The Nation Newspaper

Category: Arts & Life

‘Winning awards not the ultimate’

They all came for one event. But, the younger artists had different missions. While many were fulfilled participating in Life In My City Art Festival (LIMCAF), in Enugu, others eyed the coveted prize. Of the hundreds of artists that entered for the competition, Benin City-based studio artist Aisien Harrison won the Best Overall prize of N500,000 amid jubilation, reports Assistant Editor (Arts) OZOLUA UHAKHEME.

In spite of the traffic logjam on Nike Lake Resort Road, guests, especially most of the shortlisted 98 artists for the awards and grand finale exhibition, arrived the function in high spirits. The Convention Hall, Nike Lake Resort Hotel, Enugu venue of this year’s Life In My City Art Festival was filled to capacity. The anxiety got to its peak when 30 of the 98 participants were shortlisted winners in various categories by a five-man jury led by Prof Tonie Okpe of the Ahmadu Bello University, Zaria.

But, when Aisien Harrison, a Benin-based full-time studio artist, was announced the overall winner by is Royal Majesty Igwe Nnaemeka Acbebe, Obi of Onitsha, there was wild jubilation in the hall.

Harrison’s Melodius Struggle, a wooden sculpture won him a cash prize of N500,000.

The other 29 winners included Muoneme Uzuchukwu (Best painting, mixed media and drawing) who got N250,000. Badru Taofeek Abiodun (Best multimedia) N250,000, Nattey Gregory from Ghana won the Photo Africa award of $1000, Idongesit Esong (Ufon Usoro-Uyo/Calabar zone N200,000, Okoro Emmanuel won (Dr. Pius Okigbo award for technical proficiency) N150,000 and a plaque, while Ibrahim Rashidat Folashade (Justice Aniagolu prize for originality) got N100,000.

Others were Stephen Osochukwu (Best in Edo/Delta zone) – N100,000; Samuel Ilori (Best in Abuja) – N100,000; Raji Bamidele Abdulgaffar (Best in Lagos) – N100,000 and Godwin Ejike Ugwuagbo (Best experimental in Enugu State).

“This is my third attempt in this art competition. Last year, I made the consolatory prize. Thank God I made it this time. I have always had the belief and faith that I would one day win one of the big awards but never knew it would come so soon. With this award, I will continue to work harder and be a model to younger artists,” elated Harrison said.

The Auchi Polytechnic-trained sculptor said his winning piece Melodious Struggle is a commentary on the way Nigerian youths struggle to become a musical star at all costs. Melodious Struggle is a medium size wooden work measuring 30cm that reflects the many challenges most youths face in the struggle to produce hit songs for the music industry. The reclining shape and the skinny frame capture all the hurdles.

“In rendering the piece, I omitted some forms, such as the head and toes of the figure. But at a closer look, the seeming invisible forms can be seen by discerning art lovers,” Harrison added.

Igwe Achebe, who chaired the event enjoined participants to see participation in the festival as much more important than winning the awards. He said the festival has scored high in today’s art scene and has emerged as the most sustaining art event in the country, praying that it continues to grow in strength. He, however lamented that the government does not appreciate art, which according to him, explained why National Gallery of Art has no gallery of art. The Obi of Onitsha disclosed that he is planning to establish a private museum at Onitsha very soon.

Appreciating the support of distinguished Nigerians, such as Ms Anne Okigbo who recently endowed an award in honour of her late father (Dr. Pius Okigbo) for the festival, LIMCAF board chairman Elder Kalu Uka Kalu said such efforts have come to swell the growing list of endowments which began in 2010. They include Justice Anthony Aniagolu, Tayo Adenaike (African Photography award), Bisi Silva award for Lagos zone, Jeff Ajueshi’s Thought Pyramid Gallery, Abuja award for Edo/Delta zone and Mrs Mfon Usoro’s Uyo/Calabar zone award.

He stated that it is a great pleasure to see the eager faces of young artists who gathered at the event not just as contestants but more especially as aspiring young professionals in training. “They come here every year surely to expand their vision through interaction with older and wiser generations and to test their talent in a conducive atmosphere against those of their peers as well as superiors. In that regard it is a noteworthy pointer to their future that scions of prominent art aficionados of yesteryears whose parents bought the works of the older generation artists many years ago are now endorsing LIMCAF and its promise by endowing prizes in various categories to encourage the young ones of today,” he added.

