Category: Arts & Life

  • ‘My husband died of pure negligence’

    ‘My husband died of pure negligence’

    Saturday November 21, 2014 started like every other day for the Chaz B Chukuma family-bright, beautiful and full of hopes. But by evening, it had turned bleak, and by dawn the following morning, it was complete darkness. Arrowhead of the family and popular radio presenter, Charles Bruce Chukuyenum Ayibatonye Chukuma, popularly known as Chaz B on account of his highly inspirational radio show, ‘Sharing Life issues with Chaz B,’ on Inspiration FM shut his eyes never to open them  again. One year after, his beloved wife,  and pillar of support, Roseline is up asking questions on the circumstances surrounding his death – especially the part played by the family hospital. She spoke with Gboyega Alaka.

    You recently came out with an allegation bordering on negligence and dereliction of duties against St. Nicholas Hospital regarding the death of your husband, Chaz B Chukuma. Tell us about it.

    It was Friday night, November 21 2015. The day started like every other day. No complaints. I went to my daughter’s school; I was her Class Mummy and we had to do decorations in preparation for the Christmas season; while my husband, Chaz B went to work. At about five in the evening, the show started and I was as usual listening to it in the living room. Then in the middle of the shop, he called to say that he wasn’t feeling too good and that I should come and pick him. Meanwhile his friend, Abiona was in the studio with him and actually offered to take him to the hospital or the house, but he told him “No, my wife is coming to pick me.” And that is expected because we’ve done everything together from day one, 11 years ago. He was my best friend. I don’t have any other best friend order than him. So I went down with the driver, and found that he wasn’t looking too good. I asked, ‘What is the problem?’ and he said his stomach. Meanwhile, he had had incisional hernia the August before. Let me state here that he never had kidney problems like was widely reported and the surgery he had was not about kidney failure or replacement. My husband died with his kidneys intact. The incisional hernia was done at St Nicholas; a doctor there and another who came from India carried out the procedure. And he was fine after that.

    So we arrived the studio and he told me to take him home, but when I saw that he was in pains and very uncomfortable, I said ‘No, let’s go to the hospital.’ We got to St Nicholas and saw Judith, at the reception. Soon after, we met a doctor, Dr Kewe; he asked for my husband’s file, and they said it was in Dr Bamgboye’s office and he wasn’t in town. So Dr Kewe opened an emergency file right there and started asking questions because he practically knew nothing about his medical history. I was the one answering him because my husband was in pains. At a time, he left us, went out and was like ‘I’m trying to reach Dr Balogun, but his lines are not going.’ I called him on my husband’s line and it went through, so I handed him the phone. Eventually, I think Dr Balogun told him to be careful with my husband because he was a post-transplant patient. He also suggested this injection – I don’t know the name; and he was given two shots.

    Meanwhile Balogun said to observe him till the next day, so they sent the nurse to go and prepare for his admission. But before then, I think I heard her say something like ‘I think there’s no room, but let me go and check.’ So my husband told me to go get him his stuff. He took his high blood pressure medication at 10pm; he told me to get him that as well. Then along the way, as we approached Bonny Camp, I got a call from Dr. Kewe asking me to come back. He said ‘Your husband is feeling much better,’ and that I should come and take him home and bring him back in the morning.

    Wasn’t that rather sudden?

    Well, I turned round anyway and went back to the hospital. Meanwhile, they checked his temperature and found that it was high, probably because of the pain and all that; so Kewe sent me to the pharmacist to get Exforge. The pharmacist looked at the prescription and was like ‘Who wrote this? I told her the doctor in Consulting Room 2. She moved to a corner and called him on the intercom. Whatever they were discussing, I do not know, but eventually, he gave me one, which was given to him. But when my husband got up as we made to go, he staggered. And then I asked, ‘Are you sure he’s okay or is it because you guys don’t have a room, because I heard the official expressing doubts about the availability of a room? And before God and man, Dr Kewe looked me in the eyes and said, ‘We don’t have a room, bring him back in the morning.’ He said the injections given to him would sustain him till the morning, and I said okay. Meanwhile right from the moment we got to the hospital, all my husband kept saying was that something was disturbing him around the chest and that if only he could throw up. He obviously needed some kind of medical aid because it wasn’t coming out. But when we got home, I got him a bowl and he was able to vomit something, and looked a bit relieved, so I fell into a slumber and dozed off. Suddenly he woke up at about 6am; he was in this terrible pain. I jumped into my clothes, called Dr Balogun and told him my husband was in a very bad state and that I was driving him down. I also told him that I would like an experienced doctor to be on ground when I got there, to which he said ‘no problem.’

    He said a senior surgeon by name Dr Fadiran would be waiting for me. I lived in Lekki Phase One and it was on a Saturday; so I got to the hospital at Onikan in less than 20 minutes. My husband came down from the vehicle and walked into the hospital all by himself – which I found a bit disappointing, considering that I’d called ahead that it was an emergency. Of course they later brought in the wheelchair and wheeled him into the Emergency Room, but for a hospital like St. Nicholas, that was a minus. And then I still I saw the same doctor from last night. I asked after the Dr Fadiran and he said he was on his way. I asked where he was coming from, and he said Ikoyi. I made a mental note that he should be with us in about 15minutes. Inside the ER, Dr Kewe was struggling to locate my husband’s vein to pass in the drip. I asked, ‘Where is your Anaestasiologist?’ He said he or she was on his way. ‘Where is your radiologist?’ He said that too was on his way. And the doctor too! Virtually everybody that could help my husband was not on ground. At the end of the day, he couldn’t locate his vein on the right hand or so, and he had to switch to the other hand, which was the fistula hand that was used for dialysis before the hernia procedure. Ordinarily, that hand should not be tampered with. He turned to the fistula hand and at a point thought he had got the vein, but of course the drip wasn’t going at the end of the day. By this time Dr Kewe had become confused.

    Meanwhile, my husband kept saying ‘I just want to throw up.’ And Dr Kewe was busy taking instructions on the phone to treat my husband! He may deny it now, but I was right there and saw it all. And then he put him on oxygen. And I found that appalling because it was choking him the more. This person wants to throw up! Even as a non-medical person, I would think that the appropriate thing would have been to help him get whatever it was that was troubling him out. And then he said he wanted to give him an injection. I asked what the injection was for and he said it would stop him from vomiting! He was also given four adrenaline injections. I don’t know what those were for.  To make matters worse, 7.30, 8, 8.30, no doctor arrived. 9’o’clock, no doctor! And then my husband became more uncomfortable. Meanwhile before then, a doctor – not Fadiran came with a suction tube. He inserted the tube. You could tell that he was more experienced, but he obviously came in late. This was what they should have done immediately I came in or even the night before.  Meanwhile my husband continued to struggle and struggle. And at a time some liquid came out of his mouth and nose; and after all of that came out, I knew he had passed because I was holding and massaging his legs. They brought in the shock machine, but alas all that was formality. What should have been done wasn’t done at the appropriate time. My husband passed at exactly 9.30 am. He died because the doctor on ground didn’t know what to do. I still didn’t see the senior consultant doctor until I left. If he was there when he was called that there was an emergency, my husband would still have been here.

