I can to see them and they come around once in a while to see me.

     What are your plans for your future?

    The future is in God’s hands. We’re allowed to dream, pray about it and then leave it in God’s hands.

    What do I want to do in future? Nothing different from what I’ve been doing. I want to remain relevant in the affairs of this country. I want to have a voice in what happens globally that affects this country, my family, my community. I want to become a better communicator, I love words, and I derive a lot of joy when I write something and it hits home. The future is in God’s hands, but, eventually, I want to be able to have more time to read, and also to have more time for God and my family. I know that during the struggle my family suffered the most, so, to have more time for my family would be invaluable.

  • Inside the world of Nigerian costumiers

    Inside the world of Nigerian costumiers

    From behind the curtains and the camera lenses, Yetunde Oladeinde and Mary Fabeyo seek out Nigerian movie and theatre costumiers to talk about what they love to do. Amazingly, it is a world as challenging as any in the industry, and quite of the essence too.

    IN the entertainment arena, actors and actresses hold the ace. They are always sought after before, during and after every production. However, there are other professionals who add great value to movies, films and the entire production process. In this category, you find costumiers, the artists with the deft touches, who design costumes for the characters. Unfortunately, they seem to ‘die’ immediately a movie, film or TV production ends. The big question here is, whether their role is significant or if it can be ignored.

    Truth be told, costumiers are very important and they could make or mar an entire production process. So, what do they really do?

    The costume designer usually seeks to enhance a character’s personality, and create an evolving plot of colour, changing social status, or period through the visual design of garments and accessories. They may distort or enhance the body acting within the boundaries of the director’s vision.

    Before embarking on any video or film production, the costume designer must read the script thoroughly to learn about the personalities of the characters. If the production is contemporary or epic, the costume designer researches the clothing style worn in that era. If a production is set in the future or has a unique theme, the costume designer consults with the director to interpret that vision into the costumes. All this are important because without appropriate relation or interpretation of the visual designs, especially costume, the viewer might have a misunderstanding of the total message.

    Interestingly, it also helps the viewer to understand the nature of the characters on screen. It should meet the style of production, whether it is contemporary or epic. As with all design elements, the costume needs to fit in with the overall cohesive picture. It should also be able to fill in the gap of what a viewer might miss in the course of the actor’s verbal delivery.”

    A trip into the world of those who have played one role or the other tells you about the potentials, challenges and prospects in the sector.  For Nneka Moses, actress and co-presenter of Goge Africa, a cultural and entertainment program, her passion for designing made it easy for her to fit into the role of a costumier.

    “My fashion sense is one of the things that kept Goge Africa going and Aken G, my label was a great inspiration. I designed most of the costumes we wore on the program.”

    She adds: “The designs came from inspiration because all designers are inspired, but the truth is that what I see everyday especially during foreign tours, inspires me much. From ethnic to contemporary design, I think I have seen them all. All these also have much influence on me.”

    Going down memory lane, Nneka recalls how it all started: “Some years back, we didn’t have programs like Goge Africa on air; people were not delving much into cultural programs and my husband had this experience when he was managing some top flight Nigerian artistes, especially Onyeka Onwenu and late Tina Onwudiwe. He said he had lots of problems trying to get their music aired on radio and their videos played on TV, so he tried starting a show, where he could showcase the works of these artistes. Then he wanted a radio show and I said to him, why not make it a TV show and I promised to dress him up really nice in African costumes, since I design clothes.”Costuming, interestingly, was the fallout of a dream for Gloria Ogwu whose first love was acting. “Usually, those who write scripts and the producers always know who they want. I did auditioning to prove myself and in the process, I discovered that I needed to bring about 15 costumes for one thing.”

    Those frustrating moments took her into the wonderful world of costumiers, make-up artist and now a producer. “One of the first people I tried to work with at that time was Chico Ejiro. My first hit at costuming however, was with Tony One Week. Then for make-up, I did Brave Heart with Omotola Ekehinde, Joke Silva, Zack Orji and many others.”

