The Nation Newspaper

Category: Arts & Life

  • Documentary as tool to grow democracy

    Viewers were spellbound by powers of documentary films during the Sixth iRepresent (iRep) International Documentary Film Festival at the Freedom Park, Lagos. The event was themed #Change: Documentary Films as Agent Provocateur. Over 30 select films were screened.

    It was a fest of documentary films that explored its theme from an angle quite dissimilar from its erstwhile detached slant. Executive director/co-founder of Foundation for Development of Documentary Film in Africa, organisers of the iRep Film Festival, Femi Odugbemi said: “This year’s IREP festival comes at a time when it is most important to take the African storytelling experience to a new level of reckoning and celebration. The dimension of documentary as a tool for deepening experiences and mediating history makes it a powerful tool to unpack what we need to grow our nascent democracies.”

    He described documentary films as a means of expression, probably as an alternative to or a partner with art, noting that “there is a need to find an outlet to document the “truths” of our experiences for historical purposes and hopefully, the negative chapters of that history, when documented in powerful narratives, will be slow to repeat itself. Documentary today must be about engineering open and more vibrant democracies”.

    In her keynote address, Jane Mote who spoke on Documentary as Agent Provocateur at the film festival, said: “We have a responsibility to document the world honestly and to ask the questions that get us nearer to the truth. I passionately believe everyone should own their own stories”. Mote is media consultant for TV channels and digital media companies including Discovery, BBC Worldwide, London Live, The Africa Channel and One World Media

    She expressed her belief in documentaries as a real opportunity for people to take control of their stories to define their cultures.

    Meanwhile, four documentaries were screened at the opening and the first was Kenya: A Guidebook to Impunity, a 62-minute documentary by Maina Kiai. The documentary, which was about the Kenyan election that saw Uhuru Kenyatta become Kenya’s president. It is a deconstructive exposé on the election that had extraordinary consequences in Kenya. Reviewing the film, Dare Dan said: “It takes us from the grassroots to the apex of how things went down through the eyes of locals, rape victims, and those who lost limbs, property and loved ones.”

    Also on the menu were HID Awolowo; The Legend, The Legacy by Dare Akpata, Negritude: A Dialogue between Senghor and Soyinka. These documentaries, as their titles readily imply, discuss the deceased wife of Chief Obafemi Awolowo, and the well-known ideological differences between Professor Wole Soyinka and former Senegalese president, Sedar Senghor.

    The Democrats by Camilla Neilsson is probably most engaging of all. A 100-minute documentary shot in politically unstable Zimbabwe where a new constitution was being put together by the ruling party of Robert Mugabe, ZANU-PF and the divided opposition party, MDC. It invites the audience to observe the entire process a la motion picture.

    Reviewing the film, Agnes Atsuah said: “Any documentary, short film and such about Zimbabwe and her 30-plus years under the dictatorship of her president Robert Mugabe is bound to draw considerable interest and this 100-minute documentary is no exception. From the opening archival scenes where a small look into Zimbabwe’s past state of affairs is shown to the almost flawless transition to the film itself, it is almost impossible not to be drawn in.”

    On the pace of the film, she said: “Pacing is done almost perfectly as each scene seems on the verge of an impending, inevitable finale of the failed system that the two often warring political parties so desperately tried to put into place. Desperation, frustration, disappointment and laudable hope are major emotions that mostly close-up shots translate so well.”

    Among the guests present at the opening included Nobel laureate Prof. Wole Soyinka; veteran filmmaker, Tunde Kelani as well as other scholars and film enthusiasts.

  • ‘How the North chased Awo with bees’

    ‘How the North chased Awo with bees’

    Pa Raheem Olajide Adegbite was a youth leader of the defunct political party, Action Group in Remo in the early 1940s through till  1967. Now at 85, the old man looks back at those exciting days, when the enigmatic late Chief Obafemi Awolowo and his contemporaries bestrode the politics of the time with lofty ideals and rivalries. He spoke to Taiwo Abiodun about the politics of the time.

    HUNG on the wall of his living room were youth photographs of him with prominent people of his time on different political occasions. In one of them, the chubby-cheeked youth was with the late Chief Obafemi Awolowo and a monarch in 1958; in another, he was with party leaders and supporters among others in his prim black suit and tie; whilst in yet another,  he was reading out a speech while the late Awolowo sat with a monarch and looked on.

    Now an octogenarian, Pa Raheem Olajide Adegbite paused, brought out another picture, gave it to this reporter and spoke slowly, as he pointed at a figure. “This is the late Tai Solarin in the middle, delivering his speech when we visited him at his Mayflower School, Ikenne.”

    Uncle Tai, as he was popularly called, was in a Yoruba flowing gown (agbada) and it was on an occasion when the youths were coming from a meeting with the late Awolowo in 1960.

    As he sorted quietly through some more papers and documents, Adegbite, who was then youth leader and Social Secretary of the Action Group party, Remo Division in the then Western Region (now Ogun state) spotted his old membership card, with the inscription, ‘Action Group Youth Membership Card’ and the palm tree symbol on it, picked it up and brandished it with pride.

    Said Adegbite with visible nostalgia, “The late Awo,” as Chief Awolowo was fondly called, “was an enigma, faithful and strong leader, whom the youths of the time looked up to; believing in his ideas and principles to deliver his political manifestos. Awo was known to us generally; he was simple and spoke to us in the language we understood.”

    My Closeness to Awo

    Adegbite, who hails from Sagamu, the divisional capital of Remo in the old Western Region, was however quick to say that he didn’t have any special closeness to the late sage, except that “as secretary of the youth wing of the Action Group Party, I used to go to him with one Mr. Makanjuola Lawal.”

    Reminiscing further, he said: “What I understand about him was his greatness, agility, brilliance, dexterity in politics, humility and faithfulness. He was a gift to Nigeria; little wonder he was described as the ‘best president Nigeria never had.’ He was a clean man; very clean and straightforward. His type of politics is rare. He possessed that magnetic power, such that wherever he was, he enjoyed loud ovation. He was just great.”

    Passage of time

    Just as he reflected on the passage of most of his contemporaries with whom he rocked the political terrain in the 1940s and 1960s, Adegbite said he is pained that the late Awolowo died without becoming president of Nigeria as his followers wanted. “Many of us who were members of the youth wing have passed on. Even though I am based in Lagos and have not been going home regularly, I can still remember people like L. Abiodun, Amusa Shittu, Isiaka Adewale, Mustapha Erinle, M.O. Akodu, although I am not too sure who is still alive or gone amongst them even as I speak.

    The Awo campaign train

    Reflecting on the campaign train, Adegbite said “Whenever Awo arrived at a campaign ground, people would cheer and cheer and cheer because of his charisma, exposure, education and promising manifesto. He was treated with honour and respect. He was an icon, an idol. Whenever there was a campaign, I would be asked to mobilise our people to meet him. I was the social secretary and it was my job to go round and announce his coming. It was a highly honourable job to do and an influential position too.  I used to go with him to the campaign ground anytime he came to Remo.”

