Category: Arts & Life

  • A boardroom chief’s odyssey

    A boardroom chief’s odyssey

    At 80, Felix Mathew Ogbeyewebor Osifo has every reason to thank God. From a modest beginning, he rose to the peak of his career at the United African Company (UAC). His odyssey is captured in a biography titled: From Machine Boy to Managing Director, written by Prof Hope Eghagha of the Department of English, University of Lagos (UNILAG). Pa Osifo, who  turned 80 on  April 19, grew up in the village; he had no secondary and university education. He joined the UAC at 20 and by 26, he had become a manager. Osifo spoke to NNEKA NWANERI on his life and the journey to the top.

    Growing up

    I was born on April 19, 1936, but was the second child and first son of my father, John Osifo, who died during the civil war. At seven, I enrolled at St Andrew School, Warri. I read till elementary level in 1952.

    “At the end of 1951, during the Feast of Tabernacles in the God’s Kingdom Society, where I worship, there was this great man, Kay Amachree, who was introduced as one of the delegates and was a doctor of machines. At that point, it struck me that I wanted to do machines. Moreover, I was quite good at using my hand to do technical things. The chord was struck and I decided that this was the way to go.

    “So, in 1952, while I was about preparing for my examinations, I had decided I will be a doctor of machines. That was how I settled for the repairs, maintenance and refurbishing of office equipment.

    “I learnt the trade as an apprentice at Kay Amachree and Co. from February 1953 till February 1956. The company was at 95, Broad Street, Lagos. While I was on the training, I stayed with the owner and proprietor of the company, who was a member of God’s Kingdom Society before moving to Sub-Bethel home of the church in Okesuna, Lagos.

     

    Why he chose machines

     

    “I chose machines because of the inspiration I got from the owner and founder of Kay Amachree and Co, who I neither never met before, until that feast at the church nor repaired machines before. It is motivational to have someone you can look up to for your profession. After that, I joined a UAC affiliate company called G Gottschalk and Company in March 1956 and got employed by an expatriate during the pre-independent times.

    “Somehow, they identified some latent qualities in me that made me to move fast. I was on the list of those the company had a lot of time for and subsequently was given a scholarship to the United Kingdom to further my knowledge of machines. I left in March to December 1958. I covered much grounds and I excelled. I also attended Imperial Typewriter College in Leicester. There were also expatriates there as well and many from different countries, who came there for the same training. When I came back in January 1959, I was seen as a high-flier and I was transferred to the North. I was based in Kaduna and oversaw the northern branches of Zaria, Jos and Kano to ensure that operations were up to the standard.

    “At about Independence time, I was called to Lagos for an interview. I was informed in writing that I have been transferred back to Lagos and that was in December 1960. I was moving up the ladder stage by stage and I made my mark with God blessing my efforts.

    “At that time after independence, the country was very stable. I was again asked to go back to the UK in 1961. I had to make sure that I got married so that I could have some reason to come back to Nigeria.  I didn’t abuse the confidence imposed in me. So, I met Beatrice and after much discussions, she initially didn’t want to have anything to do with me. She was under pressure from her friends to refuse me. But I persisted until she gave in to me. I was convinced that she felf the same way about me. She eventually accepted my hand in marriage. I left with  my late mother in Warri and in March 1961, I left for the UK and stayed there for six months.

     

    Whether he expected to rise to the top of his career as a machine boy

    “I joined as a technician, but I never knew I would rise to the height of service manager. I was less than 26 years old. I was in the UK and coming back, my superiors saw certain qualities in me that needed to be harnessed. So, it wasn’t that I set out, to be an MD.

     

    What inspired his

    phenomenal growth

     

    “One of my inspirations was my abiding faith in God. I believed that God’s creation must be dynamic and that confidence made me not to fall back on the level I had achieved, but to excel. For instance, while I was an apprentice, I was in touch with a corresponding firm where I was doing distant theoretical learning on office machines.

    I was also an avid reader of books, publications and the Holy Bible. Even at school, I saw every given assignment as an opportunity to excel.

     

    Reflecting on his career development vis a vis today’s reality

     

    “One of the things UAC did for me was exposing me to very vast areas of life. Not just me alone, it had a policy of human capital development that the company was reputed for. They were good at identifying individuals to various facets, depending on their area of specialisation. They helped them improve their knowledge and made the best of it.

    “Those sent to learn should have a sense of purpose to know why they were there as expected by their employer. They must acknowledge the effort of their employers and be focused. For me, I took advantage of the opportunity that I was given and excelled. That was why I moved to the next level because I was also exposed to the rudimentary aspects of management of people and resources.

    “The UAC had regular assessments of competence, capacity, talent and the field was open for those who wanted to succeed. The evaluators then were expatriates and after independence, Nigerians began occupying positions. But because these expatriates based their assessments on merit, they operated without ethnicity, tribe or religion or gender. All was done openly and without bias.

     

    Comparing the UAC

    then and now

     

    “They are two different dispensations. UAC began as a trading company and metamorphosed into an octopus-engaging in everything. The UAC today is different and is into manufacturing, property and convenience products. It is not the same. Why should it be? When life is dynamic and the only thing that is constant in life is change itself.

    “But in terms of ethics, culture of competence and continuous assessment of people’s performance and encouragement of its workers, it is still there from what I have observed as the President of the UAC Pensioners’ Union during the annual meetings. This way, they plan well by looking ahead of time and are not reactive, but proactive.

     

    On whether his not having a university degree affected his dreams

     

    “I never saw university education as the end of life. I saw it as an opportunity to further develop in latent talents. I call it an expanse base of knowledge. What is important is having the foundation basic knowledge and teaching. Learning is infinite, but I never saw that gap as a setback. I attended same management courses with those who were graduates. I went to Ashley College, Henley College in Switzerland and other colleges.

    My seven children are graduates, and that is the best legacy any parent can leave for his children. University education is important. Even those who went to elementary school with me saw that I was rising in my career. They were envious and wondered how I could cope when I never went to the university like them. In all, it was the Lord’s doing, that at the age of 26, I was a manager.

     

    Secret of his good looks

     

    “It is God. Ten years back, I didn’t know I was going to live this long. Yet, people embarrass me and say I don’t look 80. I can’t falsify my age. In all, one has to structure his activities to make room for various demands. Give family time and with a good wife, it is a valuable treasure.

    “I am also a member of the Institute of Management, Institute of Directors and I once served in the Chamber of Commerce. Then also, the church is a platform for serving God, where I am committed and active as the Chairman of the Laity.

    “I am very committed to community affairs. And I used to play Badminton at Ikoyi Club until I had an accident on my left leg in 1991. So, it is a multifaceted approach to life: having moderation in all things and having trusted friends.

     

    His philosophy of life

     

    “Summary of my philosophy is encompassed in the fear of God and the strive to do His will. Seeing the other person as an extension of one’s self. Balance the various demands of time in life. Be honest because integrity is paramount in whatever you do. Therefore, one may realise that wealth is just as transit as life, but a good name  is better than quick riches and is determined by the quality of life one  lives and not by the naira and kobo he has and the type of friends he keeps.