    How devastating were you, watching your husband pass like that; at a time when you least expected it?

    My goodness! I almost went mad. If not for the grace of God, I would not be sitting here. At a time, I wasn’t talking to nobody and people were afraid for me. Chaz B and I were so close, like stew on rice. So it’s not been easy at all. But again, looking at my daughter, Monalisa, I get encouraged. I see a lot of her dad in her. Sometimes, she talks and I think that I’m hearing my husband’s voice. It’s one year on Sunday (today), but it still feels like it’s not real. Like I would wake up someday and find that it never happened and Chaz B is still with us. Monalisa’s birthday was approaching and I asked, ‘Mama what would you like for your birthday?’ And she said, ‘I wish my daddy is here.’ And she started crying.

    Why are you coming out to talk about this now? It’s been one year.

    Well I was going to talk about it, but not immediately after his death. I needed time to regain my sanity and be able to talk. He died of pure negligence and I wasn’t going to sweep it under the carpet. I mean this was part of the things he was against and spoke against while he was alive! And I promise him that I would talk. He cannot just die like that. Here was a man I never in my wildest dream thought would leave me in a long time, and then in one week I was being asked to write his tribute. Everybody had submitted their tributes and they were waiting for me. And I was like ‘Whose tribute?’ I certainly didn’t expect him to die from a mere stomach ache, not after he had successfully passed through a more complex procedure like incisional hernia. And you know what? The hospital at the end of the day said he died of dehydration.

    Are you considering legal actions?

    His death needs to be investigated. Professionals should be made accountable for their actions. We should stop managing. If this kind of negligence should be happening in a hospital as ‘big’ as St. Nicholas, then where else is there to go? And then you want to blame people that travel out for medical attention? No. Even my little Monalisa was like, ‘Mummy, I thought hospitals are supposed to take care of sick people?’ I said yes. And she said ‘So why did they allow my daddy to die?’ She’s only seven and she’s already considering not staying in this country. She said ‘Maybe we should just go and stay in America; because she’s been there and as young as she is, she has spotted the difference. I was somewhere in Los Angeles the other day and they were chasing just one man, but you need to see the number of helicopters and personnel that were on the streets. And I was like ‘What! When are we ever going to get here?’ And Dr Kewe in his reply to my petition said that my husband told me he wanted to go home, that he couldn’t share a room with any patient. Here was a sick man, even if he said that while I was away, why didn’t you tell me, his wife? He never said that. Chaz B Chukuma would sleep in a marketplace if he knew I would be there with him. Besides, he didn’t make him sign anything. He should at least have told me ‘By the way your husband opted to leave on his own against medical advice.’

    How have you coped in the last one year?

    Cope? I’m still trying to get used to the fact that he’s gone.

    What kind of a man was Chaz B?

    Chaz B Chukuma was a wonderful man. A man with a heart of gold; very humble. If you knew him, you’ll know what I’m talking about. He was one in a million, down to earth. If you didn’t know him and saw him chatting with security men and drivers, you’d never believe it was him. He was the type that would ply a keke or bike just to get to the studio on time if there is traffic. He’s that kind of a person. Humble to a fault.

    How often did you listen to his show?

    I was his number one fan. Every day, I listened to his show and sometimes when he answered a particular person in a way that I thought wasn’t right, I’d tell him, ‘You have to apologise to that person.’ And the next day he’d apologise. So I was his number one fan, as well as his number one critic.

    What were his plans? He sure had reached a height with his show, where he must have been thinking of the next level.

    This whole office place we got because he was going to go into television. And he was working towards it seriously; had started buying equipment and all of that. We got this place in early October and he passed in November. Not even up to two months. That’s his office right opposite mine.

    What do you remember most about him?

    Everything. We’ve done everything together from day one. Everything around me reminds me of him, especially his sense of humour. Here was a man who’d be on his way home, yet he’d call me countless number of times. He tells me ‘I love you’ God knows how many times a day. And Monalisa does the same. So when Monalisa is telling me that, I see Chaz B. I see him in my dreams. He talks to me in my dream, even though some pastors have said ‘No, no, he’s dead, you shouldn’t have anything to do with him anymore.’ But excuse me, this was my husband!

    I mean, we started from Abuja. This was before he even became the Chaz B that is a household name. We were living in an uncompleted building, a school building in one rough area. At night there were gunshots here and there. He was with Hot FM. But I met him when he wasn’t really doing anything. I was a business woman, but I didn’t have a shop. So I’d gather my goods and take to my buyers and of course they’d owe. We stayed in a room that didn’t have a door, and we used a big plank to create a door for ourselves. Even the floor of our room was just sand. We tiled it ourselves. I got broken tiles from my uncle who sells tiles in Abuja. We called the tiler who charged us three thousand, but we didn’t have three thousand. So we ended up doing it ourselves, which was how I got the mark on my face (pointing to the upper part of her brow). We weren’t tilers; so we ended up having rough and sharp edges here and there. I fell on the tile on my birthday, which was how I got the mark. And he felt so so bad. I mean, we’ve been through thick and thin together! Sometimes, to eat was a problem, and I’d walk down the road to the malams there and speak Hausa to them to get stuffs on credit.

    And having to now lose him at the peak of things…

    Yeah. When we were really settling down; when he should be enjoying the fruits of his labour. I cry every day. I cry at night. Even though I know it’s affecting me, I really can’t help it. Chaz B Chukuma would do anything for me.

    How do you see the future without him?

    What can I say? It’s only going to be by His grace, because the truth is that a future without Chaz B, I never imagined. So I don’t know what it would look like. Of course He that has kept me up till this day will continue to keep me.

    And the dream, are you going to keep it going?

    Well the sad thing is that we’re no longer going to be going into the television aspect of it, because it was going to be a live thing, Chaz B Live. So it was going to be his face. But all that is gone now. All thanks to St. Nicholas. As regards the radio, like you may well know, we’ve been trying, even though we’ve had some ups and downs; don’t forget when the original owner of a brand is no longer there, you can’t expect everything to go as expected. Mr Chike and Mr Stephen have been holding forth. There was a misunderstanding at a point and Stephen left, but he’s back now. The show was an independent programme wholly produced by him. We buy airtime.

    Anniversary plans for Chaz B?