    The many attacks on Awo

    Adegbite confirmed the hostilities among politicians of the time and the use of voodoo, assassination and verbal attacks on the late Awo. “Yes, the politicians used juju to attack one another. Then assassination was not as rampant as we have these days, so Awolowo was attacked several times with juju. He was also verbally and physically attacked; but he always escaped unhurt because he was very powerful. There was a time he went to Oyo town with the late Bode Thomas and they were accused of being rude to the Alaafin of Oyo (the father of the present Alaafin). It was alleged that somebody used juju on them, but Awo was not affected. The rest, like they say, is history.

    “Not only that. The Igbos refused to vote for Awo, alleging that he had campaigned that he would ban stock fish, which is a popular item amongst them. Up north, he went to campaign and they said he was a pagan and stoned him. They even sent bees to sting him, but he brought out his handkerchief and warded them off. But in spite of all these, he made friends amongst Northern leaders like the late Aminu Kano, JS Tarka amongst other.”

    Penkelemess

    Asked to explain what the ‘penkelemess’ slogan was all about, Adegbite said “From the beginning there was friendship. Awo was in Action Group and the late Adegoke Adelabu, who was an Ibadan indigene, used to say all what Awo was doing was ‘a peculiar mess.’ They used to tackle him by going to motor parks, but Awolowo used to do his own in a very decent way.”

    As a rule, no civil servant could join in active politics, but Adegbite sort of contravened that instruction, as he participated actively in politics as secretary of Remo Local Government. But that, he said, was possible because he was a member of Action Group and Action Group was the ruling party at the time.

    The Awo magic

    On the story that Awo performed magic by writing his name in the sky during a campaign, the old man laughed and said it was not magic but scientific. “Awo only flew a balloon in the air and wrote Action Group on it. That was new then and everybody looked at him in amazement.”

    The AG crisis

    At this point Adegbite said he didn’t want to talk about the crisis any longer but volunteered that it was a result of a power tussle between Awo and Chief Samuel Ladoke Akintola between 1952-59. “Awo was Premier of the Western Region, but had to go on to play federal politics. But when he came back and wanted his seat back from Akintola, there was a disagreement and this led to a split in the party ranks, as some people followed Akintola, while some followed Awolowo.”

    Again, when there was a need for the party to form an alliance, Awo wanted the NCNC but Akintola preferred to go with the NPC (Northern People’s Congress) led by the Sardauna, late Sir Ahmadu Bello, because he could speak the Hausa language. But this led to rioting all over the place, with people burning houses in the South-West. Many houses were burnt in Sagamu, Iperu, Ishara, Ode Remo, Ikenne and other places. Many ran away for their dear lives , while majority of us could no longer attend party meetings. But Awo was not happy with the situation and appealed to the people for calm.”

    An ardent Awo disciple, Adegbite said, “Our hope was that if Awo became president, he would provide employment for the youth; but since he lost, he couldn’t do anything and there was bitterness amongst his supporters in Remo and Sagamu and elsewhere, where people believed in him.

    Adegbite said it was a sadder occasion, when Awolowo was jailed in 1963. “People were not happy about it; he was our messiah; he was an idol amongst the youth.”

    God, greater than all

    The former youth leader was however not happy with the way the late sage’s body was treated after his demise, arguing that it was against God’s wish for a dead body to be preserved forever. “I was in Ikenne after he died to pay my condolence and pen down my thought in the register, but I believe he should have been buried thereafter.”

    He said the attempt to preserve his body, however failed, when his remains began to rot and the family had to hurriedly bury him. “It showed us that God is powerful and greater than us all.”

    While admitting that Awo had his weaknesses, Adegbite said he is still baffled by his ability to woo people, likening it to a magic wand. “People would be held speech-bound for hours, shouting ‘Awo!, Awo!!, Awo!!!’ He was a good leader, no doubt; a good teacher and a pace-setter. He was the first to bring television and radio to Nigeria.”

    Was Awo a proud man?

    The self-confessed Awoist said: “I cannot say he was proud, but he knew what he wanted. He used to say ‘It’s not life that matters but the courage you put into it.’

    “I followed his principles. I have only one wife. I am honest and will never steal a pin. After retiring from working at the Remo Council, I also worked at Nigerian Paper Converters; manufacturers of “Day by Day ” toilet paper, drinking straws, printing and stationery manufacturers. When I resigned from there, I went into rug business and retired into selling cement.”

    Asked if his sticking to one woman was all about following Awo, he said: “My father had three wives; my grand-dad had five wives, but they were always quarrelling. My mother actually wanted me to have more wives but I said ‘no.’ When wives fight, they always sided with their children. I am 56 years in this marriage and we are still alive. I have no child outside and I am contented.”

    Between Buhari and Awo

    Adegbite  praised Buhari for trying to tackle corruption. He said “Buhari is in Awo’s shoes. Awo said he would probe the military but lost the election; but Buhari said the same and was elected. That is life. Now we are all seeing how corruption has destroyed the country. We should all support Buhari for toeing Awo’s line.”

  • An arena of artistic panorama

    An arena of artistic panorama

    The aesthetic nature of the art is to beautify an arena and make it more friendly.  This is what outdoor arts have done to the Freedom Park, Lagos, an avenue meant for entertainment and the promotion of the art, writes Edozie Udeze.

    More often than not, beauty and aesthetic art go together.  This blend is what is noticeable at the Freedom Park, Lagos, at the moment.  A former colonial prison yard where political dissidents and those who were a thorn on the flesh of colonial masters were kept for various offences against the state, today Freedom Park has assumed a new and dynamic role.  When it was turned into a park for the purposes of entertainment, relaxation and the promotion of the art, the first primary assignment by those entrusted with its care was to beautify the environment.

    Today, all the nooks and crannies of Freedom Park are adorned with different artworks.  Each art work in form of sculpture is deliberately done to represent an event or tribe in Nigeria.  The most striking, imposing and significant one is the art work in which Dr. Nnamdi Azikiwe, Chief Obafemi Awolowo and Sir Abubakar Tafawa Balewa are together.  The sculpture shows Balewa in the middle flanked on both sides by Azikiwe and Awolowo.  The imposing work shows the three leading figures in the historical journey of Nigeria to nationhood.

    Although it is not clear which artist did it, the picture itself is usually a cynosure of all eyes in the park.  It is tucked in a conspicuous position of the park, thus making it the centre of attraction.  The imposing nature of the installation depicts it as the most important sculpture in Freedom Park.  This is why visitors with their young ones are in the habit of admiring it endlessly and also pointing it out to the children as the symbol of nationhood.  These three important figures were in the forefront of the fight for independence.