    “Belief  in the fear of God as the beginning of wisdom, and with the fear of God, one can elude all evil things. Mistakes are a learning curve in life, and don’t dwell too much on the past, but make it a reference point. I believe life is transient and we should not be afraid of death. Be content and be happy with what God has done for you. Too much worry will make one not to be contented.

    “I believe in integrity and I try to practice it. My church, Church of the living God, has helped me a lot in imbibing the teachings of God and the Prophets and tries as much as possible to practice those ways and practices about Christ.

     

    Any regret for not staying back for greener pastures in the UK? 

     

    “I remember the challenges I had in the UK. There were a lot of attractions. One mind kept telling me to stay back after the training. One or two young ladies said they loved me. But I was determined to come back to Nigeria and ensure that the confidence  my employers had in me was maintained. I thank God I took that decision.

    “After my training in the United Kingdom I was 22, but I still came back. But some of my friends, who went with me stayed back.

    “I thank God I came back. I have no regrets. This is my country. I have nowhere else to go even with all the amenities of the western world, I still believe that one day, we will get it right. Those older than me are still there till now. Funny as life is, if they don’t identify with their people someday, they will when they eventually die.

    “Nigeria is still relatively young, but we are one country and in the nearest future, we will get it right; devoid of militant youth and herdsmen and all, which began in recent years. Compare today’s primordial mentality with the days when we were winning medals at the Olympics; biases without tribal or ethical claims to have a share in the national cake no one baked.”

     

    Anything he would

    have done differently

     

    “Change is the only permanent thing in life. One would have done better in some areas.  I gave a lot of time to my work; would have given more time to my family, especially my wife, who has been wonderfully supportive. I hope to someday take her on a cruise. I hope other Nigerian women will be like her. If you have a virtuous woman, you don’t know what God has done for you. In all, God has been merciful to me. I don’t have more than two cars, so far as I can move from point A-B. I am not perfect, but others see me better than I see myself.”

  • The maze of karmic reverberations

    The maze of karmic reverberations

    In three acts and nine scenes, Dr. Chukwunyere Chukwu sets out on a journey that is common to men, where the vicissitudes of our everyday lives are bare before us, while each person wades through the murky waters of differing challenges. As much as many would prefer to talk about what is bad in coated words, Aru, by Dr. Chukwunyere, tells it the way it is.

    This is a dramatic piece in which an action never ceases to be sustained as it builds into another. There are questions asked and answers given, while there are actions with meanings that the reader will grapple with for a long time. It is because of the seeming impermeability of the incidence and its surrounding antecedents. At the height of the interrogated issues in this dramatic piece is the death of someone, whose identity becomes inconsequential because the living seem only always to have certain iorta of attention, unlike the dead, which after the verdict of breathlessness may not find a place of remembrance.

    There are several themes explored in this work, and as each unfolds one finds the stark nature of the human mind at its utmost intertwines, while the conflicting stances of frailty and strength continue at its parallel, consistently revealing the truths on both sides of a divide. Ultimately, Aru does not only emphasise retribution, but explores certain Karmic intricacies, in which what is source for the goose is without flinch source for the gander.

    It needs be made clear, that this work is truly characterised by Nigerians, but with far-reaching relevance; afterall the emotions and actions of man are to a great extent one and same across the world- wake, work and abound in the wonders of the world in which one finds oneself- and in the midst of ensuring ‘survival’, several vicissitudes are encountered and more importantly, conquered.

    Death and its many unwanted devastations takes its toll. Snuffing life out of the young and old, caring less about the bereaved as it leaves in its trail skirmishes amongst mere mortals. The sudden disappearance of a little boy and the discovery of his severed head days later indicate the unequal cadence in human experiences. The hope of the young succeeding the old suffers irredeemably, when the young departs in the most heinous of manners and his death is alleged to have occurred in the hands of the old, who have responsibility to protect the young. The denotation by death can be a reference to the periphery of the impermanence of human lives, but at the level of non-literal meaning, death signifies every kind of doom that one does not wish for, particularly the non-functional structures of governance and state institutions.

    Dr. Chukwunyere Chukwu flays the ills of ill-gotten wealth, marital infidelity, dishonesty, disrespect, debauchery and every named vice which prevents the attainment of laudable life goals. Besides the simple choice of words in the dialogue, the author employs proverbs at appropriate junctures to buttress the points being made. He heralds the discovery of the dead boy with the words from Adda in Act One,

    “The death of a bird is not questioned by any one because it belongs to no one when it flies, then the land it falls matter to no one who hardly cares”

    These words are the deprecatory verdicts on the actions of man. It is such that even after an alleged killer has been apprehended, one still finds out that a thousand and one questions remain unanswered regarding the real criminal and a smudge splashed on one who is perceived culpable. Without much ado, Dr. Chukwunyere writes for one to read the denotative, but essentially has a great interest in the reader warming up to the underlying meaning of the work.

    In Act Two, the clash of cultures is revealed amongst the persons of Agbala, Agala, Asaka and Amako. The assonance in their names does not in any way represent any unity of thought as each person’s identity and disposition is at best on cause of collision as issues unfold. Culture clash is thrown up for examination and each person holds a position about, not just religious faith but the rightness or otherwise of an embraced norm or a discountenanced practice.

    This can also draw a lot of allusions in real life where many persons appear to have a lot in common, but unknown to many others what divides them transcends what unites them. Divisions along ideological lines are common amongst human beings and it is always sensible to address these issues before it escalates. In Aru, there are inter-locking challenges, which appear not to get a resolution in good time and as such could not be wished away in a hurry.

    The third part of the work unveils something that is rather shocking. Having thought at the outset that only a death was recorded, even more snuffing out of human lives continue. Death seems a leitmotif in this piece to the point that one sees the ephemeral nature of human life from a clear point of view. A collapsed building resulting in death; a careless driver running into somebody and attempt to escape infidelity resulting in the loss of other lives thus indicate results from what has been triggered. It is at this juncture that ‘The law of Karma’ takes its chunk of flesh.

    Ultimately, the writer treats every aspect of human concerns; although his work strongly suggests a cause and reaction line of happening, there are some others whose experiences are unconnected to their fate, equally alluding to the many questions about why certain persons suffer incommensurately.

    The irreplaceable fact of life resonates, but when a ‘dog claps its hand that is not seen, then the outcome would leave too many questions unanswered.

     

  • Young photographer with a mission

    Young photographer with a mission

    Emily Nkanga, 21, is one of the few young Nigerians with a strong passion to excel using photography as a launch pad. Nkanga, who studied TV and Film at the American University of Nigeria, Yola, Adamawa State capital, urged Nigerian youths to engage in meaningful enterprise instead of waiting for the elusive white collar jobs. She also tasked the youths to use the social media positively and make good money from it.

    The young photographer, filmmaker and Chief Executive of Emily Nkanga Photography, said she drew much inspiration from everyday activities and fine art. Last year, she undertook the documentation of the plight of the internally displaced persons (IDPs) in the northeast.  She also initiated a concept titled: “Keep Hope Alive” – which gave back to the community a percentage of cost of her photographs sold.