    We have the Ajegunle Project coming up to commemorate one year of his passing. November ordinarily is our month of giving and the Ajegunle Project was something we came up with on the show to help the needy before he passed. Our motto is Strangers, Orphans and Widows. We were going to pay them a visit but he passed before we could do that. So we’re reviving the project and it’s going to happen on the November 28. A lot of people have agreed to be part of it because it’s Chaz B, including musicians and comedians. We’re not really doing much after church; we’ve shifted everything the 28th. So, we’d be cooking right there and distributing to the people. We’ve also asked people to bring out clothes they don’t need. Not necessarily rags. If you have clothes that you haven’t worn for up to six months, that probably means that they’re no longer in vogue with you. You can bring them out for us to give out to those who need them.

  • 2015 Bamako Biennale Again, Nigeria rules the continent

    2015 Bamako Biennale Again, Nigeria rules the continent

    Nigeria’s Uche Okpa-Iroha surprised many, last Wednesday, when he won, for the second time, the Seydou Keita Prize at the Bamako Biennale in Mali. As he shed tears of joy, Iroha mumbled: “I dedicate the prize to Jesus Christ.” Assistant Editor (Arts) OZOLUA UHAKHEME
    was there.

    Nigerian photographer Uche Okpa-Iroha has, at the African Biennale of Photography Bamako Encounters in Bamako, Mali  repeated his 2009 feat – he is the winner of the Seydou Keita prize at this year’s 10th anniversary edition. Iroha got 5000 Euro, thus becoming the first to win the grand prize twice since the festival started over two decades ago. His winning entry, The Plantation Boys, which is in tandem with the festival theme, Telling Time, is a 40-piece photograph series on imbalance in the representations of African identity.

    According to the jury, Iroha inserts himself in a familiar scene of The Godfather to subvert the prevalent Hollywood view which has been excluding the other.

    “He lays bare the film’s system of representation, interjects a powerful redress of history and sets an alternative story in motion. The Plantation Boy clearly refers to the conditions of African Americans and claims a freedom that is opposed to the slavery time. We recognize the importance and urgency of this work as it relates to popular culture and questions the notion of power by subverting the invisibility of minorities in the film industry,” the jury said.

    Stunned by the jury’s announcement, Iroha, wearing a white top on a pair of jeans trouser, managed to respond by saying that he dedicated the prize to Jesus Christ as well as his friends at the festival.

    “Six years ago, I was here for the first time. Today, I have made it as winner of the overall best prize. Bamako is my second home,” he said, commending the organizers of the Bamako Biennale for a job well done.

    The biennale which is curated by Bisi Silva, assisted by Antawan Byrd and Yves Chatap will run till December 31. It is featuring several monographic and thematic exhibitions, educational targeted workshops and visits.

    Other winners were Lebohang Kganye and Simon Gush from South Africa (Jury prize), Abubacar Traore of Mali (OIF prize), Em’ Kal Eyongakpa of Cameroun (Tierney Bamako prize), Georges Senga of Congo Brazzaville (Royal Air Maroc prize) and Lucia Nhamo of Zimbabwe (Lanchonete.org award) Members of the jury are Solange Farkas, Ngone Fall, Kenneth Montague, Simon Njami and Alioune Ba.

    Iroha’s The Plantation Boys beat 38 other African artists’ entries – photographs and videos – to emerge overall best. The work consists of two series of images that collectively examine the power of structures of race and the hegemony of Western culture, signaling central concerns in his artistic practice. The title situates the work within the Black and African quest for freedom and self determination that arose in the slave plantation and and continues to impact the lives of black subjects globally.

    In The Plantation Boys, Iroha ‘meticulously places himself in the frame of the images through strategies of reconstruction and reenactment. He intervenes in Francis Ford Coppal’s 1972 Hollywood movie The Godfather by isolating and appropriating 40 original film stills from the movie. Through a process of digital deconstruction, Iroha disrupts an iconic Hollywood image with the presence of an African man amongst the familiar gangs of Italian-American culture.

    “He uses this to draw attention to the politics of representation in Western culture that is marked by a striking absence of Black actors and actresess -a challenge of the stereotype and subservient representation of African identity by taking centre stage.”

     

    Bamako Encounters

    makes big return

     

    After a four-year break, following political crisis in Mali, the Bamako Encounters, African Biennale of Photography made a successful return on Saturday, October 31, with an increased artists’ entries rising from 250 in 2011 to 800 this year. The festival, which opened at the Musee National du Mali, in Bamako is featuring 39 artists drawn from across the continent and Diaspora in exhibitions, screenings, talks and educational programmes for the youths. This tenth edition has as theme Telling Time, curated by Bisi Silva and assisted by Antawan Byrd and Yves Chatap.

    Delegate-General for the Bamako Encounters Mr Samuel Sidibe said the biennale has provided a unique platform for photographers in the continent and Diaspora. He stated that for over 20 years, the Encounters have displayed works of artists to public not confined to Bamako but that also includes visitors from all over the world.

    Sidibe described the biennale as a key agent in the emergence of African photographers adding that for many of them it is a powerful engine for creativity, hope and for dreams to come true- the fact of being recognized and being able one day to make a living from their works.

    “The Biennale is a unique window for my country, Mali. We are proud to be hosts to artists and professionals from all over the world during the opening week-October 31 to November 4,” Sidibe said.

    Director-Genral Institut Francais Anne Tallineau described Africa as truly a continent of art and culture, and the Encounters, with its international and Pan African dimensions, is eloquent evidence that creativity in today’s Africa is thriving, inventive and compelling from north to south and from east to west.

    Tallineau said few years ago, African artists were disturbingly absent from major international events but that now, in galleries and auction rooms, real progress is visible. “In addition this year’s Venice Biennale has provided a handsome panorama of the continent’s contemporary creativity and we are delighted to see this spotlighting of African photographers first revealed to the world by the Bamako Encounters,” Tallineau added.

    She reassured the commitment and support of France to the cultural cooperation between her country and Mali in sustaining the hosting of the Bamako Encounters. “This tradition of cultural cooperation between our two countries is a strong, long standing one. And with the organization of this tenth edition, after a break in 2011, we restate today our commitment alongside Mali, to the holding of the Rencountres de Bamako,” she added.

    Curator of the biennale Bisi Silva said the theme of the festival was inspired by both Mali’s rich cultural traditions of storytelling and the nation’s recent political upheavals, noting that it would also question the methods by which artists narrate real and imagined experiences through different economies of time. According to her, photographic images have been routinely interpreted as refractions of time and space relations, serving to advance visual arguments about the particularities of a given reality. “Within this context, Telling Time presents a nuanced array of lens-based projects that differently opened and reframe conventional interpretations of time through discrete structures of the past, present, and future. The artists assembled use photography, film, video and animation to construct perspectives on time that are fragmented, disjunctive, or recursive in nature, offering alternative methods of engaging histories, experiences and desires,” Silva said.