    In another sculptural work titled Kakaki and done by Kehinde Jagun in 2009, you see a man sitting down in flowing native dress with a long trumpet held together with two hands.  This is called Kakaki, usually seen in palaces of Emirs and Shehus in the Northern part of Nigeria.  It is a symbol of entertainment and authority and honour.  On entering the palace of an Emir, one is usually heralded with the blowing of this long trumpet.

    According to the statement made by the artist, Kakaki can also be blown at festive occasions and important anniversaries in the palaces.  However, shorter versions of the instrument can be used in Yoruba land to honour Obas and revered traditional leaders.  The purpose of Kakaki as a symbol of beautification in the park is to make for a complete sense of entertainment for which the park is known now.

    There is also the symbol of atilogwu dancer done by Patrick Ighogbeahere.  This art piece shows an Igbo dancer flutist whose role embellishes the world-class dance pattern called atilogwu.  Atilogwu is the most celebrated Igbo dance assemblage which has been extended to most parts of the world.  It is this flutist who gives the dance its unique air and pattern.

    In his artistic statement, Patrick says: “This dance promotes agility and acrobatic display.  The flutist dictates the tune and pattern of the dance with the flute.”  And so the sculpture reminds the public about the place of Atilogwu in the traditional dance pattern of the nation.  The flutist is seen stooping on one leg and holding firmly to the flute so as to blow it with measured strength.

    In the picture of Eyo masquerade widely associated with Lagos State and Lagosians, Jagun, the artist, exhibits a deep sense of arts by giving a colourful posture to the sculpture.  He says:  “Eyo festival is a colourful festival that expresses and exhibits the culture and tradition of the city of Lagos.  It is mostly celebrated when an important person, especially an indigene, dies.”  This has come to make Eyo one of the most cherished masquerades in this part of the country.

    There is equally another interesting piece captioned “from the fattening room.”  This piece is traditionally associated with women from Cross River and Akwa Ibom States.  Here, before a woman gets married, she is kept in a secluded room for 6 months.  This is called a fattening room where she is taught the rudiments of keeping a home; how to take care of her husband and generally look good for him.  The piece is symbolic and displays clearly what the woman ought to look like once the fattening is over.  When this is over, the woman comes out fatter, more beautiful and more appealing in the eyes of her man.

    Abeni Alaso Ofi is a sculpture that depicts one of the most ancient traditional methods of making fabrics across the South-west of Nigeria, Kogi State and some parts of Nupe in Niger State.  The woven cloth is used for different occasions and purposes from royalty to ordinary citizens.

    Indeed, the materials used for making the fabrics differ from place to place.  However, the designs are either single or double and it is a trade done mainly by women.  In Kogi State, the product is known as Okene cloth and it is widely acclaimed as one of the best local fabrics produced in Nigeria.

    On the whole, there are about 20 sculptural pieces adorning the arena and located in different corners of the park.  This is to give special aesthetics to the part and to make it an entirely colourful arena depicting its status.  Some of the other works include symbols of a farmer, a gardener, kolanut seller, milk maiden, Calabar drummer, chorus leader, bembe drum, the drummer, the groom and lots more.

    In the groom, which situates both the Isoko and Urhobo traditional marriage ceremony, a groom assumes a half-kneeling position, shifts his hat to receive blessings from his father-in-law.  Here, he is being wished long life, fruitful marriage and so on.

    All these outdoor works were mostly done in black colours in order to save them from the vagaries of weather.  Even when the rains come and the sun beats down on them, they can survive this harshness for a longer period of time.  This is the whole essence of these works as they combine with flowers and shrubs to give vent to this wonderful arena that gives to the entertainment sector in Nigeria today its desired blend for total relaxation.

  • Dad inspired my writing -Nwafor-Orizu

    Dad inspired my writing -Nwafor-Orizu

    Edunna Jaanna Chigozie Nwafor-Orizu is one woman who is passionate about writing. Happily she goes down memory lane to tell you that writing actually runs in the family. Her father is Rt Hon Dr Prince Akwaeke Abyssinia Nwafor Orizu, the first elected President of the Senate of the Federal Republic of Nigeria and the First Acting President (October 16, 1965- January 15 1966) who spent 92 Days in Power.

    Armed with a PhD, she continued to acquire more knowledge in the informal school which involved family tutelage. Growing up in this Royal Family also known for their passion for academics in Anambra State was a great source of inspiration. “I was born into a highly education oriented family. The name Nwafor-Orizu is synonymous with education with a bias for Horizontal Education,” she informs.

    Happily she takes you into her world: “During the Colonial era in Nigeria, the plan of the then imperial masters was to train Africans on the narrow perpendicular educational curriculum in order to prepare them for civil service only. My father was an American trained intellectual who then could appreciate the stagnation in knowledge and future economic deficit subtly enshrined in this limited perpendicular curriculum.”

    Orizu continues: “That was why he boldly kicked against it when he launched the Horizontal Education. This was the broad-based American styled curriculum that would explore, develop and utilize fully the human potentials and talents for full growth and emancipation. His motto, “To educate the mind is to liberate it”, was applied in my upbringing. Apart from this, my father authored thirteen published books, about ten yet -to- be published manuscripts. “

    This motivated her and she was determined to make a mark in the sector. “When I came of age, I became involved in his book writing even as I served in his office as his private secretary.  With this background, I believe you will agree with me when I say that a freedom lover like me will go to all lengths to acquire knowledge in order to be fully liberated and empowered”.

    One thing that saddens the amazon is the poor reading culture exhibited in the country today. “It cannot be overemphasized that reading as reading is the surest way to go into the minds of people. Whether we believe it or not, the culture of reading is as good to the nourishment of the mind. It can be compared to the eating good food is sine qua non to the nourishment of the body. My take therefore is that all hands should be on deck to encourage and sustain this reading culture to help the upcoming generation. “

    Orizu goes on to reiterate the fact that the training of our children is a collective responsibility. “Whatever it takes the parents and the government to achieve this must be put in place. If we don’t practice what we say in this regard and expect our children to train themselves it is self deceit at best. If we expose the children to reading and sponsor effectively that culture it will be stamped. And when they grow, they will not depart from it. The old saying that the mind is like a clean slate and whatever we place on it holds”.

    To buttress her point, Orizu goes down memory lane to compare the changes that has taken place. “Today all easy going methods are put in place at the expense of properly supervised reading culture.  Just as the discovery of oil in Nigeria virtually stopped the development of other resources, so is the screen destroying the intellectual initiative of a country that needs well educated generation.”

      Handling of all sorts of devices, she adds is aggressively pushing away diligence and discipline necessitated in actual reading.  “We must also remind the youth of John Milton when he said, ” … for books are not absolutely dead things, but do contain a potency of life in them to be as active as that soul was whose progeny they are; nay, they do preserve as in a vial the purest efficacy and extraction of that living intellect that bred them.”