    But her recently published book entitled: The caged and the free spirited, revealed her story telling talent, using images to pass strong messages. The book, a product of her personal experiences in relationship, contains mainly photographs of a model and quotations that reflect two extreme sides- a soul in bondage and a freed one. But, it is also spiced with darkness, tears, pain, colourful ambience and smiles.

    She said as a photographer her aim is to  to convey messages apart from knowing the technicalities of taking pictures. She said people should not just see images and scroll, but should be able to relate to them. “It wasn’t just enough to connect with people on a personal level I needed something that would actually connect to people. So, there was a time when I had a personal experience. This book was done from a personal experience,” she added.

    She continued: “The book also reveals that lots of people go through challenges, but because they smile, one is tempted to believe such persons  and do not have deep stories to share.”

    Speaking during a chat with The Nation in Lagos, she said choosing photography as a career is very challenging because you don’t want to repeat the same creative idea all over again. “If not, it will get boring and people will get tired of it. So, if you have about 10 clients, you need to create 10 different ideas for them. Interestingly, my major clients are in the music industry maybe because that is where I started off,” she said.

    Though she wanted to be a cinematographer, she believed that a good photographer is capable of being a great cinematographer. So, instead of going into films, she chose to start with photography. According to her, when she eventually becomes a cinematographer, she would have great experience from photography.

    Nkanga is not a stranger to the entertainment industry. At an early age, her mother introduced her to the church choir where she played the clarinet.

    “I was actually in an orchestra. But it was more of an all-women gospel orchestra in a Redeemed Christian Church. It was mostly elderly women, but my mother drafted me in,” she recalled.

    When asked what attracted her to movies or films, she said: “It is an art. Basically, my foundation is to tell stories. If you check most of my projects, there has to be a story. I can’t just say I am putting out images; there has to be a story behind it. So, for me it is just like storytelling and the ability to tell the stories is what inspires me towards filmmaking.”

    Undaunted by the teething challenges of the Nollywood, Nkanga described Nollywood as a success story, although she agreed that it could be better. “In fact, Nollywood has improved. I watched some of the new age movies and I told myself that there is hope. In fact, hope is here. But, I think apart from proper technology, it also has to do with proper training. People feel they can go ahead with something without wanting to go the extra mile. But modern filmmakers know their onions and are seeking to improve,” she added.

     

  • Old people: At home away from home?

    Old people: At home away from home?

    More Nigerians sending their elderly to old peoples’ homes

    Following an increasingly changing lifestyle and a gradual departure from a culture that systematically took care of its elderly ones, there seems to be a growing need for care homes for the elderly in the country. Gboyega Alaka explores the realities.

    The 70-something year-old Mrs. Tricia Adebanji is a mother of five and should ordinarily be having fun, having successfully trained all her children to university level. In her hey days,  she worked with the Nigerian Immigration Service, as well as engaged in other legal businesses including contract bidding and execution and food canteen. It was also the beginning of the great recession in the middle to late 1980s, when the economy plummeted and unemployment rose sharply. So like many who were well-placed at the time, she literally flung her children to developed countries of Europe and America, to forage for greener pastures.

    Having lost her husband along the line, she was left with the baby of the house, her only daughter, Toyosi,  as her companion. But it was all for the best and things went well at the time. The children prospered, got reasonably good jobs, got married and regularly sent money home to her. She also regularly went on tour, visiting them in their respective countries of residence and generally having fun.  Life was good and even as she retired from active work, money was the least of her problems.

    But the baby of the house soon came of age. Toyosi graduated and got a job with a bank, and  as a result, Mrs. Adebanji was forced to spend more time alone at home. But that’s no reason to worry, she was still the well-loved ‘mummy’ and ‘grandma’ to everybody and still went out quite well to socialise.

    More recently however, old age has set in. Her bones are becoming weaker, her movement, slower and her ability to socialise, reducing drastically. Worst of all, her sight has began to fail – a result of poorly treated cataract. The thousands of distance between her and her children who live abroad have also ensured that they only come home to see her once a year, and sometimes, once in a leap year. Even Toyosi recently got married and has had to go live with her husband. She only checks on her mother when she could squeeze time from her busy bank job.  So now, Mrs. Adebanji is really lonely. Her sight problem also means she has become more dependent and in need of help.

    Unfortunately, her impatience with the different house-helps contracted for her also means that they hardly stay with her longer than a week, at most a month; compounding the frustration of the children, who wouldn’t want the public to think they has abandoned their beloved mother when she needs them most. Pitiably, virtually all the pressure have fallen on Toyosi, who lives in Nigeria, as if she were her mum’s only child. Today, it is not unlikely to hear her nag and complain out loud what burden their mother has become on her, “as if I’m her only child. I wish I could get somewhere to put her or some reputable care-giver to come in everyday to be with her like we have in the US.”

    Mrs. Adebanji’s story above is just one of a typical situation many Nigerian families are confronted with today.

    Recently, a lady Chinasa (not real name) went on the social media to request for information regarding a specialised home for the care of the elderly. She wrote: “I really need this information right now. Apart from Catholic homes, where the poor live, I don’t know of any other thing close. I have a great-grandmother, who is over a hundred years old staying with my family. She can’t walk; pees and poos on herself, although she uses adult diapers most of the time. … Caring for her has been extremely hellish! We’ve employed people to clean her up and take care of her but they usually end up running off. Sometimes, we’ve had to lock her up at home, when everyone has a place to be. If we had the option of a home, where we can pay for her care, it’d be great relief for everyone, including herself.”

    Note the desperation in Chinasa’s voice and note the line where she said “Sometimes, we’ve had to lock her up at home, when everyone has a place to be.” But at least, she and the other members of the family have not labelled her a witch and thrown her into the streets as witches.

    In Calabar, Cross Rivers State, that is the unfortunate situation. Not long ago, 13 elderly persons were rescued from the streets after being thrown out by their families on the excuses of being witches. These people were eventually taken in by the Pope John Paul II Good Samaritan Home, which have been caring for them ever since. Rev. Sister Yvonne Nwankwo, who is in charge of the home was quoted to have implored children to stop maltreating or neglecting their aged parents.

    A growing need

    Increasingly, the need for homes for the elderly, or what is generally known as ‘old people’s home’ is growing in the country. Evidently, because of changing lifestyles, a suddenly fast-paced world, where people are becoming too busy to take care of themselves, let alone loved ones, the elderly are now suffering. Consequently, what people in this part of the world used to view as a misnomer and a ‘wicked culture’ of abandoning ones aged parents’ has crept into our society. A quick check online would reveal a good number of these homes and care-givers, especially in metropolitan cities like Lagos, Ibadan, Port Harcourt, Calabar and Abuja. Although still a handful and grossly inadequate, the fact that they have even surfaced and are in business shows a marked paradigm shift.

    Nigeria with the largest number of elderly people in Africa, boasts of just over a dozen such homes, but that they have even found a footing at all is commendable, since Nigerians have never found it culturally agreeable or commendable to ‘dump’ their old ones in homes, preferring to take care of them the best way they can, until they pass on. At the last count, some of these homes or care agencies include the Regina Mundi Holy Family Family Home for the Elderly (Lagos), the Pope John Paul II Good Samaritan Home (Calabar), Winiseph Care Home (Lagos), Regal Care Nigeria, Bluegate Healthcare, Family Ark Mission, to mention a few.