    Events of the week will hold in other venues such as Memorial Modibo Keita, Musee de Bamako, Maison Africaine de la Photographie and Institut Francaise. The biennale will run till December 31.

  • LagosPhoto: From today’s reality to Designing Futures

    LagosPhoto: From today’s reality to Designing Futures

    No fewer than 35 photographers from 18 countries are showing their works at the sixth LagosPhoto Festival with the theme: Designing Futures.

    The exhibition presents photography as it is embodied in the exploration of historical and contemporary issues and today’s reality; the photographers display works done skillfully, creating awareness on the cultural and socio-political landscape that influence daily life, and in turn communicate through the images on view. This year’s theme explores contemporary dialogues surrounding design in Africa.

    According to the organisers (African Artists’ Foundation), the arts festival focuses on the literal definition of design and philosophical aims at providing a platform for the development and education of contemporary photography in Africa by establishing mentorships and cross-cultural collaborations with local and international artists.

    The colourful, monochrome and animated works examine the complex social and political phenomenon that defines Africa in the twenty-first century. The images are engaging, they tell various stories of Africa, as well as forces the viewer to  have personal exploration through a diverse spectrum of photographic practice, examining contemporary photographers working in Africa who toe the line between photography and truth, by incorporating conceptual practices and performative strategies that expand traditional photographic approaches and techniques that buttress how images plays a vital role in our day-to-day activities, and how reality is constructed and negotiated.

    Nigeria’s Ima Mfon whose black and white portraits focus on “Nigerian Identity”, his series which all subjects are presented in a uniform manner: photographed on a white seamless background, looking directly into the lens, and enhanced so that their skin tones are virtually identical. “In these images, the skin tones are rich, deep and beautiful to celebrate our beautiful skin, for which we are often oppressed and marginalised. I use a plain background to eliminate any cultural or ethnic context, whether of urban disrepair or African wilderness. I want to contest the superficial travel or tourist photography approach to peoples who may be unfamiliar to the photographs’ viewers,” he said.

    French multimedia artist, François Beaurain’s stand in the exhibition hall received the highest attention with his 53 animation pictures of Monrovia series which showcase different aspects of everyday life in Monrovia. The daily life scenes depicted are rendered joyous and humorous by the animation technique, instantly capturing the viewer’s attention through Francois’s composition and use of color, and show a different side of a country that is regularly associated in the media with its recent civil war and its consequences or Ebola.

    To Beaurain: “Liberia is a beautiful and fascinating country, but it is also a tough place where people struggle to make a living. As an expat, you need faith or a severe dose of optimism to look at this country in a positive way, and when I arrived in Monrovia I did not have both. I rapidly realised that my pictures, artificially lively and colorful, but always inspired from reality, were a way for me to look at the bright side of Liberia, to meet and understand the people living there. I believe this project can contribute to give a different image of Liberia because it worked for me at the first place.”

    Cristina De Middel, the Curator, said the artists in this edition were selected based not only on the graphic quality but mainly on the fresh attitude and the determination to open the debate from inside, surpassing any post-colonial approach. “I have the feeling that Africa is not describing itself according to the rest of the world, but rather doing an introspective exercise that could obvious only be started from inside, and even better, is sharing the results. Africa got the mike and is ready to talk,” she said.

    She continued: “When I took the challenge to curate this edition of the festival I started by re-considering the meaning of the word design. I was trying to go beyond the first aesthetical connotation that comes with the current excitement about African visuals, the ethnic wax print and the coolness of the unknown that even Conrad painted a few decades ago.”

    To the Director of the festival, Mr Azu Nwagbogu the purpose of LagosPhoto is to learn, to observe, to explore, and to build a community around contemporary photography as it relates to Africa.

    LagosPhoto Festival is an international photo festival where contemporary photographers come together in Lagos to feature their outstanding works. Since its inception in 2010, the organisers have successfully displayed beautiful images. The festival is getting more international awareness; this year’s ground opening was well attended by people from all works of life. The one month programme ends on Friday, November 27, 2015.

    Other participating photographers are Owise Abuzaid, Andile Buka, Joana Choumali, Omar Victor Diop and Antoine Tempé, Daniel Donnelly, Kadara Enyeasi, Delphine Gatinois, Robin Hammond, Navin Kala, Andrea Gisele Keyezua, Ben Krewinkel, Francois Knoetze, Namsa Leuba, Robin Maddock and Benedicte Kurzen, Renzo Martens, Fabrice Monteiro, Nobukho Nqaba, Zohra Opoku, James Ostrer, Gloria Oyarzabal, Vicente Paredes,  Max Pinckers and Michiel Burger, Émilie Réigner, Chris Saunders, Mehdi Sefrioui, Patrick Selemani, Alice Smeets, Romaric Tisserand, William Ukoh and Patrick Willocq.

    The satellite exhibition venues in arts and cultural spaces throughout the city extend to Omenka Gallery, Africans Artists’ Foundation, Stranger Lagos, Goethe-Institut, White Space, Yaba Tech, and Quintessence. Outdoor exhibitions in public spaces in Lagos include Muri Okunola Park, Falomo Roundabout, Beko Ransome Kuti Park, Awojobi Park, Freedom Park, MKO Abiola Park and Dolphin Park.

  • ‘My generation needs voices that speak life’

    ‘My generation needs voices that speak life’

    Israel Afangideh is an Akwa-Ibom State born sophomore student at Faulkner University, Alabama, Montgomery, United States (US) with a dual major in Sports Management and Business Administration. The young lad, who turned 17 recently, is a man of many parts. His interest spans music, poetry, law and martial art. He has a second degree black belt in Taekwondo and dreams of opening a Martial Arts Academy in future. But his current musical single ,No borders, was inspired by the shooting in Charleston, South Carolina, US, in June, by Dylan Roof, a white American boy, who went into an African-American church and opened fire, killing several worshippers. He speaks with Assistant Editor (Arts) OZOLUA UHAKHEME on  his new musical project, growing up in America, his dreams, what endears him to his roots-Nigeria, among other issues. 

    At 17, how prepared are you for the task of moving into adulthood?

    I don’t really think being an adult has much to do with age, being an adult has much more to do with life’s experiences and mindset. I feel that so many people of my age limit themselves thinking they have to wait until they get older to become the people they’re meant to be, but that’s simply not true; there are advantages to youth that should not be wasted.

    Tell me about yourself as a Nigerian born American youth?