    Apart from sharpening her writing skills, the experience  brought out other interests that made her multi talented.

    “As a very independent thinker, I have put myself into much experimentation irrespective of my academic training. I see myself helping the society better through social reformation, contributions in writing, and wealth creation in order to practically concretize some dreams. However, my passion for academic things has pushed me into book writing and I have written and published six books. Four manuscripts are also ready for publication. New books are in the process of writing.”

    To have a better society Orizu advise that we need to give more time to family in order to produce a responsible generation.  “Most people are very aloof from their families and this aloofness establishes unhealthy distance among family members. Originally, families have character for which they are known, and which they guide jealously. It appears family values don’t count anymore. Maybe it shouldn’t, but to me it counts and that is why I make my family issues part of my daily assignment because I believe it will eventually count as part of my destiny and spill over into the destiny of the nation”.

    Just before she leaves, Orizu has a word of advice for young people. “I always make it clear to those looking for direction in life to always know that our destiny is in our hands; that “destiny is an impartial god. It follows him who will, attends him who must, and joins him who can. There is no destiny where there is no plan and no destiny where there is no determined spirit. Discipline means the putting of loyalties and knowledge to efficient use, the ordering of life in the light of understanding and towards the attainment of purpose.”

  • When history beckons

    Title: The Ijaw in Warri – A study in Ethnography
    Author: J.O.S Ayomike
    No. of pages: 146
    Reviewer: Edozie Udeze

    Who owns the land?  Does any piece of land ever exist in a vacuum?  Or put more succinctly, is there ever any settlement anywhere in the world where you do not have the original owners of the place?  These are the recurrent issues raised in this book – The Ijaw in Warri.

    Written by J. O. S. Ayomike, a seasoned author and an authority in the Niger-Delta history, the book is simply and precisely a work based on the fact that the piece of land known as Warri today has been an ancestral home of the Itsekiris.

    This is a study in ethnography, showing with facts, evidences and figures that Warri had been and will continue to be the original home to the Itsekiris.  This is why Ayomike noted that this issue is the homeland of the Itsekiri.  “Each nationality, that is, an ethnic group, in a given polity has a homeland; others live in it with them and it is known by all and sundry as the group’s homeland…  Therefore, this book, like its forerunner, seeks to describe the Itsekiri people in relation to their neighbour – and this time, the Ijaw – and show their symbiotic relationship.”

    Quoting relevant sources and documents and based on oral accounts where it is imperative Ayomike clearly stated at what point the Ijaw converged in Warri to become bona fide members of the society.  It is not to be argued further who owns the land.  It should not be a matter of dispute, because even based on the pattern of settlement, even previous census carried out in Nigeria, the Itsekiri have been known and proved to be the rightful owners of Warriland.

    In chapter one entitled: The Ijaw and Itsekiri Homeland, the author quoted what he referred to as the authoritative sources to back his story and clear the air on this matter.  “The position of the Ijaw within the homeland of the Itsekiri has been aptly described by Dr. P. C. Lloyd in his work on the Itsekiri people in these words.  “The Administrative Unit known as the Warri Division of Delta Province, whose area is 1,520 square miles is approximately co-terminus with the territory of the Itsekiri though it includes groups of Ijaw settlements in the extreme north and south…”

    Sources such as this are replete with historical facts and presented by world-acclaimed historians like J. C. Anene, J. F. A. Ade-Ajayi, John Hatch and more, who relied on water-tight evidences to situate facts.  Even though the Ijaws have been more in population and scattered in more areas in the Niger Delta, other historical happenings in the area tended to necessitate their closer movement towards the Itsekiri portions of the land.

    On page 23, it is clearly stated thus: “The principal peoples of the Delta are the Itsekiri and the coastal dwelling Sobo in the west, the Ijo in the centre, the coastal Ibibio and the Efik of old Calabar who live in the eastern Delta.  The Ijo, Ibibio and Efik have many similar institutions.  But the Itsekiri who founded the Kingdom of Warri in the Western Delta do not really resemble the central and Eastern Delta peoples.  In fact, the Itsekiri of Warri have much more in common with the Edo of Benin and their Yoruba neighbours.”

    Also quoting Professor Obaro Ikimi, renowned world historian and activist, it says: “The Itsekiri inhabit the North-western extremity of the Niger Delta…  Their neighbours are the Bini to the north, the Ijo to the south, the Urbobo to the east and the Yoruba of Ondo Province to the northwest…  Itsekiriland is watered by three large rivers, the Benin, the Escravos and the Forcados.”

    In his own account too, K. B. C. Onwubiko, one of Nigeria’s foremost historians stated:  “Thus arose such city-states as Warri and Sapele inhabited by the Itsekiri and Urhobo…  Bonny for example had its trading empire along the Imo River hinterland, Kalabari along the Sombreiro River interior; and the Itsekiri Kingdom with its capital as Warri controlled the Benin River hinterland.”

    Evidently, Ayomike resorted to these historical elements so as to give the public an authentic proof to show who the original owners have been.  This book arose essentially due to the nagging dispute over who owns the land.  For many years, wars had raged on among the many tribes in Warri over this matter.  And so when Ayomike chose to dwell on the issue, his intentions were made clearer and more distinctive.

    This is why each chapter delved into those knotty issues that have disturbed the flow of harmony in the region.  This is why this book is one to be taken with seriousness.  The facts are there to show history as it really is.”

  • Inside the world of gangan Drummers

    Inside the world of gangan Drummers

    Although modern musical instruments like the piano, guitar, trumpet amongst others are fast taking over the musical landscape across Africa, the place of the Yoruba ‘gangan’ or talking drum, as it is more generically known, and its generation of devoted players in music and entertainment can never be downplayed. Daniel Adeleye attempts an unraveling of the mystery of the gangan drum and indeed the gangan drummers.

    HE’S about 45 years old, fair complexioned and clad in white singlet underwear over a crisp cotton trousers. On this mild sunny afternoon, he is repairing a small damaged talking drum known in local parlance as gangan and literally seems lost in his world. It takes nearly an eternity for him to mutter a reply of ‘welcome’ albeit in a somewhat sonorous voice; even as he immediately returns his attention to the job at hand.

    You could easily tell that this was one of those busy afternoons. But finally, he lifted his head, looked this reporter’s way and indicated his readiness to give an audience.

    His name is Monsuru Abogunloko Ayanyemi, a gangan drummer with vast skills at repairing damaged drums. Settling properly on his seat, Ayanyemi spoke of drumming as a beautiful profession, which uniqueness can never be underrated, especially among the Yoruba nation of South-West Nigeria.