    The turning point came in year 2002 with Osofia in London. “Then I was training with Nkechi Asiegbu on costume and Segun Arinze was a cast on that set. When he saw my performance, he liked it. He told me about the job and the people that I had to work with. We had just come back from location in Abuja. So, when we came back to Lagos, I hooked onto Segun and he introduced me to Kingsley Ogoro.”

    That also gave birth to another opportunity. “I worked on Church in Crisis and it was a successful outing. Here, I worked on artistes like Ramsey Noah, Grace Amah and Segun Arinze.”

    Ogwu continued: “In Osofia in London, I handled all the costumes, working on the wardrobe of every character in the movie. After this, I worked with Emem Isong on the Best of the East, Bachelors and I have worked on over 60 movies. I have also done a couple of work on a series of soaps with producers like Tade Ogidan and some TV commercials.”

    Passion, dedication and hard work got Ogwu recognitions like the AMAA awards for the movie titled, Rising Moon. “I have gained so much in this field and thought it would be a great idea to empower other people. So, what I did was to study the other side of costuming, which I also found to be very interesting. This I used to empower more people, especially youths and people who are jobless. It is so sad because there is mass retrenchment in all the sectors.

    The commercial aspect of the job, Ogwu informs, stands out and goes beyond Nigeria and also gives room for improvement and international exposure. “For a production that I did recently, I was signed on for two weeks. Everything was set and we were working on the pre-production, which is actually harder than the real shoot. In year 2011, I worked on a Guinness commercial with the producer, Femi Odugbemi of DV works and I was assisting a South African producer called Pearl. Generally, I must say that life has been sweet, cozy and wonderful for me. I have been a costumier in Nigeria for about 16 years and I must say that it has been a wonderful experience. Working on movie and films does not happen all the time. So, it was better to continue both and make the better of the two worlds.”

    She continues: “When I’m not costuming on local shooting, I would be producing. There’s a lot to do behind the scenes but the experience is wonderful. There’s so much to do and a lot to learn. 16 years down the line and I am still leaning. The industry has lots of potentials and opportunities to tap from.  It all depends on your creativity and strength because it is time-consuming. The film that is busting my head now is Gidi Blues by the legendary filmmaker himself, Femi Odugbemi. He is a perfectionist and that way he will push you to your destiny.”

    At the beginning of the Nollywood era, costuming gained better recognition and the practitioners became very creative. Esther Ilelogbon, a lawyer and designer was part of the pioneering team at that point and she goes down memory lane. “In the early 90s, I was into make-up and costuming and we were the pioneer of the home video industry then. We had to dress the artistes and handle their make-up and special effect. I worked on Tade Ogidan’s movie which was a blockbuster, featuring Richard Mofe Damijo and Teju Babyface. I also worked with people like Kate Henshaw, Omotola, Kanayo O. Kanayo, Jennifer Eliogu and Eucharia Anunobi. It was exciting mingling with them. The only disadvantage was that you were working behind the camera.”

    Some of the awards she received included the Global Excellence Leadership award and Most Creative Designer of the Year. “I also got the Great Women Achievers Award, News of The People Achievers Award, City People Ankara Award, amongst others.”

    Happily, she goes down memory lane, talking about the high point of her career as a costumier. “I was able to get contacts, learn a number of things about business, life, entrepreneurship and the entertainment industry. My husband is also in the industry and we met in the course of work. He is a special effect person and he has a studio.”

    Wendy Tabansi, a top Nigerian designer and an associate, Chioma Udeh recently put together a show under the African International Film Festival to enhance the skills of practitioners. “It is called Costumes for Films. Here, we are focusing our attention on designing for films. The designers would need to do things differently, such as designing for periods. My friend is the founder of AFRIFF and we came together on this.”