    I feel that God blessed me to be able to be born in a country as amazing as Nigeria. Learning Nigerian values and being influenced by Nigerian culture from a young age has really helped to shape who I am and who I will become. I was even more blessed to be born into the Afangideh family; a family that constantly pushes each other to be the best that we can be. My father, Peter Afangideh, is a lawyer and the Director of the Christian Science College. My mother, Dr. Uduak Afangideh, is the wisest woman I know and her guidance and support have been invaluable in helping me find the right path and follow it. My elder sister, Salem Afangideh, is an American lawyer, and her numerous accomplishments in many diverse fields at such a young age, remind me never to limit myself. My little brother, Elias Afangideh with his quick sense of humour and zest for life has taught me to have fun and never to take life too seriously.

    Tell us about your academic sojourn

    I completed my Nursery and Primary School education in Nigeria before going to America and completing my Secondary education there. I am currently in my second year at Faulkner University with a dual major in Sports Management and Business Administration. School is important, not because of the facts you learn there or because of the endless theories and lectures students are forced to sit through; school is important because of the discipline it teaches and because it teaches you how to find, absorb and retain information.

    Aside your studies, what are your other interests?

    I have many interests ranging from music and law to poetry and Martial Arts. I have a second degree black belt in Taekwondo, and dream of opening a Martial Arts academy. If I had to put myself in a box, however, I would say I’m an entrepreneur. I like envisioning things and then watching them become reality. I have always been a dreamer. I’m the kind of person, who is never satisfied with the status quo. I like to swim against the tide, to buck the trend. I guess I’m a little bit rebellious and stubborn and I don’t think those are negative attributes for young people to have at all, as long as we rebel for the right things. My relationship with God guides everything else I do in life, whether in Martial Arts or in music, I don’t see my Christian life as separate from my everyday life. They are intricately connected.

     What musical project are you working on and when did you start it?

    I had the idea back in January to make a song that addressed the tendency we have as human beings to discriminate against each other based on the boxes we put ourselves in, whether it is race or nationality or gender or social class. Whatever box it was, whatever walls we built to separate ourselves from each other, I wanted to tear them down. By April I had the specifics of the song and I contacted my friend and fellow rapper Benjohn Ofem Otu to see if he would be interested in having a part in the song. He was. While we were trying to figure out what exactly we wanted the song to say, I heard about the church shooting in which a white American boy went into an African-American church and opened fire, killing several people. In that instant I knew that there would be no better place to talk about racial violence than in Africa with a fellowAfrican. That was how the song, No Borders, was born. I also decided to create a project called Real Music, as a banner under which I and other musicians could create songs that have a positive message.

    What inspired the Real Music project?

    Real Music is an idea I have entertained for a long time. It is the result of studying popular culture for the past three years. I noticed that almost all songs that become popular promote objectifying women, worshipping money, laziness, drug addiction and other vices. This didn’t make sense to me, why would musicians create songs that would misguide and destroy the people who were looking up to them. That was how Real Music was born. We want to make sure that whenever someone plays a song produced by Real Music, featuring one of our artistes, they will get a song with a message, a song filled with hope. The song, No Borders, can be found on YouTube and it can be downloaded for free on Soundcloud. It can also be found on our Facebook page.

     Who are your target audience?

    My generation needs voices that speak life. We need voices that will create instead of destroy. We need role models that not only know the right path, but won’t point us down the wrong one simply because they want to make more money from their music. However, my target audience isn’t limited to those who fit into my age bracket. I want the world to hear my music because I know that real music changes lives. 

    What are your dreams?

    I dream of a world undivided by the prejudices inherent in the human nature. I dream of a world where every human being is free from pain and is living up to their potential. I have personal dreams and aspirations as well, but I know that if I can create the world I see in my dreams everything else will fall into place.

    Growing up in Alabama as a Nigerian youth, what challenges did you face?

    There are challenges. It can be difficult to find my identity, and at times it can feel like I don’t belong anywhere. I’m in America, but not American. I’m African, but not African-American. America has its advantages, but there is no place like home.

    What endears you to Nigeria, your home country?

    The people; Nigerians are what make Nigeria as amazing as it is. We are tenacious and we can make the most out of the worst situations. Nigeria is a country with promise and we shouldn’t get discouraged because we might not be where other nations are right now. No nation was perfect at 54 and even though I’m a little biased, I think Nigeria has the potential to be one of the greatest nations on the planet.

  • PHCN opens at Red Door Nov 20

    PHCN opens at Red Door Nov 20

    A solo art exhibition reflecting the state of the nation, Please Help Clean (Phcn) by Ija Lobomo, will open at the Red Door Gallery, Victoria Island, Lagos on November 20.  It will feature paintings such as Painfully Employed I; Painfully Employed Ii, What Legacies! 1960s BC And 2010 Ad are pictures reflecting the state of the nation.

    Ija Lobomo’s paintings remain stark reminders to the gifted community of aficionados and collectors. These are the real culprits that the paintings address. It is from this category of citizenry that the oppressor class emerges. The artist addresses the same oppressor class for the looting of the treasury symbolised by the stark images such as To Hand Unto Our Children …A Banner With All Pains And Llpc, Loot Loot Petroleum Corporation and images reflecting the invasion of the, otherwise, rich country where culture and the beautiful life persisted. The paintings include Girl By The Parrot Cage, Eyo Dancers, The Flute Player, The Beaded Dancer among others. Some thought-provoking paintings for display are O SAMBISA and THE SILHOUTTE WITH AK 47.

    In spite of these vexatious images, the exhibition still offers a glimmer of hope in Bunch Of Flowers, The Festering Cockeral and the reality of a change represented by The Mythical Eleshin, The Horse Man, symbol of Apocalypse and change.

  • Contemporaries holds at Wheatbaker

    Contemporaries holds at Wheatbaker

    As the global art world gathers in London next week for Frieze, tagged one of the “blingiest” art fairs in the world, The Contemporaries, an exhibition showcasing works by eleven cutting edge Nigerian contemporary artists, attracted much interest when it opened at the Wheatbaker boutique hotel, penultimate Monday. It will run till November 13 and is supported by Veuve Cliquot.

    The exhibition of 21 paintings, sculptures, drawings, and mixed media works is a timely reflection of current trends in Nigeria and makes stirring and sometimes, tongue-in-cheek, comments about a nation expectant of change. The Wheatbaker’s fall exhibition The Contemporaries, showcases leading and emerging artists including Nnenna Okore, Duke Asidere, Uchay Joel Chima, Gerald Chukwuma, Raoul Olawale da Silva, Anthea Epelle,  Taiye Idahor , Chika Idu , Adeyinka Akingbade, Tony Nsofor,  and Onyeama Offoedu-Okeke.

    A kaleidoscope of art that offers fresh perspectives on environment and development issues, feminism, unity, identity, history & tradition, and freedom of expression, draw on the artists’ unique heritage and perspectives. The exhibition is a robust exchange of ideas challenging its audience not to merely “think outside the box”, but to literally “stand on the box” and use it as platform to behold new vistas.