    According to him, the talking drum is one of the oldest instruments in West Africa, which origin could be traced to the old Oyo Empire, during the inauguration of the first Alaafin of Oyo. “Drumming is a beautiful profession in the society, and the talking drum otherwise known as gangan is a musical instrument that the Yoruba people of South West Nigeria cannot do without at ceremonial functions.”

    He explained that in the past, the gangan drum was a very important instrument for waking up Yoruba Obas (kings) early in the morning; as well as singing their praises and announcing their arrival and that of important dignitaries.

    In addition, he said: “When a king passed on in the past, it’s the gangan drum that they would use in breaking the news to the people. And if a new king was to be coroneted, it’s the same gangan that they used in passing the information across to the villagers. A gangan drummer communicates through the phrases and pause, which can travel upwards of four to five miles. This process may take eight times longer than communicating a normal sentence but effective in telling neighbouring villages of possible attacks or ceremonies.

    “Despite civilisation, gangan drum is still waxing stronger in our society. Even in our current democratic dispensation, our politicians absolutely adore talking drums in their ceremonies.”

    The gangan drum

    The gangan drum is an hourglass-shaped drum, which pitch can be regulated to mimic and prosody human speech. It has two drum heads connected by leather tension cords, which the Yoruba popularly call ‘osan-ilu’, which allows the player to modulate the pitch of the drum by squeezing the cords between his arms and body. There are various sizes of hourglass talking drum, such as Iya-ilu, Aguda, Gudugudu, Omele, Bata and so on, with the dimensions of the drum differing between ethnic groups but all following the same template.

    On why this is so, Ayanyemi explained that “In Yoruba land, we have a very rich cultural heritage. Just as we have Oro, so do we have Egungun, Oya, Sango, Obatala etc. If we want to play for Sango worshippers, iya-ilu is very important. It will take the lead before gudugudu and bata drums will follow. If we’re also playing for Egungun, iya-ilu plays the leading role, followed by omele and gudugudu. They must be played accordingly in a way that one will not disturb the other. Iya-ilu plays leading roles in virtually all Yoruba festivals and celebrations before the smaller drums follow.

    “In most Yoruba communities, June/July is the period egungun festival is usually celebrated. There is a way we regulate the drums that will tell people that this is egungun festival. Playing drums for egungun festival is usually done with high speed, as if there is a war; while playing for Oro festival is carried out at a low rhythm. Also if we want to play for Christians and Muslims during their festivals, there is a technique. Its pitch can be regulated to mimic and prosody the desired language.”

    History of gangan drummers

    Ayangalu is believed to be the first Yoruba drummer. He is also believed to be the spirit or muse that inspires drummers. The word ‘Ayan’ means drummer. This is why some Yoruba families with long histories of playing the Yoruba drums are often easy to recognise by the prefix ‘Ayan;’ such Ayangbade, Ayantunde, Ayanwale and so on.

    But does the fact that one is from an ‘Ayan’ family inevitably confer on him the profession of drumming? Couldn’t our host, Ayanyemi have opted for a more modern profession? This reporter asked.

    His reply: “I was born into Ayan family from Ilero in Kajola Local Government Area of Oyo State. I grew up to behold my father as a drummer, although he was also a peasant farmer. But in those days, drummers didn’t do long distance farming; they wanted to be close to home enough, so they could hear the drum-beats, when there was an occurrence and they could quickly rush back home. When I was a little boy growing up, I was given the omele (one of the drums) to start with. After I had shown enough dexterity and ability to control it, I was allowed to carry the gudugudu and from there I graduated to carrying the aguda, which is next to iya-ilu until I became an expert.

    “When I came to Lagos many years ago, I discovered that drumming is one of the noble professions here in the centre of excellence that can take one to any event, no matter how big the ceremony; so I chose drumming over my initial ambition of becoming a plumber. As an individual, you may not be able to enter certain gathering or event because you’re not invited, but because we are gangan drummers, we would be allowed in and we’d play for them and make them happy. Yoruba people give much respect to gangan drums. As a result, there is no place, gathering or event that I cannot go to entertain people and make them happy. Even though I had knowledge of drum-making before leaving the village, I discovered that I needed more knowledge and skill in that regard, so I went to seek more in that regard, not minding that I came from Ayan family.”

    Asked what kind of wood is used in making the gangan drum, Ayanyemi said, “A talking drum traditionally is carved from tree trunks like Igi-omo, tick or manila woods and molded into an hourglass shape. The drum head usually has a membrane that is made out of dried animal skin like lamb and goat skin. It must be a light skin sourced from about a month old to three months old lamb or goat. The skin must be light, so that it can give us the desired sound and tone.”

    When asked how the skin of an animal of that age is sourced, and whether they buy it, Ayanyemi chuckled and said “No, we don’t buy young goats. Just as we are doing this work, there are other people who specialise in supplying us with the skin. They travel to the far north to bring the skins. The challenge that we face here is that out of a hundred skins we buy, we may not get more than 35 or 45 that are light enough to make gangan drums.”

    Is there a future for the profession?

    How profitable and futuristic is the profession, going by the fact that modern musical instruments are taking over and seemingly displacing the natural ways of making musical sounds?

    Ayanyemi has this to say: “We make money on a daily basis, though I don’t go out every day to play drum. People come to buy drums that I produced. There are some who bring damaged ones for repair. Christians and Muslims are now using talking drums for their events, unlike then when it was only traditional believers that used gangan drums. So, drumming as a profession has a brighter future, no matter the civilization.”

    Corroborating Ayanyemi’s stance on the future prospects of gangan drumming as a profession, the general secretary of African Drum Producers Association of Nigeria, ADPAN, Lagos State chapter, Hamzat Jimoh Ayanfemi, said there are more silver linings ahead for the profession in this modern world than in the past. “It’s when civilisation came that gangan drummers began to play in churches and mosques. In those days, if drummers were in processions playing drums, they would stop their drums when they get to churches or mosques. But today talking drums play important roles during church services; likewise Muslims don’t underrate it in their events. In the past, apart from traditional believers, the only time a talking drum was relevant was during funerals or weddings. Today, Juju and Fuji musicians don’t joke with talking drums”.

    Although both Ayanyemi and Ayanfemi claimed that drumming makes drummers renown and gives them pass to many beautiful gatherings and places; still, one cannot discountenance the challenges drummers face in society, where some perceive them as glorified beggars and therefore treat them with disdain at events. How do they manage this challenge? This reporter asked.

    Dapo Olufade, a senior journalist with The Nation Newspapers and a descendant of the ‘Ayan’ family provides a rather interesting answer to this. He said: “Elders of traditional ayan (drummers) families already envisage this, hence they prepare their children for the hard task ahead from the day they’re born. In order that the child is steeled against all such embarrassment in the future, all things used on him on his first day on earth, including sponge, soap and even clothes are borrowed. That way, he is already immune to shame and is thus able to put up with whatever embarrassment he encounters in his profession.”