    This reporter also paid a visit to some of these homes and agencies, to have a first-hand assessment of the facilities and interact with the operators.

    Adekunle Somefun, who is supervisor and admin manager at Winiseph Care Home says the home is the brainchild of Prof & Mrs. Odusote, both of whom are medical personnel, with long-standing years of practice. He said it was borne out of the founder’s desire to create a conducive abode for the elderly, following a personal experience. “From what the MD, Mrs. Kofoworola Odusote told me,  the establishment of this home was inspired by a personal experience of how her aunt, who at that time was in the twilight of her life, constantly complained of poor care from the house-help contracted to take care of her and of how her meals were constantly delayed, while the house-help went about her personal ‘business’. She said it was after her demise that she decided she’d love to be taking care of the elderly, especially since she was about retiring at the time.”

    Somefun said the home is seven years old and that it runs a 24-hour service, with care-givers, medical team, non-medical team alike on ground to render quality service to the residents. He also says the home runs day care and full residents.

    Somefun said the oldest resident at Winiseph has been there for four years. “He used to live in his hometown in Ijebu, Ogun State but became lonely at a point because all his children are grown up and away from home. He has six children, two live and work in Lagos while four live and work abroad.”

    He debunked the opinion that people who live in old people’s home are those who have been abandoned by their children or ‘dumped’ as many prefer to call it. “It is because their people care for them that they have brought them here, and they pay for the services. So in the real sense, it is because the children don’t have time, yet they want the best for their parents that they bring them here.”

    He spoke of how this particular elder “didn’t want to move an inch from his home, thinking that they were taking him to some horrible place, but now he is actually nearing five years here, and obviously enjoying it.”

    He said “The oldest person here is 96, but she’s still very sound. what happened in her case is that the daughter on account of her business travels a lot and rather than leave her at the mercy of house-helps, she thought it best to bring her here, where she was sure of total care.

    On the price range, Somefun said he may not be able to disclose that on the go, but that depends on the age and state of health of the elder.

    About the fear that sane people may be mixed with people who are mentally sound, Somefun shook his head in disagreement, but explains that “Dementia in the real sense is a medical state that cannot be corrected or reversed but which can be managed. And it’s not all of them that are violent like many people think. So I always tell the children that life is in stages and that we are here to manage their parents for them, since they cannot spare the time. In truth, there are some things that we may not be able to do, but the human care, medical care and pampering that they need, we will give them.”

    Somefun enthused that the children also come in regularly to check in on their parents and reunite with them as much as possible.

    He said social clubs and organisations also visit the home from time to time to celebrate birthdays and other important festive occasions with them. This, he said, is to remind them that they are still part of us and are not abandoned.

    Mama Saro (not real name)

    One of the residents of the home whom we shall call ‘Mama Saro’ for the sake of confidentiality and because she once lived and worked in Sierra Leone, spoke of how she came to live in Winiseph Care Home.

    She said, “It’s not that I’m sick or anything, but my daughter travels a lot. Sometimes, she may be gone for a whole week, sometimes more; that’s why she thought it wise to bring me here, where she said she can trust that they will take good care of me.”

    She explained that she is an Urhobo, “What you Yoruba people call Isobo, but I grew up in Lagos. My parents had a house on Idi Street in Ajegunle. I also lived in Surulere and at a point travelled to Sierra Leone, where I lived for many years and even worked as Confidential Secretary to the Chairman of Sierra Leones Electricity Corporation. I was in Saro for many years before coming back to Nigeria. My mother was a big textile dealer in the old Balogun Market on Lagos Island. I also lived on Anfani Street, Ibadan with my husband.”

    Of the level of care she is receiving in the home, Mama Saro said “Oh, if it is about that one, they take care of us very well. I would even say that their service is excellent, only that anywhere you have a group of people numbering up to five or ten, you always find some people whose habit or character you may not be agreeable with.”

    Asked how old she is, Mama Saro paused for a moment, looked to the ceiling and then said “Calculate it, I was born in 1943”

    So much for someone who had earlier told this reporter that “My only problem is that I forget a lot.”

    Regina Mundi

    At the Regina Mundi Catholic Church Holy Family Home for the Elderly, it is an atmosphere of conviviality.  No complain, no nagging or bickering on the part of the elders – at least for the hour or so that this reporter spent in the home on his two visits. He also did not notice any haughtiness on the part of the staff. In fact, one of the elders, Mrs. Margaret Babalola, while commending one of the staff said “She is very pleasant woman. She must have been born of good parents.”

    On the morning of this reporter’s visit, the elders, numbering about ten – three of them male, were having breakfast of custard and akara and everyone seemed to be enjoying themselves. The staff were all over them, making sure they lacked nothing and administering their drugs as they rounded off their meals.

    The living room is spacious, highly ventilated with ceiling fans an air-conditioner, and a flat screen television for entertainment. Here, it also seems electricity supply is 24-hours non-stop. Aside the big generating plant humming quietly in the background, the home also enjoys the luxury of Inverters, which according to Rev. Mother in charge, Sister Anthonia Adebowale, was donated to the home by an international organisation called Small World.

    The home was founded in 1982 and the “cardinal principle is to help the elderly poor. That was our objective in the past and it still is our objective in the present.” To ensure that maximum care is given to the residence, she said, it is a policy of the home not to take more than 14 elders at a go. She said the home started as a bungalow and was later upgraded to a storey building, to accommodate more people.

    The sister also informed that the home is  totally charity organisation and so the residents don’t pay. “If they have to pay, maybe if they are sick and have family members who are able to foot the bill.”

    She said funds for the home come from well-meaning Nigerians who come in to donate in cash and kind. As the sister in charge, Rev. Mother Adebowale says she solicits funds for the home and even goes to the different parishes to solicit for fund. “So it’s pure charity, not as if we get any subvention from government or anywhere.”

    Unlike most other homes visited, this reporter was also given a free hand to interview the residents, while the Rev Mother wondered why he hadn’t gone ahead to take the pictures of the elders at breakfast.

    Though a catholic church initiative, the reverend mother said the home is not discriminatory and in fact has a Muslim in their midst, who has been with them for quite a while.

    Bless the Reverend Mother!

    The first resident this reporter interviewed was Iya Jos, a Yoruba woman. She said she goes by the name because she lived a long time in Jos, before coming over to Lagos. She had just finished her meals and from the look of things, she may be approaching her centenary birthday or well past it. The sight of her Muslim rosary in front of her also gave her away as the Muslim Sister Adebowale was referring to. It also testifies to the fact that she still practises her religion and that the church has no qualms about it.

    She revealed that she’s been in the home for sometime but cannot really recall how long. As for the care, she said they take care of her very well. She would not tell the number of her children but said the reason she’s in the home is because her children are too busy to take care of her and their children are attending school.

    As this reporter made to go for another resident, she called him back and said, “The reverend sister is good. She takes very good care of us.”