    She informs that: “It is different from what we do usually but because I am a creative person and someone drawn to the film industry. My friend wanted a show and she wanted someone who could do it. We understand that there is a need for costuming our films; the sector is getting more competitive. Films like October 1 have shown that there is a need and it would be showcased locally and internationally.”

    Also in the pack is American-born Nigerian costumier, Queen Sylvia Akuchie. “My desire is to train more Nigerians in the art of costume designing and styling for television. I strongly believe that training costume designers and stylists would enhance professionalism in local film and television production.

    Over the years, the U.S.-based woman has enjoyed the opportunity of working with Hollywood moguls like Tyler Perry and Hip-hop Star, Lil Wayne.

    She has also expressed her strength of creativity in styling and costume designing by working with Grammy-award winning Masha Ambros and R&B chart-topper, Mario. Her works have  been featured in Essence, Ebony and Men’s Health Magazines and she has had the opportunity to be part of many prestigious red carpet shows like the BET Awards, Emmy’s, Oscars and Grammys.

    Her over ten years experience in Hollywood and conscious sense of taste, colour, blend and finesse have helped her to make her clients outstanding and confident with a reassurance of their looks.

    “I know how well stylish outfits make celebrities look and that guides me to what I make for my clients, which leaves them looking good and feeling great always. I am fulfilled to see my clients feel confident, proud, beautiful and stylish,” she said.

    The creative lady also goes on to talk about the turning point in her career. “It worked for me when some clients needed to feature in top shows like Larry King Live or the Oprah Show. I take time to research colours and blend them because it is very important to your finished work. A costume should not compete for attention with the studio furniture because of colour; the personality should rather have on a distinctive outfit,” she said.

    Akuchie also talked about the importance of creating characters, using costumes irrespective of the peculiar demands of different characters. The high point of using costume to achieve desired goals remains in the designer’s creative ability to send the message.

    Interestingly, there are also some men making waves in the sector. For instance, some years back, the return of Nollywood’s veteran actress, Liz Benson-Ameye attracted a resounding attention to the make-believe industry.

    Her majestic entrance was traced to her costumes and appearances on screen. All credits to award-winning costumier, Chiemela Nwagboso, who single-handedly designed the outfits worn by the Nollywood screen goddess.

    The Africa Magic Viewers Choice Awards winner, Chiemela Nwagboso has consistently added value to his skill, as he continues to be in the forefront of launching talk-town wears, which have placed him close to the hearts of fashion-buffs.

    One of such works is exhibited in The Palace, a television series that was produced by Kingsley Okereke and directed by Chidi Anyanwu.

    The actors and actresses who work with them should also be able to assess their performance and how to improve on their skills. According to Foluke Daramola, “Nigerian costumiers are doing a great job and they need to be encouraged to put in their best. One person that I am impressed with is Arewa and she sure knows her onions.”

    However, there is a snag: “Even though, they are putting in so much passion into what they do, there are still a few gaps that need to be addressed. For instance, most of the times at locations, you discover that some of the costumes they give us, especially for people like me that are on the big size, do not fit. Realistically, in Nigeria, I think we still have a long way to go in terms of costumiers and fashion designers.”

    To have a better output, Daramola advises that it is better to follow international standards and be ready to invest in the sector. “Here, I think that things would get better, if our costumiers get their costumes ready before the movie shoot, like they usually do abroad. This would make things better and actors and actresses can check the costumes to know if they fit perfectly or not.”

    Daramola adds that: “Personally, I would also say that I prefer personal costume designers to the general ones at locations because they are more detailed and have the resources to work with. So, I would therefore commend them for a job well done, but I would also advise them to put in more efforts.”