    On his part, Ayanfemi berated those who regard gangan drummers as beggars. He said, “We are the real entertainers; we set the pace for the entertainment industry and we make people happy. Whatever people are doing, without drummers, the place cannot be lively; in fact, the place would be morose. But some people due to their ignorance call us beggars. Some of them say so as a result of poverty of all sorts. For instance, gangan drummers enjoy singing people’s lineal heritage, which the Yoruba call ‘oriki’ accompanied with drumming. Every genuine Yoruba man and woman enjoys it so much because it makes them feel important. But when such person is stingy or is hindered by poverty and can therefore not express appreciation in cash, they resort to calling drummers beggars.”

    Ayanfemi capped up his defense by saying that “the role gangan drummers play in the society is beyond reproach.”

  • ‘My life as an editor and gangan drummer’

    ‘My life as an editor and gangan drummer’

    Editor of Ikorodu-based Oriwu Sun Newspaper, Alhaji Kazim Ganiu-Sanni, himself an ‘Ayan’ (drummer) by heritage,  speaks with Assistant Editor, Dare Odufowokan on the culture and lifestyle of a typical gangan drummer.

    ALHAJI Kazim Ganiu-Sanni, veteran community media practitioner and editor of the popular Oriwu Sun Newspaper, is a drummer. He is a veteran talking drummer of several decades, following his mastery of the talking drum early in life – thanks to daily lessons from his numerous uncles, who were drummers before him.

    “Ours is a family of drummers. So for me, drumming was a profession I just must practise. As a child, I knew I am in this world to be a drummer and I paid attention to the details as I advanced in age and height. I cannot recall exactly the time or age I started drumming but I can clearly tell you that I started drumming as a child. Like many kids in my family, I started by following the elders as they go out to drum, usually with our own small drum beneath our armpits,” he told The Nation.

    Although he was quick to admit that drumming has not put much food on his table, the respected journalist insisted that the profession of his fore-fathers is not one for lazy people or never-do-wells. According to him, only very brilliant and extremely creative persons can make a successful career out of drumming, especially the talking drum.

    “I sometimes hear people speak in derogatory terms about talking drummers. This is uncalled for. I may not have made as much money as I have made from journalism from being a drummer; but I want to tell you I am happy that I have the skill of a talking drummer. It is not the type of skill a lazy person can acquire. It is for creative people,” he said.

    Asked if he could ever consider quitting drumming, Sanni said being a talking drummer is usually an inheritance. It is hereditary. It is a family virtue. We were born into it and we will continue doing it. Whatever you say, the average Ayan is usually very proud of his inheritance as a drummer,” he said.

    ‘Ayan’ is a specific name usually found amongst drumming families. It is today a common prefix to names of people born into drumming families.  Families with long histories of playing the Yoruba drums are often easy to recognize by their names which often start or end with ‘ayan’.

    “When you hear names like Alayande, Ayandele, Ayangalu, LowaAyan etc, you need not be told what their family vocation is. They are no doubt from drumming families. Being a very respectable vocation, drummers and their families are proud to be identified with what they do. That is why we are referred to anywhere as Ayan,” Sanni explained.

    The talking drum

    Sanni, who claimed the talking drum is the most popular and widely used of all drums in Yoruba land, gave further insight into what the musical instrument looks like and why it is so widely accepted within and outside the shores of his native Yoruba land.

    “The talking drum is an African musical instrument. Although today it is being used all over the world, it belongs to us here in Yoruba land. It can be identified by its shape. Although it comes in various sizes, the shape is the same anywhere you find it.

    “A talking drum has a head on both ends. The drummer has to beat the head with a stick in order to create a sound. The tone of the drum can also be adjusted by tightening the strings attached to the instrument. Drummers adjust the tone in order to convey a message, as the talking drum is also used as a means of communication,” he added.

    Why “talking” drum?

    Explaining how the talking drum came by the prefix ‘talking’, Sanni said there is no doubt that it is a befitting name for a very peculiar musical instrument. He however said the term “talking drum” was used by foreigners to describe the drum, as they were unable to pronounce its real name which is “Gangan”.

    “The talking drum as you call it in English today is known as “Gangan”. It is the foreigners who were unable to pronounce its name that christened it, “talking drum,” he said.

    Asked if it has a mouth to speak, Sanni answered in the negative, but explained that the sound produced by the instrument mimics the sound of human voices.

    “The talking drum is an hourglass-shaped drum made from wood and goatskin. The drum is tagged the talking drum because it imitates the lines, speech or words of the human voice. It is whatever is said that the talking drum will reproduce into sound. It is made in such a way that it can easily imitate languages, especially our own Yoruba language.

    “Once the drummer is skilled enough, just tell him anything and he would use the drum to repeat it to your hearing easily. Also, there are drum beats for different ceremonies ranging from funerals to christenings and inaugurations amongst others. The talking drum has two surfaces that are beaten with a bent or curved stick. The drummers are well trained and have the knowledge and understanding of the culture and traditions of the language,” he said.

    Given its ability to produce sounds that mimic and give meaning to what the human says, Sanni insists that it is not out of place to say the gangan talks. “I believe that is why the first set of white men who came in contact with it called it the talking drum,” he submitted matter-of-factly.

    Nomadic nature

    Sanni also spoke on what he described as the itinerant nature of the talking drummers. “We are a people who go far and wide in search of where to do what we like doing most, drumming. Like nomadic traders and farmers, we travel far and near to perform.

    “Sometimes, you can find a band of talking drummers moving from communities to communities, towns to cities, even state to state, for weeks and months; even years, performing as they go and raking in monies and gifts in the process. There is a spirit behind drumming; once you start enjoying playing the talking drum, you just want to go on and on,” he said.

    Stories have also been told across Yourbaland of how families and clans of talking drummers migrated from one place to the other and finally settled there. The large population of Yoruba people in the northern parts of the country, according to some sources, partly came about due to the itinerant nature of some talking drummers.

    Pa Moses Ayanbisi, Baale of Tojuoku community in Sagamu Local Government Area of Ogun State returned from Minna in Niger State in 2012 at the age of 79 after more than 60 years of leaving home with his father and uncles, as part of a band of drummers that toured the entire northern flank of Yoruba land and ended up settling in Minna.

    “I cannot recollect my exact age when we left , but I was a teenager. My father, Rufus Ayanbisi and his brothers left to perform as talking drummers all over Yoruba land. They were all young men then. My father took me with them because we had just lost my mother back then.

    We moved from here to Ibadan to Oyo town and so on. We got to Ife and Ilorin and crossed into Hausa land from there. We were on the road for several years, only returning home for festivals or to treat a sick member of the band. We lost one or two persons on the road but kept going on.