    Mrs. Cerena Onwuneli’s impeccable English accent already betrayed her background even before she revealed that she was a trained teacher. She cannot remember her age, but said she is in the home because her brother brought her there and because her only son died seven years before she came into the home. As for grandchildren, she said “he was married and I was told he had two children, but I’ve never seen them.”

    Once, she tried leaving the home to go and live with her brother, but she said she didn’t enjoy it much and it was even the reverend sister who noticed she wasn’t looking happy.

    Her reason, she said is that “At my brother’s place, they don’t like me going to Mass every Sunday, but here, I am free to go to Mass at anytime.”

    She hailed from Ezihinite Mbaise, Imo State, she said and was a trained teacher, with years of experience at elementary school.

    Margaret Babalola on her part says she’s been in the home for over a year, although one of the staff who overheard her corrected that she has been in the home for four years.

    Mrs. Babalola says she’s in the home because her “children are in London and don’t have time for me, but they have time for their wives. That is the way the world is now, but it is not good. We didn’t treat our parents like that. Besides, they have never been here to see me.”

    About Rev Mother Adebowale, she asked: “Pray what can we do for this woman, she was the one that saw me at a programme and brought me here? Then, I was ill and my legs were sore, but she took me to the hospital and they took care of it. Now I’m better.”

    Born in 1943, Mr. Raphael Oyelere was a mechanic and then a driver in his active days. He drove long distance passenger buses to Jos, Kaduna and Zaria until old age set in.

    He revealed that he used to live in Isale-Eko and came to the home at the instance of Reverend Father Charles.

    “I used to attend church regularly, but when my wife died, it became a bit difficult for me, so I stopped. They noticed, came to check on me and saw that I was lonely. That was how they brought me here. I don’t pay a kobo.”

    He said some of his children are dead and that the others are still young and with relatives.

    Regal Care Nigeria

    Regal Care Nigeria is a care home based in Lagos and run by a young man  and UK-trained nurse, Olufela Lapite. He says it was born out of the need to fill the gap being created by the fact that “less family members are willing to look after the older people in our society.”

    He explained that “In the past, there were younger children who were used as housemaids and left with aged parents to cook and do other house work,” but that Regalcare is averse to this pattern as it denies the young children their human rights to education and co. He also said the maids are not really trained in terms of health and safety, hygiene, manual handling and all, hence the need for an organisation like Regal Care.

    Another reason, he said is that “the children of these older people are now very busy to attend to the needs of their parents or grand-parents. Some work in private organisation where they leave home at 6am and do not return home until very late in the night.”

    He said Regal Care therefore came into existence to ensure that older people in the society are cared for through regular healthcare training.

    He said Regal care does not operate by care home at the moment but carries out services in the comfort of its clients home. “We believe it is better to leave older people to continue to live in their own homes, where they feel more comfortable with and also very used to. This is being practised in other parts of the world like UK,USA, Canada etc. Our carers are trust worthy and very diligent in the services we render.”

    He also said the organisation makes sure the carers are supervised by qualified nurses and that they work with other multi-disciplinary teams like doctors, physiotherapists and co.

  • Onobrakpeya explores Abananya for change

    Onobrakpeya explores Abananya for change

    With the series Abananya, an Okpe-Urhobo name for an inferior fabric, Dr. Bruce Onbrakpeya, iconoclastic printmaker and painter, explores the dynamics of change in Nigeria.  He spoke to Edozie Udeze on this momentous project and more in his studio in Lagos.

    At the moment, Dr. Bruce Onobrakpeya is busy in his studio churning out works he hopes to push into the society as part his own contribution to change.  Onobrakpeya, one of the most outstanding visual artists in Nigeria today, at the age of 84, is still active and energetic.  He works as if he is a young man still in his prime.  A renowned printmaker, painter and sculptor, he is one of the Zarian rebels of the 1960s who did not allow foreign incursion into the Nigerian art to determine their love for the art.

    “At the moment,” he says in an interview at his home in Lagos, “I am working on a series which I call AbananyaAbananya is Igbo but it also means a lot in Okpe-Urhobo language.  It is an Okpe-Urhobo word.  The meaning, is where am I going to go with this?  That came out when the Dutch wax that was originally acknowledged as Ankara was somehow being printed here or done wrongly.  Then people became disillusioned; they did not like it.  So Abananya stood for an inferior clothe.  I therefore started to put out cut-outs from it together.  And so I developed a style of print-making and painting, which resulted into the series.

    “This is what I now call Abananya series, representing now change.  Abananya now becomes a metaphor for change.  This is what I have been working on now for sometime.  A few times I showed a lot of them to Sandra Obiagu, one of the most outstanding curators and matrons of the art; she liked it.  A few people also showed up at the Temple Gallery, Lagos where she had a show and they also liked the idea,” he says.

    Widely known for his peculiar form of the art, Onobrakpeya says: “The work is about change.  It talks about change; change to make the society better.  Change in our lives; change to make the art more on ahead.  This is so because what has been on the lips of the people when Buhari came to power is change, change and change.  I now said, the corruption is on the lips of everybody and therefore there has to be change.  And the art can be used in this Abananya series to espouse change.  So, it gave me the idea that change is even more than that.”

    Over the years a lot of people had clamoured for change.  But as an artist, Onobrakpeya’s idea about this is never sacrosanct.  “For me, this issue of change has been there all the time.  It is the only thing that is permanent in life and it is entering a new phase.  The idea even brought me back to when we were young in school.  I began to reflect over the changes that had come into our lives ever since.  So apart from creating the pictures which are not graphic illustrations but they are there to help you look back in time to explore these changes, the works also put your mind on who we are and so on.”

    Using some notable examples to make this series clearer and closer to the people, Onobrakpeya zeroes it down to this moment, “oh one of those changes is on free education which was introduced by Chief Obafemi Awolowo in Western Nigeria in those days.  He was the first person to do so in Nigeria and this also included the Midwest, where I come from.  That is the sort of change these works are talking about.  This change was a total revolution, it touched the lives of people positively.  This was so because true change has to touch the lives of people and make them experience a new era.  Most people then could not buy a six pence book for ABC.  But Awolowo said, no, we have to help our people go to school.  He worked for change and changes came at all cost.  Now it is the work of the art to display this change in a way to appeal to mankind; to show those moments of change over time.”

    Looking back in time and also sensing what obtains today, the printmaker decided to put these in painting to symbolize a society.  “Yes, we had Cambridge exams and then went through series.  Now, it is G.C.E. and so many other change ever since.  Now what is the role of the art in all these?  From U.C.I. which was the University College, Ibadan, to what we have now, there have been revolutions.  So this Abananya series let me go back into history to be able to do the works to represent change, real change over the years.”

    Coming in multiple colours in what the artist says may not represent real human or artistic faces or figures, the paintings done essentially in print forms explore human history and traditions.  “The word became popular – Abananya was, at a time, on the lips of everyone in my area.  When I spoke to a few people from the area, they certainly understood the word and what it means.  Therefore this work will address this issue properly.  But apart from creating the art works themselves.”  I do a lot of writing that will go with it.  The writings will explain a lot of things and make the works truly rhyme with this change mantra.”