    Next, you talk to Jenifer who recently produced a movie titled Surulere Movie. She agreed that they are a wonderful part of the production process. “I know a couple of stylists who also play a great role in the outlook of the characters and they are different from costume designers. Costume designers generally create the look.  I have worked with a couple of them and they are absolutely professional. However, you have a couple of people who combine all this roles and they do these things very well.”One advantage over the years is the projection of African fabrics, clothing styles depicting the Nigerian culture and tradition. “Some of our costumiers hardly go through the process a costume designer is supposed to go through before finally arriving at a particular costume for the actor. Sometimes, the colour combination that is supposed to help bring out the mood of a character is messed up and the message gets lost in the process,” says Modupe Obazee, who once acted in the village headmaster.

    She adds that: “The most important thing is that a professional costume designer needs to be artistic, creative and detail-oriented. This usually contributes greatly in bringing out the inner meaning of a film production, through the use of appropriate costume. The costume designer therefore establishes the identity and personality of characters by designing the production.”

    Obazee continues: “The professional handling this task must therefore be informed about design elements of colour and fabric textures, to create fashion statement in a performance. Through film, costume can be used to affect the society. This is based on the ability of the costume designer’s creativity to reflect the socio-economic life of the environment in which the story or the plot revolves.”

    Like every other sector, the Nigerian factor also comes in here. Sometimes, it works for good and some other times, it is ludicrous. The perceived boom in the sector has also opened doors for all shades of practitioners.

    Sadly, costume remains one of the most understood but under – appreciated film making art. The truth however, is that the contribution of the average costumier is far in excess of merely ‘dressing an actor for their role, it is actually a discourse. In movies, even the most rudimentary item of clothing can be a message the director wants to pass across to his viewers.

    Interestingly, you find that this area is given adequate priority in the developed countries and you find the skill divided into different areas. The team usually includes the freelance designers, who are hired for a specific production by a theatre, dance or opera company, and may or may not actually be local to the theatre they design for. A freelancer is traditionally paid in three installments: upon hire, on delivery of final renderings, and opening night of the production.

     Freelancers are not obligated to any exclusivity in what projects they work on, and may design for several productions concurrently.

    Next, you have the residential designer that is usually hired by a specific theatre, dance or opera company for an extended series of productions.  Unlike the freelancer, a residential designer is consistently “on location” at the theater at hand to work with costume studio and other collaborators.

    That is not all. They also have the academic designer who holds professorship at a school. The designer is primarily an instructor, but may also act as a residential designer to varying degrees. They are often free to freelance, as their schedule allows. A number of these professionals also go into specialization, sourcing items like dance shoes, dance wear and other items for stage, theater, circus and more.

  • Waist trainers You just may be killing youself

    Waist trainers You just may be killing youself

    Mary Fabeyo examines the life-threatening consequences that come with regular usage of waist trainers

    It was one of those Saturdays when you just want to look perfect for a friend’s wedding. A flawless gown, gorgeous earrings and neck piece, heels and clutch to match; a wrap of waist trainers around the tummy, and Adeleke Ruth, in her 20s, was looking every inch the perfect gorgeous lady. Little did she however realise that the party was going to be far from fun, especially with her tummy girded up in so much pain.

    At the wedding, she kept shifting on her seat, her eyes wide open. Anyone meeting her for the first time would probably think twice before trying a conversation with her, as she looked quite angry despite visible effort to maintain her cool. Food was served, but she could not eat; balls of sweat fell from every angle of her body.

    All of a sudden, Ruth got up from her seat and hurried into the rest room. Luckily, she met two ladies who were about leaving; she begged them to wait behind and help her. In a twinkle, her gown was up and she was just saying “Please, unfasten the trainer.”

    And then, she was free! Who could have thought that the waist trainer was the reason for Ruth’s uneasiness?

    “It wasn’t funny.” she recalled, “I could hardly breathe, I sweated profusely and had to rush to the restroom to get the trainer off.”

    Women these days would do anything to achieve the hour glass shape, notwithstanding the pain and danger that come with it. The latest in this attempt is the waist training process.