    Finally in 1972 or thereabout, we got to Minna and settled there, largely because of the prosperous Yoruba community we found there. We became something like the official entertainers of the community. We made a lot of money and my father and his brothers all built houses in the town. That was where I grew up, got married and raised my family.

    I only returned to bury my father here about twenty years ago. I went back and continued as a talking drummer. Two of my sons also joined me as full time drummers. But when my people summoned me to come and be the head of this village few years back, I had to come because the place was becoming desolate as most of us are scattered in faraway places,” Pa Ayanbisi explained.

  • Dreams from my Roots: Between tradition and modern architecture

    Dreams from my Roots: Between tradition and modern architecture

    A solo photo exhibition titled: Dreams from my Roots by Ayodele Ojo, which opened recently at the Neo Cafe on Adeola Odeku Street, Victoria Island in Lagos, captured the historical overview and transition of architectural designs in Nigeria.

    It is a body of work that aims to promote the rich cultural heritage of the country through architecture and design and also project the influence of the European style detailing on African architecture during the colonial era; as the nation transitioned from a typical traditional African style to the European style of the colonial era.

    Among the iconic images presented are the Oke Paadi and Sheik Alimi ‘s Domain – the two images are ecclesial representing two different religious beliefs, their scale of built are poles apart, but remains totally reverberating and connecting to the souls of the faithful who see the worshipping points as connecting to the divine. Other monuments are Ewi Palace in Ado Ekiti, CMS Church and Ilojo Bar, Lagos.

    Dreams from my roots is a project dedicated to an innate feeling of nostalgia as the artist attempts to illustrate through the eye catching visual that creates evocative images of structures and space, a story that reconciles the past and the present era.

    This body of the work has been carefully selected and put together to showcase the monumental structures of history and the relationship between the urban and rural communities in a fast changing urban city.

    The aesthetic functions of this changing phase of architecture in our modern society and its subtle significance and impact on our culture is also illustrated by the artist.

    For the artist, the project serves as a personal experience and a self-exploration into the past. It is an adventure of self-discovery that takes him back to his roots and creates a transitional link between history and contemporary times. He dedicates this project to the memory of his late parents while presenting the great monuments of history to a new generation who never enjoyed the artful taste of such heritage.

    Dreams from my Roots is a collection of varied architectural photographs across time and cultures, taken across the Southwestern.

    According to the artist, each of the works has been a journey to rediscover myself while engaging with the viewers through sometimes tortures and ardours road less travelled. “It has also led me to review images carried over from my youth in a nostalgic vision, interestingly new research has led me to discovering new vista, having grown up in a rural and rustic settings of Ekiti mountainous region of Nigeria,” he said.

    Dreams from my roots is a transitory journey that tries to see through the history of occupied spaces, a culture of a people that welcomes emerging trend with little or no attention to her past.

    The project questions the role of architecture in family values; not to be pushed aside are issues of integrity, in terms of workmanship, safety and corruption in the building up of spaces in creating bigger cities.

    “The quality of workmanship has dropped to its lowest ebb, while we commoditise architecture. Man has lost the essence of built up spaces, the agony of lost voices in the cacophonic silence of yawning lack of liveable houses in a new age reverberates loudly.

    “My works ask more questions than answers, even as we lose touch wi th our communal life and living. Through my photographs, I have tried to create a link between the past and the future, leaving a legacy for generations yet unborn,” he said.

  • Waiting for Benin bronze from UK

    Waiting for Benin bronze from UK

    Nigeria’s age-long battle  for the return of its looted  artefacts scattered across galleries, museums and private collections in Europe and the Americas may have started yielding results. The Jesus College, Cambridge University in England has expressed its readiness  to return the Okukor (Benin Bronze).  National Commission for Museums and Monuments (NCMM) Director-General Yusuf Abdallah Usman is waiting for the prized work, Assistant Editor (Art) OZOLUA UHAKHEME reports. 

    The news came as a surprise. The Jesus College, Cambridge University in England has decided to return the Benin bronze object looted from Nigeria by Imperial forces led by Captain Philips in 1897.

    “This is a breakthrough and sign of good things to come,” National Commission for Museums and Monuments (NCMM) Director-General Yussuf Abdallah Usman said.

    He said the commission was glad to hear that the varsity was returning the Okpa (the Okukor Benin bronze cockerel).    He expressed appreciation to the students, adding that he was looking forward to receiving the artefact soon.

    The students voted that the bronze cockerel in front of their dining hall be returned home. The fowl has been at the college since 1930 it  was adopted as a symbol because of the surname of its founder, John Alcock, a former Bishop of Ely. Three cockerels’heads appear on the college’s crest. Since  independence in 1960, Nigeria has repeatedly requested for  the return of hundreds of Benin bronzes stolen during the invasion of the old Benin Kingdom.

    The institution said it had removed the cockerel and was considering the “question of repatriation”. Almost 1,000 bronzes were taken after Benin City was occupied by imperial troops in 1897, according to the British Museum. About 900 of those artefacts are housed in museums and collections around the world, including the British Museum.

    Usman said the commission is championing the return of this and other objects similarly purloined be returned to their countries of origin, notwithstanding the one-sided legalese that have been introduced by the purloiners to justify their acquisition. “We call on all well-meaning people of the world to join us in this struggle to redress the ills of the past.

    The commission said it has a Plan of Action on Benin bronzes in European museums ‘whereby we are adopting the policy of collaboration, cooperation and negotiation in getting back our cultural heritage properties from European museums and other public institutions around the world. The talks are ongoing with meetings held in Germany, Austria and Nigeria’.

    He stressed that the campaign for repatriation must be complemented by an all inclusive war against illicit trafficking in cultural goods.  “We, therefore, call on all and sundry to join us in this national struggle,” he added.

    On the provision of a safer place for the bronze object,  Usman said: “Nigeria is ready to provide comfortable haven for the objects. Though we don’t have to give any reason to justify requesting a return for our stolen property, but for clarity purposes, we have Unity Museums in Enugu, Ibadan and Benin in Edo State where the Okpa can be kept. The nation’s artefacts in our custody are safely kept and guarded.

    “At present, the commission has a Unit under the museums department, which 9s the Antiquity Protection Unit saddled with providing adequate security of our objects.

    Asked if Nigeria is expected to meet any condition to repatriate the object, Usman explained that the country can only use negotiation, discussion and diplomatic plea for the return of such objects because it is not covered by the UNESCO Convention of 1970. The convention covers only objects that were carted away from its home country after 1970.

    To him, the Jesus College’s incidence was a sign of good things to come and it shows that ‘’our efforts at the commission over the years in various fora calling for the reparation of our artefacts have not been in vain’’.

    “It also shows there is a re-awakening of cultural consciousness in our people as illustrated by different illustrious sons and daughters of Nigeria lending their voice to our call for the repatriation of our objects in various museums, institutions and private collections overseas,” he said.