    When the works are done with he hopes to exhibit them so as to encourage the public appreciate the metamorphosis of change in Nigeria.  “Yes, there will be an exhibition and also there will be a portfolio where each work will go together with it for clearer explanation.   Yes, basically the picture is to encourage you look into yourself and examine the changes that have taken place in your life.  The story is to make you look in the direction of change to see what you can also do to effect a change.  It is symbolic in a way.”

    As an artist, Onobrakpeya tries to see how arts can key into the world of politics for the type of change that benefits all.  “What I have done is to help everyone.  Last year, I met Gowon one-on-one for the first time.  And I told him I had started this series.  What I had for him was: Gowon – Go on with one Nigeria, for he did well for Nigeria.  He introduced the NYSC – National Youth Service Corps – which has helped a lot of people to understand Nigeria better.  This is change.  Isn’t it?  He fought to keep Nigeria one.  This is change.  He has this image of someone who wanted Nigeria to be one.  NYSC is a big thing in Nigeria.  I had the opportunity to go to school in Zaria, otherwise I wouldn’t have had the time to go up North.  Many people are like that.  Therefore NYSC is for you to know places other than where you are born or where you went to school.”

    On the whole, the works will come out in 50 series.  Each one has a history to tell; has a statement to make.  Changes have come in different parts of Nigeria and those who did them have to be celebrated through these works.

  • Who sold and who didn’t at TKMG auction

    Who sold and who didn’t at TKMG auction

    At the recently held Lagos Art Auction, organised by Terra Kulture Mydrim Auction House (TKMG), Market Queens, an oil on canvas painting by Ablade Glover, a Ghanaian foremost artist, ranked the most expensive. The alluring piece which is a 47×39 inches, was sold at the rate of 3,200,000.00 naira.

    The bidding for Market Queens started from 2,800,000.00 and went to the last bidder for 3,200,00.00. People, another oil on canvas by Glover was sold at the rate of 2,800,000 naira, making second most expensive artwork at the auction. Both works were produced in the year 2013.

    While Man Rowing into Life, a 48x27inch bead work, created in the year 2012 by David H. Dale, was estimated between 2,500,000 to 3,500,000. Man Rowing into life was ranked the most expensive piece on the list. However, the work was not sold. The Rainbow Brigade 8, a mixed media artwork by emerging artist, Ndidi Emefela was sold at rate of. 950, 000 naira. Busy Hands, an oil on canvas painting by another emerging artist, Raji Mohammed’s was also sold at 250,000 naira.

    About forty-five artworks were sold at the auction, which featured 104 artworks, cutting across various media and artists from Nigeria and across West Africa (Ghana, Togo and Republic of Benin). Most works of masters of art were not sold at the auction. Kolade Oshinowo had four works but none was sold. Two by Dele Jegede were not sold and six by David H. Dale were on the list of works not sold. Only one piece by Bruce Onobrakpeya was sold out of five works.

    In the year 2015 edition, Dupe, a piece by Kolade Oshinowo, was sold at the rate of N2,200,000. Dupe was the most expensive work auctioned that year.

    TKMG has grown to become one of the leading Art Auction Houses in Nigeria recording over 70% sales at each auction. But this edition witnessed a low sell according to source since the inception of Art Auction in 2010. One critic at the auction said works were not sold because “the works were “overpriced,” while another speculated that the economy of the country is the reason many of the works were not sold. “Sale was low this year compared to other years,” said a reliable source, who works with one of the galleries. “People are coming behind after the auction to beg for the works at a low price.” For this reason, the organisers cannot reveal the total number of works sold at the auction.

    Preview of the works took place on April 24, at Terra Kulture Art Gallery and the auction held on Friday, April 29, 2016, at the Intercontinental Hotel, Victoria Island, Lagos. The auction was conducted by Mr Yinka Akinkugbe. And curated by Ronke Akinyele. “We brought in the affordable works and expensive ones. We also decided to put inworks by a couple of young Nigerian artist who have been making waves both home and abroad, and I was able to reach out to them to see how we gathered some of their pieces in this year’s auction.”

    Ten exceptional works by Kolade Oshinowo, David H. Dale, Ablade Glover, Rueben Ugbine and Segun Aiyesan were leading as the expensive artworks in this year’s Lagos Art Auction. Among the top ten ranking in the list were: Discussion, (acrylic on canvas), by Kolade Oshinowo People, (oil on canvas), by Ablade Glover, Market Queens, (oil on canvas), by Ablade Glover, Abuja Landscape (oil on board), by Kolade OshinowoMaiden Dance (wood), by Rueben Ugbine, Motifs (copper foil in board), by David H. Dale, Tussle (wood), by Rueben Ugbine, Village Scene (oil on canvas), by Kolade Oshinowo, and Owanbe (acrylic on canvas) by Segun Aiyesan.

    Lagos Art Auction brought collectors and art lovers togetherunder one roof to bid for works of their choices, as well as celebrates Nigeria’s cultural heritage through creative artistry and a reference platform for pricing African artworks. The Terra Kulture Mydrim Auction House (TKMG) was initiated by the CEO, Terra Kulture, Mrs. Bolanle Austen-Peters. It collaboration with Mydrim Gallery which was started six years ago. TKMG, annual art auction.

  • Project Insight: Art show for the blind beckons

    An NGO for the visually impaired, Society for the Welfare of the Blind In Nigeria (SWBN) will come May 21 hold its first ever Project Insight.

    Project Insight is an initiative designed to showcase the inherent abilities of the virtually impaired persons in an artistic adventure – to ‘paint from the minds their interpretation of life as they see it.’

    This maiden edition is aimed at bringing in individuals, corporate entities and other reputable persons in society to render support for the various needs of these less privileged.

    Funds are intended to be raised via art paintings done by the visually impaired persons, while proceeds will enable the activation of educational support items for the visually impaired in our society, the refurbishment of their schools and ultimately provision of support materials for the aimed parties.

    To be more specific, Project Insight hopes to set up Braille Press, mathematics and Science equipment for three schools and distribution of guide canes for the visually impaired and refurbishment of learning environment.

    To this effect, the organisers (Society for the Welfare of the Blind in Nigeria), seeks financial support and partnership in five different categories namely: Bronze (N5m), Silver (N10m), Platinum (N15m) and Gold (N20m). There is also the Exclusive Category (N40m), which gives a sponsor the exclusive sponsorship right.

    According to founder and president, Tade Ladipo, who lost his sight over 25 years ago, “the Society for the Welfare of the Blind in Nigeria is a non-governmental, non-profit making, non-religious organisation set up in the 1990s with the aim of meeting the overall human development needs of the blind in Nigeria. These needs fall within the sphere of political, socio-economic and moral resources provisions.”

    Said Ladipo: “Some of the achievements of the society in the past include production of textbooks in braille, construction of zebra crossings/sign posts, scholarships and grants for the visually impaired, blind library etc.”