Continuing, Kalu said: “These prizes are of course in addition to the four main national prizes including the Overall prize and three best in category prizes. It is our hope that the list will continue to grow as the festival grows in stature and inclusiveness. The Board and its Organising Committee is in fact poised to examine the possibility of promulgating a new and more structured order of category prizes all in a bid to increase the number of young persons who benefit financially from participating in the festival.

Present at the award night included former Director-General Nigerian Maritime and Safety Agency (NIMASA), Mrs Mfon Usoro, Ms Anne Okigbo, Elder and Mrs Kalu U Kalu, Chief and Mrs Robert Oji, Igwe LOC Agubuzu, Mr. Peter Eze, Cultural Attache, French Embassy in Nigeria, Miss Aude Urcun, and Mr. Orji Ndem.

The 9th Life In My City Art Festival which has as theme, Beyond All Odds was supported by First Bank Plc, Rocana Nigeria Limited, Alliance Francaise Network in Nigeria, CCA, Lagos, Nike Lake Resort and Hotel, Tachi Studio and CLAM among others. It featured multimedia workshop and presentation, interactive session with top 25 artists, and exhibition.

October 28, 2015
Twin brothers’ legacy for media

In every profession, there are those whose contributions and actions play critical roles in the growth of such human endeavour. Often times, such individuals help shape and define the trends and practices and thereby become masters of the trade. This, perhaps, informed the choice of 50 world journalists that make Mike Awoyinfa and Dimgba Igwe’s book entitled 50 World Editors (conversations with journalism masters on trends and best practices.

But, who are these world class masters of the pen profession? Your guess is as good as mine. They are drawn from top flight media organisations in Africa, Asia, Europe and the Americas. The 628-page book is a compilation of conversations with the masters on issues ranging from day-to-day schedules of practising journalists to what defines a news, what defines a front page story, quality of news, tips for success as a reporter, core values of a media house, the defining story of a reporter, and many more. In all, the conversations though share many things in common, reveal some interesting stories about some editors and their media organisations, including personal experiences.

But, the book, which is a result of the authors’ ten years of traversing the globe interviewing key players in the industry, is not all about editors, but top media players some of them at the apex of the media pole-publishers, presidents, managing editors, editor-in-chiefs, editors, bureau chiefs, line editors and correspondents who made great marks in journalism. The scope is all embracing as it covers practitioners in print, broadcast journalism and international news agencies such as Reuters, AFP and Globalpost. The book is ‘ultimately biographical in the sense that each of the candidates featured in this collection shares his or her own journalism story and in so doing, reflects on the diverse aspects of the practice and precepts of journalism in different generations covering different countries.’

To the authors, the book is a lived experience rather than a pedantic narrative of scholarly exploration, capturing similarities, diversities and sociological nuances of media operations in different countries of the world.

Published in 2014 by Corporate Biographers Limited, the book is in three sections A to C, with The Americas having 20 of the 50 masters, while Europe has 19 and Africa and Asia share 11 masters. Nigeria’s newspaper legend Alhaji Babatunde Ajose of the old Daily Times led the pack of masters featured in Section C that comprises Africa/Asia alongside Segun Osoba, Nduka Obaigbena Thisday newspaper), John Momoh (Channels TV), Dele Olojede, Bayo Onanuga (The News magazine), Joseph Odindo (Nation Media Group, Kenya), Ferial Haffajee (Mail & Guardian South Africa among others.

From The Americas and Europe Sections A and B are masters such as Michael Goodwin (New York Daily News), Jill Abramson (New York Times), Chris Cramer (former President CNN), Alan Rusbridger (The Guardian UK), Robert Thomson (The Times UK), Victor de la Serna (El Mundo, Spain) and Alan Johnston (BBC Correspondent).

On the challenges of being editor of Daily Times at the era of Nigeria attaining independence, Alhaji Jose said: “We published a paper that was trusted by the readers. To be trusted you have to show the integrity of a leader. The people knew that I had no political ambition. I had access and was consulted by highly placed government functionaries, prime ministers, presidents. So they know that whatever we did, it was not because I am a Yoruba man. They had seen the paper openly attacking Chief Obafemi Awolowo-the leader of the Yorubas.”