    Sculptor and environmental activist, Uchay Joel Chima, whose skillfully crafted charcoal and paper relief addresses rampant environmental degradation and security challenges is juxtaposed  against the masterly paintings of children swimming under-water created by Chika Idu, who tried to escape the nightmare of traffic gridlocked streets by relying on water transportation, only to be confronted with the daily struggles of coastal communities affected by dredging, pollution, flooding and all forms of urban pressure.

    Artist, historian and architect Onyema Offoedu-Okeke, presents Obstacles to Paradise on the theme of global migration showing the desperate fragmented surge of humanity across geometric paths of color and symbol, while master sculptor Gerald Chukwuma’s ironic multi-media work, CHOP, created out of an intricate pattern of plastic spoons on wooden slats, makes a strong comment on the social cancer of corruption and the growing gap between Africa’s well heeled elite and the increasingly disadvantaged poor; in the artist’s own words, there is “plenty food, plenty spoons and empty plates”.

    “Art reflects society within a constantly evolving socio-political reality,” explains exhibition curator Sandra Mbanefo Obiago, who started documenting the impact of contemporary Nigerian art in 2011 in a five part documentary series, Red Hot Nigerian Creativity, she produced and co-directed. “Its exciting to see how the contemporary art scene is making a positive impact on our international identity and confidence as Nigerians, as Lagos fast becomes one of the most-talked-about emerging global art cities.”

    The Contemporaries is offering visitors works which exhibit inspirational bold abstract human forms created by painters Raoul Olawale da Silva and Tony Nsofor, alongside the unusual biomorphic sculptures and installations created by internationally celebrated Nnenna Okore, in which twine, burlap,  and discarded newspapers touch on recycling, transformation and regeneration inspired by natural and man-made conditions within semi rural dwellings.

     

  • Heralding Save Nigerian Indigenous Languages

    Heralding Save Nigerian Indigenous Languages

    At the moment, a group of people called Save Our Indigenous Languages in Nigeria are organising a reality show in different indigenous languages to debate a way forward for the preservation and promotion of endangered languages in Nigeria.  Edozie Udeze encountered the organiser by name Greg Ugboaja, who explained the concept and ideals of the show

    For some time now, some individuals and institutions both in Nigeria and across the globe have been organising programmes and workshops to encourage people to continue to speak and communicate in their mother tongue.  A few years ago, the United Nations Educational Scientific and Cultural Organization (UNESCO) notified and warned the world about some endangered languages of the world.  The body has made it clear that if care is not taken by 2060 more local languages of the world will go extinct.

    What this means is that more people; more communities would have lost touch with their origin and where they are coming from.  The consequent result would make more people grope uncertainly in the world without knowing what to do with their lives, without knowing the language to speak except the foreign one they already know.

    But a young man called Greg Ugboaja who is now organizing a show to sensitise Nigerians on the need to push on with their various mother tongues opined that if constant attention is paid in this regard, a lot will be achieved.  He has a foundation called Save Our Indigenous Languages in Nigeria (SOLN).  In the past few days, he and his colleagues in the group have been putting up what he described as a contest for young people to discuss national issues in Nigeria.

    “We believe we’ve talked to the governments both at the states and federal levels in the English Language, and they’ve not been listening.  Now, let us try to do it in our individual local tongues to see how it works.  These languages are the languages that touch the hearts.  Our mother tongues know how to do the magic; how to appeal to the inner-recesses of both those who speak them and those who listen.”

    Ugboaja who is not only an artiste, but also the owner of Mmilioma, a production company that encourages the art to thrive, explains why the one week programme which held at the National Council for Arts and Culture (NCAC) Iganmu, Lagos, was being recorded for the television audience.  “Yes, it is like a reality show.  However, this is the pilot show, the first edition of it.  What we are doing is that we are recording the pilot for TV.  It is being supported by National Institute for Cultural Orientation (NICO), National Council for Arts and Culture (NCAC), Living Tongue Institute for Endangered Languages from USA, and Bond FM.  This is for us all to ensure we are not allowing our indigenous languages to die.”

    So, how would government now begin to understand the problems of the people when spoken in local languages?  “Yes Nelson Mandela said if you speak to a man in the language he understands, it goes into his head.  But if you speak to him in his mother’s tongue it goes into his heart.  So we feel that our governments will listen to us more when we apply this approach and method.

    “When we speak to them in the language that is their own, they will know that we are serious.  The English Language is no man’s Language as far as we are concerned.  For this edition, therefore, we are featuring 6 languages.  They include Igbo, Yoruba, Hausa, Idoma, Bini and Ibiobio.  What we do is that we swop the languages every season.  Once we are done with these, we will focus attention on more.  We have over 250 languages in Nigeria and that means we have a lot to do.”

    Describing it as an on-going project, Ugboaja insisted that those who participated must appear in their local attire with all the mannerisms that make the people who they are.  This is to make the show a total local issue where even attendees and participants would be encouraged to respect one another’s cultural tendencies.  “The project would have gone round the whole length and breadth of the country by the time we do it constantly for a while.  We have to do it step by step, stage by stage, to make sure we pay enough attention to as many indigenous languages as we can.”

    Although it is a pre-recorded programme, Ugboaja encouraged those involved in it to apply online first.  From then on Bond FM took it up and began to hammer on it and let the people to see the need for the youths to be a part of it.  Now, through the social media, people who are passionate about local languages came out to associate with it.  “You can see how enthusiastic the participants are.  How they are eager to prove a point.  Let people go back to where they are coming from in terms of recognising that they have a language to speak.  It does not diminish your person or belittle your esteem when you speak your mother tongue.

    “So we are telling government that we need to rescue our languages.  Look at every single industrialised nation of the world.  None of them speaks in foreign language.  Even America that speaks English had to Americanise it to suit their taste.  India that was colonised by Britain still promotes Hindi far above the English Language.  There is no industrialised nation that is moving forward today that relies on a foreign language to make it.  And when you go to Europe, even very minor nations with the influence of England, still speak their local dialects.  Go to Italy, go to Malta or Spain, even when Britain has influenced them one way or the other, they do not forget who they are or where they are coming from.”

    There is indeed something deeply inherent in your language.  It conveys a message deeper than when you want to do it in a foreign one.  “You lose the total import, you lose some moral values, you lose the total original touch of an issue when you try to convey your feelings in a foreign language.  Local tongues bond people together.  There are some words you cannot completely translate from Igbo to English, no matter how hard you try, it will still lose its original meaning and content.”

    In order to achieve this aim, the programme centres its contents on topics, on issues and themes that bother the country at the moment.  Ugboaja said, “Yes we harmonise our stand by concentrating on topics like security, youth unemployment, this is a federation of different peoples, religious matters, education and so on.  So, we bring people to talk on these issues through a debate in local languages.  Our position is therefore presented to the government in the same languages they are made.