  • Okotie-Eboh in the eye of history

    Okotie-Eboh in the eye of history

    Title: Okotie-Eboh: In time and space in our history.
    Edited: Prof. Akinjide Osuntokun
    Year of Publication: 2016
    Number of Pages: 409
    Reviewer: Nurudeen Badejo

    The chapter one of this book aptly titled A Short Panoramic View of Nigeria’s Political Evolution is a deep historical development of Nigeria from when cities were conquered by the rampaging British forces, the amalgamation of the Northern and Southern Nigeria, the administration of Nigeria during the colonial era, rallying for independence, eventual independent with the high hope of a bright future (which unfortunately was dashed or mis-managed), the crisis of political consolidation and the legendary military intervention in our politics culminating in our present democratic practice. The author, an eminent historian and professor emeritus in this chapter dwelt extensively on the historical development of Nigeria that should give everyone a re-think if really our dear country would achieve the aims and aspirations of its founding fathers. Lack of political tolerance, improper management of opposing views, deployment of state’s facilities for political purposes, greed, avarice and corruption are some of the issues highlighted bedevilling the development of Nigeria. Hopefully, we will get it right in the present dispensation with a new government.

    The life and times of Chief Festus Samuel Okotie-Eboh, CMG, M.P, is the thrust of chapter 3. Born on July 18th, 1912 in Bateren, present day Warri North Local Government, Delta State. He grew up with his mother, an Urhobo woman from Orogun. This made him bilingual in both Urhobo and Itsekiri languages. Popularly referred to as Omimi Ejo, Okotie-Eboh, voluble and ebullient was a self-taught man who after his primary school education, taught in his Alma Mater (Sapele Baptist Primary School) thereafter he joined Bata Shoe Company as an accounting clerk where he built a career culminating in becoming the first Nigerian manager of this company. After being sent for further training in Prague in Czechoslovakia in 1947 and obtaining a Diploma in Business Administration and Chiropody. As expected, he left Bata Shoe Company to set-up chains of companies; Afro-Nigerian Export and Import Company involved in timber and rubber business, Omimishoe factory (arguably the most popular among his companies), Omimi Plastics factory and other strings of schools set-up in Sapele, e.g. Sapele Boy’s Academy, Zik College of Commerce and Sapele Academy Secondary School. These schools were founded together with his wife, Victoria, whom he married in 1942.

    Clearly, he had become wealthy and extremely popular in Warri division, it was at this time that he joined the National Council of Nigeria and Cameroon (NCNC) under the leadership of Herbert Macaulay and Nnamdi Azikiwe. He won election into the Western House in 1951, but by 1954 he had become a member of the Federal Parliament in Lagos and one of the prominent leaders of NCNC. He was thereafter elected party treasurer largely because he was a man of means. He was subsequently nominated as the Minster of Labour and Social Welfare in January 1955, where he formalised labour relations with Spanish authorities in Equatorial Guinea where a large number of Nigerians were working as labourers.And because of his raising national profile he became the Minister of Finance in 1957.

    As Nigeria’s longest serving Minister of Finance till date (he was Minister of Finance from 1957-1966, a period of 10 years), his achievements and financial acumen are well documented for the first time in our national history in this book. Chiefly among these are the establishment of Central Bank of Nigeria and the mint company, the inauguration of the first national currency, the establishment of the Nigerian Stock Exchange, creation of the first Nigerian investment and development bank in the 1950’s and 1960’s, putting in place financial institutions such as the customs department to be part of the finance ministry, the securities commission and an efficient tax regime (He introduced pay as you earn tax system in Nigeria). After establishing these institutions, he won many friends for Nigeria using his long standing business contacts in Europe and America, many international institutions including World Bank, The Commonwealth, International Labour Organization and others which became critical partners of Nigeria in national planning for economic and social development. They all offered their services to Nigeria. With a tremendous capacity for hard work, he is a practical man with firm believe in Nigeria playing an important role in the international community.

    His larger than life image coupled with flamboyance created much attractions and perhaps enmity for him from those who accused him of flaunting affluence. His influence in the creation of mid-west state from the existing western region is a story of concern, political bickering and manovering particularly concerning the interest of his Itshekiri people. His influence in the NCNC was so pervading that he could get almost anything he wanted from federal government. In spite of his Itshekiri background he grew up in Sapele, and had all his investments in Sapele. Okotie-Eboh’s impact in many areas of national endeavour was monumental. He was a remarkable contributor to nation building before his unfortunate assassination in 1966.

    As an Ijebu man, Professor Itsejuwa Sagay, SAN, in an edited version of his lecture on The Itshekiri People in chapter 2 of this book, confirmed my age-long held belief that there is an element of Ijebu affinity with Itshekiri. My family grew in Lagos with an itshekiri family as our neighbour, my concern and suspicion about their language till date is that there is connection between Ijebus and the Itshekiris. In the edited version of the lecture by Sagay, an eminent Itshekiri son traced the history of modern Itshekiri from the late fifteen century when the people adopted Prince Ginuwa from Benin Kingdom as their monarch, though they have lived independently in different communities.

  • DJ  IRAWO: My passion for the talking drum

    DJ IRAWO: My passion for the talking drum

    Talking drum sensation, Oluwakemi Famugbode aka DJ Irawo recently opened up on her love for drumming, early struggles and support from her other half. She spoke with Edozie Udeze.

    OLUWAKEMI Famugbode (aka DJ Irawo) is no doubt a committed drummer. She is one of the very few Nigerian ladies who have chosen drumming as a way of life.  She is not only a singer, song writer, music publisher, director, musician and entertainer; she is an ambassador of sort, as she has taken drumming to different parts of the world.  Every last Saturday of the month, she, alongside other professional drummers assembles at the Freedom Park, Lagos, to play the drums and entertain visitors and tourists.

    “It is a way for us to keep the groove on,” she told The Nation in an interview.  “We come here for the fun of it.  And this is why we call it the drum circle.  It is to show the world that this form of music is not only African; it is also one of the best ways to keep this venue warm and busy.

    “It is for us to enjoy the drumming, dance to the rhythm of it as you can see.  But apart from that, I perform at different venues for different occasions.  Performance is my life and wherever there is an occasion that involves drumming and I am invited to perform, I am usually delighted to do so.  This is so because this is my profession, this is what puts food on my table,” she said.

    While Famugbode played away on stage on the day of this interview, her whole body system synchronized with the gangan drum in her hands.  She pelted away as if she was possessed by unseen spirits.  Her whole body melted in it as she pranced round the arena, beating away with mad frenzy.  “Yes, this is why I am called DJ Irawo.  When I perform live, there is element of jazz infusion into my kind of drumming,” she said as she took her seat for this chat.

    The Lagos International Jazz Festival was going on in the background.  And soon it would be her turn to mount the stage.  Yet Irawo’s key concern was to put his colleagues in the right frame of mind to dazzle the audience.  “I have been playing this since my secondary school days and it has become part of my life; part of my whole existence.  I began to drum in JSS 1.  Then I continued until I became more perfect in it.  When it was time for me to go to a tertiary institution, my parents refused to allow me study Theatre Arts.”