    According to him, the commission believes that the Benin Plan of Action is the first step that will lead to greater understanding and that Cambridge and other important UK establishments should be part of subsequent engagements on this issue.

    The sculpture was inaugurated by the Oba of Benin for the Queen Mother for the decoration of her ancestral shrine in Uselu. These brass/bronze roosters or cockerels are placed on ancestral altars. They stand for fowls and other animals that are sacrificed during rituals honouring royal ancestors. These male creatures acknowledge that the Queen Mother was different from other women and shared powers and privileges with men.

    In depicting these birds, Benin bronze casters indulge their love of dense overall patterns. Although stylised, these incised designs deftly suggest the cockerel’s showy plumage, scaly legs and dimpled comb.

    It is harrowing and heart rendering that such an iconic cultural object should be forcefully taken and irreverently exhibited for more than a century, he said.

    He recalled that Nigeria ratified many treaties, which purposes are to prevent illicit export and to facilitate the return of unlawfully exported cultural property.

    “Other organisations and bodies, which Nigeria has joined  to ensure the return of Nigerian antiquities include Scheme for the Protection of Cultural Heritage within the Commonwealth. Furthermore, Nigeria has signed Bilateral Agreement with nations such as China and Peru to facilitate return of cultural property to countries of origin.

    “Nigeria has expressed her rights over some of the antiquities in certain museum and has thereby opened opportunity for discussion.  For example, in June 2012, officials of Nigeria’s National Commission for Museum and Monuments asserted ownership of thirty-two artifacts from the Benin Kingdom of Nigeria, which had been recently acquired by the Museum of Fine Arts, Boston (MFAB). MFAB has however explained that they are donations.  The Commission has continued to question the legitimacy of the donations,” he added.

    Continuing, the DG said: “On Thursday,  January 24, 2002 the Nigerian House of Representatives passed a Motion calling for the return of Nigerian works of art in the British Museum. It called on the then President, Olusegun Obasanjo, to request for the repatriation of these artefacts.  The motion, sponsored by 57 legislators, was passed unanimously.

    “Friends of Nigeria in the Diaspora have also assisted in seeking return of our cultural property.  For example, in 1996, upon the approach of the centennial celebrations of the invasion and looting of Benin artefacts, a foremost agitator for repatriation, the late black British parliamentarian, Bernie Grant, wrote to the Glasgow Museum which hosts some of the looted Benin artefacts, requesting for their repatriation to Nigeria.”

    He disclosed that Edun Akenzua, Enogie of Obazuwa-Iko, the brother of the Oba of Benin, visited the House of Commons in Britain in March 2000 and presented a memorandum titled The Case of Benin, narrating how Benin artefacts were looted, and he requested that the artefacts in Britain be returned or compensation paid to the Oba for his loses.

    According to him, other instances where requests were made for the return of Nigerian artefacts were at the exhibition of Benin artefacts in four international cities in 2007.

    The exhibition tagged, Benin-Kings and rituals, courts arts from Nigeria went to Vienna, Paris, Berlin and Chicago and afforded Nigerian officials and royalty the opportunity to state the minds of both the Nigerian people and government for the return of the artefacts.  This request, he said, was repeated throughout the duration of the tour of the exhibition.

    To safeguard the artifacts, Nigeria placed several of her objects on the ICOM Red List, which was drawn up by the participants at the International Council of Museums’ (ICOM’s) Workshop on the Protection of African Heritage held in Amsterdam in October, 1997 and which has been reviewed in 2016.

    “Over the years, NCMM through its various departments have carried out aggressive enlightenment and sensitisation programmes on the importance of protecting our cultural heritage from illicit traffickers.

    ‘’The over 100 objects already repatriated from USA, France, Canada, Switzerland etc in the last six years though humble, represent our determined efforts to reclaim our artifacts.

    ‘We shall leave no stone unturned to ensure that we bring back our objects.’’

  • Sowing seed of leadership

    Sowing seed of leadership

    For almost one hour, the guests -mainly children and mothers – were treated to a rich drama presentation laden with folklores, songs and conversations.

    Underneath all these were strong messages on hard work, team work, service, integrity and love, which formed the core values of the play Story Theatre with Grandma Wura put on stage last Saturday at The Real Place, Anifowose, Ikeja, Lagos.

      Story with Grandma Wura, which was directed by Israel Eboh is a musical theatre event created specifically for children and families by Back2MyRoots. The play is a story of little Nkechi whose wish to become an ant came true.

    Featuring a cast of about 20, the play led by Grandma Wura (Bola Edwards) engaged the audience in conversations and story-telling in a folklore format using characters in animal kingdom that excites the children.

    The cast included Nkem Nwobodo, Paul Morgan Alumona, Awodeiun Adeola, Tony Effoing, David Edwards, Otito Edwards and Tosin Oyebisi.

    Others were Okori Micheal, Ojinnaka Anne, Sunbo Joy Adande, Uzondu Ossy Blessing, Ndubuako Chinyere Victoria and Damilola Adelokiki.

    Little Nkechi, who is central to the play, got transformed into an ant, following her frequent challenges from her mother over domestic duties. On realising that the animal world, especially that of the ant work round the clock as a team, Nkechi retraced her step to turn to human. While in the ant world, her family and relations were thrown into sorrow searching for her.

    “Work, work, work we must do. Be all you can be. Be a shining star wherever you are,” the ants sang apparently to correct the notion of Nkechi that ants are playful animals. This simply confirms the philosophy and spirit of the ant-working as a team all day and no room for idleness. Also, the eventual capture of Queen mother ant, who laid her life for the rest to live, symbolises love as one of the leadership values.

    According to Bola Edwards, the initiative is ‘’our own way of changing Nigeria and investing in the leadership of future generation’’. She said the play was designed to raise a new generation of leaders using story-telling to educate the young ones to become well rounded adults.

    Already, the play is on school tour and at assembly time in 100 schools in the state as well as in the radio. “So far, the cast have been amazing all through the presentations,” Edwards said.

    Eboh disclosed that the play will be on stage at The National Theatre, Iganmu Lagos on May 27 Children’s Day celebration and will be a full scale production with an orchestra for the musicals.

    Costumes and set design enriched the presentation especially the forest setting that was endowed with green trees and leaves. But, the stage was relatively inadequate for the size of cast. However, what the play lost in stage size, it got in rhythm and colours.

    The project began in 2005 to create a national framework for the purpose of the New Nigeria dream. ‘We take each child on a journey of self discovery, development and expression of their individual talents and skills.’ The initiative seeks to educate children and teenagers on impactful topics such as service, integrity, hard work, team work, love etc for the overall development of Nigeria while sustaining and reinforcing he r value system as well as her rich cultural heritage which seems to have become extinct hence a high moral decadence in the society.