    “As government is listening to you in Ibibio, those who come from that area in the National Assembly will be able to grasp the essence of what we have said.  We are not promoting tribe per se, no.  We are promoting languages.  So even if you are from Akwa Ibom and you understand another local language it is an advantage.  Or if it is in Yoruba you want to talk to government, you are welcome.”

    In the end, these themes will be pushed to the front-burner with expectation that the governments concerned will listen and act.  Those involved in the show would have also learnt one or two lessons to help Nigeria move forward.

  • ‘Royalty has deprived me the pleasure of my roadside booli’

    ‘Royalty has deprived me the pleasure of my roadside booli’

    Olugbo of Ugboland, Oba Frederick EnitiOlounda Obateru Akinruntan (Okoro Ajiga I) last week marked his 6th coronation anniversary amid celebration. Taiwo Abiodun who was there reports.

    Dressed in immaculate white Dansiki attire with his signature muffler – this time a shinny blue dangling down his royal neck, it was the occasion of his 6th coronation anniversary as the Olugbo of Ugboland in Ondo State. The muffler was laced with shining diamond stones, while his white cap and the crown embroidery along with his blue-beaded fly whisk gracefully complemented his personality. His black slip-on shoes, gold necklace along with his silver-coloured walking stick at once tell you that you’re in the presence of a rich and flamboyant monarch worth his onion.

    Oba Frederick EnitiOlorunda Obateru (Okoro Ajiga I) loves the flamboyant lifestyle and makes no pretences about it. Without mincing words, he tells you that “I have about 500 mufflers of different colours. I’m a stylist, a man of fashion and creativity, and I love the best things of life.”

    According to Forbes list, the monarch is the richest royal father in Nigeria and one of the richest in Africa.

    But he is also a man who wants the best for his community and people of Ugboland and the Yoruba race at large. Speaking of the changes and prosperity he has brought to his community since attaining the throne of his forefathers, Oba Obateru said, “Life was not easy before my arrival; everything was in disarray, but now I have done a lot of things people can testify to. For example, I introduced medical services and that is the Frederick Eniolorunda Boat, a mobile clinic on boat for our people to be checking their blood pressure and sugar level (diabetic) while drugs are recommended and administered to them on boat Medicare.”

    “In terms of good hands in the town’s affairs management, I have credible and experienced people who are technocrats,  professionals and even retired civil servant such as retired commissioners, permanent secretaries, eggheads and other top government notchers as my chiefs, who represent our community anywhere with dignity and confidence.”

    According to the billionaire, when he became the Oba, he changed the town’s chiefs’ orientation towards life. “The set of people I met here especially chiefs had their ways of lives but with my ascension to the throne, I changed them and taught them how to dress, talk in public and many social ways. For instance, I told them not to eat in the public. Now I make sure our Yoruba Culture is promoted from the way they dress like putting on our most cherished style of Yoruba flowing gown (Agbada).”

    On the infrastructure, the monarch said before coming to the throne, there was no access road to his town but now, Dr. Mimiko, the present governor of the state has opened up the area.

    He also contributes to humanity by paying some students’ school fees and assisting the unemployed. “I pay their fees from primary to the university, even to PhD level. I believe that if you don’t have education, you are not living. I don’t want our people to have inferiority complex when they see their mates in Ibadan, Lagos, New York or London. Not only that, quarterly I gather the unemployed indigenes together and collect curriculum vitae and fix them up, because I want to change their lives. I believe one needs to assist humanity and I want my name to be written both in gold and diamond.”

    Despite his stupendous wealth, the Oba however still upholds the virtue of humility. He said it is not his family trait or culture to be rude or arrogant, as his father taught he and his siblings to respect elders. “Anytime we were rude, he smacked us. Aside that, he my bible tells me that the things we have in life are vanity; the moment you die, that is all. Whatever one has in life is by chance and opportunity. Talking about my philanthropism, I have also read in the Bible many times that ‘givers never lack.’

    “I don’t regard myself as more important than any other person. And when you give and assist people, they would speak good of you.

    “Before now there were no buildings here in Ugboland, until I came and started erecting buildings. Later others joined and I am happy. The fact is that they thought if they have houses, they would be killed by witches and wizards.”

    Continuing, he said “You should be proud of your heritage, I spent about 50 years in Ibadan, but I eventually came back home. So you have to show example. Today, my palace is one of the best palaces in the world; when you leave here you can go and make your comparison. Obaship has been taken to another level. Now you have to think twice before you become an Oba. You need education, money etc.

    As the Chairman of Obas on Obaship Resolution and Conflicts, the monarch said he has done a lot. “We make sure no Oba fights in the public anymore. No segregation again among the Obas and we are orderly in our dealings. Our problem in Yorubaland before now was ego, but this is no longer so, as there is now unity.”

    As a staunch member of Cherubim and Seraphim, Oba Obateru does not partake in the town’s rituals. He said there is a chief priest who is in charge of rituals.

    On his large entourage

    Asked why he goes about with a large entourage of his chiefs and village heads, the monarch laughed and replied: “Everything is special. My convoy is special. If I travel outside, I go with a convoy. I have about 250 communities under my kingdom, so if I’m travelling, each is represented; and I have about 500 people going with me, even if I’m travelling out. I spend millions of naira maintaining my security personnel and preparing meals for people in the palace everyday. And it is the same when I’m in Lagos and London.”

    Regrets

    Smiling, the Okoro Ajiga I of Ugboland said “Look the Obaship throne has changed my life. Before I could dance hip hop, dance to Sunny Ade and Ebenezer Obey’s music and roll it, but I can’t dig it on the dancing floor again. What even pains me most is the love I have for roasted plantain (booli) and groundnuts, which I can no longer stop by the roadside and buy.”

  • MUSON debuts in Ibadan

    Ibadan Musical Society of Nigeria, IMUSON, a premium training and performing arts company has been birthed.

    The IMUSON run by a five-man governing board. Afolabi Oke is the chairman,vice chairman,Mouzayian Khalil-Babatunde, Oladapo Omideyi,Chief Executive Officer,Olajide Babatunde,Chief Strategy Officer and Femi Oyekola,Legal Adverser/ Secretary is  set to be Nigeria’s preferred base and standard bearer for quality performance and training built on a multiracial, multiethnic community support.

    According to the team, there will be an inaugural performance on the 2 December in Ibadan at the cultural centre that will feature Gbenga Adeyinka and Suga band and a 150- man children mass choir and a 100-man dance performance.

    IMUSON, in a press statement is a non-government and not-for-profit performing arts organisation established to be a lead player in Nigeria’s art, culture and entertainment sector and managed by a crack team of knowledgeable, innovative and ambitious professionals with a burning passion for making bold statement through the arts.