    Having ended up studying Accounting to satisfy her folks, Famugbode, went on to seek employment in different establishments.  She indeed ended up as an internal auditor in a couple of the firms.  But this was for a brief moment, for music still took hold of her senses.  “Yes, I didn’t last long as an internal auditor,” she confessed with a note of finality.  “I worked in three different establishments as the head of internal audit.  But I left when I couldn’t find satisfaction there to do music full time.  So, in 2015, I finally bade goodbye to whatever profession that is not music.  Today, drumming gives me all the joy I need.  When I see little children like these ones here show interest in music, dance to the beatings of the drums as if they are born with it, I feel good.  I indeed realise that drumming as a profession is taking the world by storm,”

    When she discovered she couldn’t combine music with other profession due to family pressure, Famugbode decided to concentrate on music.  A mother of three, she confessed that the coming of her children helped in slowing her down professionally.  “But all that is over now, for my children are relatively big boys.  And my husband encourages me to do music.”

    At the beginning, her parents tried to hold her back.  “My father said to me one day, ‘oh look Kemi, it is those who do not have brain that go into the university to study Theatre Arts.’  My mum also supported my dad.  But they discovered with time that I could not run away from my drums.  Each time I felt depressed, I would play the drum; indeed my only companion would be the drum.  I couldn’t depart from it, even when I struggled to satisfy my parents in certain other professional areas.”

    When she began drumming, it seemed more of a therapy for depression.  It was catching on slowly with time.  “For me, drumming is a talent.  I did not learn it from anybody.  I started in primary school by drumming on table tops.  The sounds thrilled me endlessly and often made me forget other things.  Thereafter, I joined the Boys Brigade of Nigeria of the Anglican Church.  There, I played the drums for them.  From there I got a scholarship to study music at the Wale Adenuga’s School of Performing Arts.  After that I have been having some drumming sessions every now and then with not only other drummers but with children who show interest in it early enough.”

    For her, different sounds of the drums in Yoruba culture mimic the movement of the body.  Each body language is interpreted by the sound of the drum whether it is bata or gangan.  This is what thrills Famugbode most whenever the sounds are made.  “Even when the drum is played from a long distance and you hear the sound, you can interpret it immediately.  It makes your body to move, while at the same time alerting your senses.  If it is in the palace, it tells an Oba that someone has died or that something very important has happened or about to happen.”

    It is clear that the drums convey essential messages to the initiated.  Most often, the sounds decode messages meant to keep a whole community on its toes.  This is why Famugbode’s primary concern is to keep this tradition ever afloat.  She said: “I can sing different songs with my drum in Igbo, Hausa and Yoruba and other languages to keep people informed of certain issues.  I do other alternatives to the talking drum.  For me, the message and the understanding of it is the most important.  As far as I am concerned, it is not only set in Yoruba or meant for the Yorubas alone.  All of us have the need to hearken to the voice of the drums.  It is a great tradition; it is good for us as Africans, as people who want to keep our heritage intact.”

    Even as she and others played, the underlying lyrics of jazz kept emanating from the sounds.  Some tourists who came around stood in clusters, gyrating to the deep rhythmic sounds of the drums.  This was even as some children who have mastered the messages of the drums took turns to demonstrate the imperativeness of the event.  Famugbode looked steadily at them for a while and said, “You can see the dance steps interpret each sound differently, but also in synergy with the beatings.  When I supervise my people, I also tell them to make drumming more meaningful.”

    As an artist, she equally directs music for films.  This is why she is a well-known figure in the Nollywood industry.  “When a film producer or director contacts me, all I do is get a copy of the film to be able to know what sounds to go with it.  I then organise the songs they want to sing.  I also do background sounds for films.  I do all these to go with the theme of the film and the message it has for the audience.  Generally, I am a sound designer.”

    Composing songs to rhyme with gangan which is her favourite drum is what gives Famugbode her greatest thrill.  “I compose songs on my own to suit my whims as well as the sounds of my drums.” This way, she uses talking drums which she infuses into hip-hop to produce her own peculiar sounds.  Some of these unique sounds are what her fans and followers yearn for whenever she appears on stage.

    “Yes, I equally infuse this drumming into afro to produce a deeper jazzy sound.  And whenever I perform on stage, these elements totally define my uniqueness.  Often, people are fascinated and wonder how I do it.  But it is my selling point; it is my forte.  Generally, the idea is for me to continue with it and then make people interested in it,” she concluded with unbridled satisfaction.

  • Knocks for NFC’s project

    Knocks for NFC’s project

    The Nigerian Film Corporation (NFC) came under critics’ hammer during a discussion session cum film screenings, an Archive-Based Project organised by the Lagos Film Society. The event took place at the NFC’s Lagos office in Ikoyi, penultimate Friday.

    The event attended by filmmakers and  enthusiasts, was meant to improve history and film archiving in Nigeria, especially in Lagos.Three films screening, two of which were documentaries and the third a movie were presented.

    The first film was a documentary on The Missing Picture by Rithy Panh. It was about the life of a young boy who narrated his ordeals in Kampuchea, Cambodia.The film is based on how the people of Pnom Penh were enslaved and relocated to Kampuchea by Pol Polt and his comrades, where they were being maltreated, dying one after the other. The 13-year-old boy survived but lost all his family members.

    The former Managing Director of Nigerian Film Corporation, Afolabi Adesanya said: “Nigerian filmmakers have refused to donate their films to NFC archives which is why there are not enough films in the archive, criticised the corporation’s inability to support filmmakers financially in their film productions.”

    Reacting to Adesanya’s comment, veteran filmmaker Ola Balogun said: “Government spends hundreds of millions on the scheme every year without producing a film or even giving filmmakers money to produce film, yet they want filmmakers to donate the films they produce with millions of naira free of charge.”

    He added that it was, however, unfortunate that $4million was spent on the film laboratory which did not produced even a film before the laboratory was moved to Jos when it was discovered that the water in Lagos was not good for film laboratory.

    Didi Cheeka, one of the panellist, pleaded with older generation filmmakers to release their film for archiving in order to enlighten youths on things that had happened in the past, which they do not experience, so that they can watch it and have an understanding of the events.

    He urged filmmakers to release their works in order to help improve the knowledge of new generation filmmakers in their process of filmmaking and broaden their understanding on past events, which could lead to a developing story.

    The second film was also a documentary by Balogun entitled: Gods of Africa in Brazil. The film, which was shot in Brazil, was centred on Africans who were captured and enslaved by Brazilians. They were taken to Brazil without any of their property, but one thing they took with them was their gods, customs and traditions.

    The Afro-Brazilians did not forsake their gods, they still serve them even in Brazil. This attracted the interest of filmmaker, Balogun, a traditionalist who also has strong beliefs in all these gods; Yemoja, Ogun, Sango, Esu, Oya, among others.

    The third film was a movie titled Black Goddess also by Balogun and was shot in Brazil. The story is based on Yemoja, the river goddess who is known as the most beautiful of all the goddesses.

    Sponsored by Federal Ministry of Information & Culture, Goethe institut, Nigerian Film Corporation and British Council, the event had in attendance Marc-Andre Schmatel, Goethe institut, Ore Disu, Nsibidi institute, Lisabona Rahman, Lab Labalaba (Indonesia/Italy), Jacqueline Nsiah, independent film curator, (Ghana), Tunde Kelani, Tam Fiofori, among others.