    Studies have shown that one out of every three women use the waist trainer. Howbeit, waist training is not a new development. It has been in existence since the 19th century, when it used to be corset. Today, it has been renewed as a 21st century trend, most especially among young ladies who are under the spell of sudden civilization, where ‘everything goes’. Most want to be like Kim and Khloe Kadarshian who taunt nonstop with their captivating hour glass shape.

    Not only are women clinching their stomach with these latex made garments for more than 10 hours during the day, they have cultivated the habit of using it at night too. They also use them at the gym in a bid to shed tummy fats and boost the ‘size24’ waist shape.

    Research has shown that some companies are selling products labeled ‘waist clinchers,’ ‘waist trimmers’ and ‘sports waist trainers,’ designed to increase the effect of your work-out and help you lose weight in the middle region.

    Though waist trainers help accentuate the body shape and shrinks the stomach to reduce the intake of calories, many users have however failed to ask themselves if indeed waist trainers are the secret to smaller waists? Do they really help shed fats? Are they safe? Are there any health implications?

    According to Doctor Okusi Oluwaseun of the Pons Specialist Hospital, Adamor, Ikorodu, Lagos, waist trainers are noted for giving the desired shape and curves ladies dream of, but the disadvantages outweighs the advantages.

    He said: “Nowadays, ladies believe in the hour glass shape for being attractive, but have failed to pay attention to the disadvantages. Using such waist trimming materials can lead to compression, reduced blood supply and might even cause reduction of health supply. It is dangerous.”

    According to Dr Okusi, “Compressing your waist region could be very dangerous, and anything worthy of imposing danger into your health shouldn’t be taken for the sake of beauty. It isn’t nice when you start wearing it for too long; think of crushed organs, compressed lungs, fused intestines and fractured ribs. The internal organs deform, and the stomach is pushed downward; this can cause inveterate pains.

    “In addition, prolonged use of the waist trainer tends to affect healthy breathing. The lungs being disoriented or being unable to expand increases the risk of pneumonia. It also leads to shallow breathing, depriving the body of efficient oxygen intake, most especially dangerous at the gym; this has led to many ladies passing out.

    “Funny enough, so many people believe that the constant use of the corset will help burn excess fat in the stomach. The truth is that no matter how long you wear the waist trainer; all the fat will go back to where it was, once removed. The common belief that people have is that frequent use of the waist trainer will eventually burn out fat from the stomach; scientifically, that has been proved wrong.

    “Amongst the downsides of waist training, we also have the reduction of blood flow from the heart. No doubt, blood is one of the most important things needed to keep us alive. So when the blood is restricted from passing through certain areas of the body, repeated dizziness and weakness is going to be the result.

    Olaseye Tolulope, a student from a nursing school relates her experience in the use of waist trainer: “Whenever I bend to pick something, I feel there is a compression between my ribs, it left a pattern on my waist, which itched like sunburn. Apart from that, it wasn’t easy for me to breathe, till I put it off.”

    According to a research made by foreign medical experts, the kidney and liver is being crushed and the ribs pressed into the digestive organs each time a lady puts the waist trainer on. Over time, this may also cause more threatening ailments like stomach ulcers and reduce the size of the lungs.

    Although many may think that the use of waist trainers will help them decrease the size of their stomach and bring out the desired figure, but the fact is that the compression done to the stomach is much more than beautiful results seen outside the body.

    Dr Okusi however says there are other effective and healthy ways of reducing body fats.

    He advised those who want to reduce the fat in the stomach region and get a good shape to exercise the body adequately, take in adequate diet (protein, carbohydrates, fat and oil, vitamins and minerals) in their correct proportion, drink a lot of water, avoid eating junks and take less fat and carbohydrates.

    One more lesson: never try imitating celebrities or models. They get what they want through their appearance, and we have no idea what they experience or pass through. Waist trainers can be used sparingly if needed, depending on one’s personal resolution; but it shouldn’t be a substitute for weight loss.