    It appears that the quality of live arts, particularly the performing art has fallen drastically in Nigeria; touring companies are hard to come by, Broadway and Westend standard productions are almost nonexistent while a larger percentage of operating theatre companies rely on a very evasive and inconsistent support base.

    Majority of Nigeria arts organisations struggle just to stay afloat mostly out of inability to make bold art and build a strong support base, lack of innovation, poor strategic planning and limited arts management knowledge.

  • 2015 Bamako Biennale Again, Nigeria rules the continent

    2015 Bamako Biennale Again, Nigeria rules the continent

    Nigeria’s Uche Okpa-Iroha surprised many, last Wednesday, when he won, for the second time, the Seydou Keita Prize at the ongoing Bamako Biennale in Mali. As he shed tears of joy, Iroha mumbled: “I dedicate the prize to Jesus Christ.” Assistant Editor (Arts) OZOLUA UHAKHEME
    was there.

    Nigerian photographer Uche Okpa-Iroha has, at the ongoing African Biennale of Photography Bamako Encounters in Bamako, Mali  repeated his 2009 feat – he is the winner of the Seydou Keita prize at this year’s 10th anniversary edition. Iroha got a cash of 5000 Euro, thus becoming the first to win the grand prize twice since the festival started over two decades ago. His winning entry The Plantation Boys, which is in tandem with the festival theme, Telling Time, is a 40-piece photograph series on imbalance in the representations of African identity.

    According to the jury, Iroha inserts himself in a familiar scene of The Godfather to subvert the prevalent Hollywood view which has been excluding the other.

    “He lays bare the film’s system of representation, interjects a powerful redress of history and sets an alternative story in motion. The Plantation Boy clearly refers to the conditions of African Americans and claims a freedom that is opposed to the slavery time. We recognize the importance and urgency of this work as it relates to popular culture and questions the notion of power by subverting the invisibility of minorities in the film industry,” the jury said.

    Stunned by the jury’s announcement, Iroha, wearing a white top on a pair of jeans trouser, managed to respond by saying that he dedicated the prize to Jesus Christ as well as his friends at the festival.

    “Six years ago, I was here for the first time. Today, I have made it as winner of the overall best prize. Bamako is my second home,” he said, commending the organizers of the Bamako Biennale for a job well done.

    The biennale which is curated by Bisi Silva, assisted by Antawan Byrd and Yves Chatap will run till December 31. It is featuring several monographic and thematic exhibitions, educational targeted workshops and visits.

    Other winners were Lebohang Kganye and Simon Gush from South Africa (Jury prize), Abubacar Traore of Mali (OIF prize), Em’ Kal Eyongakpa of Cameroun (Tierney Bamako prize), Georges Senga of Congo Brazzaville (Royal Air Maroc prize) and Lucia Nhamo of Zimbabwe (Lanchonete.org award) Members of the jury are Solange Farkas, Ngone Fall, Kenneth Montague, Simon Njami and Alioune Ba.

    Iroha’s The Plantation Boys beat 38 other African artists’ entries – photographs and videos – to emerge overall best. The work consists of two series of images that collectively examine the power of structures of race and the hegemony of Western culture, signaling central concerns in his artistic practice. The title situates the work within the Black and African quest for freedom and self determination that arose in the slave plantation and and continues to impact the lives of black subjects globally.

    In The Plantation Boys, Iroha ‘meticulously places himself in the frame of the images through strategies of reconstruction and reenactment. He intervenes in Francis Ford Coppal’s 1972 Hollywood movie The Godfather by isolating and appropriating 40 original film stills from the movie. Through a process of digital deconstruction, Iroha disrupts an iconic Hollywood image with the presence of an African man amongst the familiar gangs of Italian-American culture.

    “He uses this to draw attention to the politics of representation in Western culture that is marked by a striking absence of Black actors and actresess -a challenge of the stereotype and subservient representation of African identity by taking centre stage.”

     

    Bamako Encounters

    makes big return

     

    After a four-year break, following political crisis in Mali, the Bamako Encounters, African Biennale of Photography made a successful return on Saturday, October 31, with an increased artists’ entries rising from 250 in 2011 to 800 this year. The festival, which opened at the Musee National du Mali, in Bamako is featuring 39 artists drawn from across the continent and Diaspora in exhibitions, screenings, talks and educational programmes for the youths. This tenth edition has as theme Telling Time, curated by Bisi Silva and assisted by Antawan Byrd and Yves Chatap.

    Delegate-General for the Bamako Encounters Mr Samuel Sidibe said the biennale has provided a unique platform for photographers in the continent and Diaspora. He stated that for over 20 years, the Encounters have displayed works of artists to public not confined to Bamako but that also includes visitors from all over the world.

    Sidibe described the biennale as a key agent in the emergence of African photographers adding that for many of them it is a powerful engine for creativity, hope and for dreams to come true- the fact of being recognized and being able one day to make a living from their works.

    “The Biennale is a unique window for my country, Mali. We are proud to be hosts to artists and professionals from all over the world during the opening week-October 31 to November 4,” Sidibe said.

    Director-Genral Institut Francais Anne Tallineau described Africa as truly a continent of art and culture, and the Encounters, with its international and Pan African dimensions, is eloquent evidence that creativity in today’s Africa is thriving, inventive and compelling from north to south and from east to west.

    Tallineau said few years ago, African artists were disturbingly absent from major international events but that now, in galleries and auction rooms, real progress is visible. “In addition this year’s Venice Biennale has provided a handsome panorama of the continent’s contemporary creativity and we are delighted to see this spotlighting of African photographers first revealed to the world by the Bamako Encounters,” Tallineau added.

    She reassured the commitment and support of France to the cultural cooperation between her country and Mali in sustaining the hosting of the Bamako Encounters. “This tradition of cultural cooperation between our two countries is a strong, long standing one. And with the organization of this tenth edition, after a break in 2011, we restate today our commitment alongside Mali, to the holding of the Rencountres de Bamako,” she added.

    Curator of the biennale Bisi Silva said the theme of the festival was inspired by both Mali’s rich cultural traditions of storytelling and the nation’s recent political upheavals, noting that it would also question the methods by which artists narrate real and imagined experiences through different economies of time. According to her, photographic images have been routinely interpreted as refractions of time and space relations, serving to advance visual arguments about the particularities of a given reality. “Within this context, Telling Time presents a nuanced array of lens-based projects that differently opened and reframe conventional interpretations of time through discrete structures of the past, present, and future. The artists assembled use photography, film, video and animation to construct perspectives on time that are fragmented, disjunctive, or recursive in nature, offering alternative methods of engaging histories, experiences and desires,” Silva said.

    Events of the week will hold in other venues such as Memorial Modibo Keita, Musee de Bamako, Maison Africaine de la Photographie and Institut Francaise. The biennale will run till December 31.