But given the content of the book, it can be described as the ‘most encyclopedic book on global journalism.’ It ranks among publications such as Martin Walker’s 1982 award winning book, Powers of the press: The World’s Great Newspapers. Apart from that, one unique character of the book is that it presents the journalistic views of the world editors in their own words.

Again, the public presentation of the book at the Nigerian Institute of International Affairs, Victoria Island, Lagos on September 15 was more than a launch. It brought together veterans in the industry to celebrate a worthy product, an effort that would gladden the heart of the late Igwe in great beyond. However, some oversights were noticed in the compilations. For instance, the retaining of late Dimgba Igwe’s email and telephone number suggests the book had gone to press with all the information before the death of Igwe. But, classifying Gillian Tett (Financial Times, USA) under Europe is an avoidable error of proof reading. If charity, they say, begins at home, 11 masters interviewed in Africa/Asia combined is an under-representation by the book, especially when considered against the conditions under which these media operate. Or is it a case of get one, you get all? Nigeria and indeed Africa deserves more representations in the book.

Notwithstanding, the book is a legacy of a sort for the media industry, which makes it a must read for all-students of journalism, politicians and other professionals. 50 World Editors is a well-packaged book with clean quality prints and is a collector’s item any day. It will be useful for researchers, media operators and practicing journalists irrespective of generation or region of practice.

October 28, 2015
‘I’m at home with portraitures’

At any time you encounter a two-year-old baby you will appreciate his innocence. The expression on his face will also tell if he is anxious, happy or sad unlike adult who will pretend. These are among features that attract young Nigerian artist Oluwaseyi Gbadebo to produce many portraitures and paintings of children and pet faces.

Gbadebo’s solo art exhibition, Synonyms opened last Saturday at Quintessence Gallery, Lekki Lagos is showcasing these similarities between the traits of a child and that of a pet, especially the expression on their faces. No fewer than 25 paintings will be exhibited and will include bold images of children between ages one and 10 as well as pets. The artist who trained at the Ladoke Akintola University of Technology, Ogbomosho, uses palette knife to splash vibrant colours on canvas thereby creating images that are almost jumping out of the canvas space. His colour application is one tool with which he conveys his emotions in a near impressionistic manner.

“I love children and the joy on people’s faces lures me to do portraits. I am more of a portrait artist though I am still evolving and I will dig deep portraiture. In fact, capturing the likeness of a mortal being on canvas is like immortalising him because after his death, the artwork will remain,” he said at a preview session.

Gbadebo who is shortlisted among the finalists in this year’s LIMCAF in Enugu, recalled that he got engulfed by portraiture after overcoming some challenges in portraiture class in his 300 level programme at the university.

Gbadebo said: ”God is the creator of man, woman is his helper and children are his heritage but dog is man’s best friend.” Of Synonyms (a tale of man’s heritage and man’s best friend) and why the focus on children and pet, he said: “The subject of children and dogs has always enthralled me. I’m inspired by their character, the facial expressions they display and how they tend to live in the moment. They don’t remember the past neither are they worried about the future. These values of theirs are beautiful and they inspire me as a person. I noticed that with children and pets (dogs in this context) we tend to be very free as persons. While children seek attention, dogs retain the capacity to read our mood and then act accordingly. I remember Coco (now late), my brother’s Boer bull dog. Whenever I was excited, Coco was excited but whenever I was sad, Coco was silent and she laid low. The Parisian artist, Francoise Nielly, inspires me by her bold and colourful approach to painting, but I find balancing my works in terms of mixture of techniques and use of colour personally suitable.

The aim of this exhibition is to portray the wonder, innocence, self-less nature and beauty of childhood and also the loyalty and beauty of dogs. This exhibition is set to echo the values they stand for and to make society appreciate them more and most importantly to be grateful to God who has planted them in our lives.” The management of Quintessence started working with Gbadebo in 2012 when they noticed the potentials in his paintings and this stimulated the desire to give the emerging artist a solo exhibition.

According to curator of the exhibition, Moses Ohiomokhare, Gbadebo is thrilled by expressions and has found great joy in children and animals. “His style is different from the stylised works that are in the market today. The body of works he has created also tends to show how much he has been influenced by animals in his youth as pets. Dogs are called man’s best friend because of their intelligence, loyalty and devotion and children being innocent and loving beings are best of friends of dogs,” Ohiomokhare said. Synonyms which will run till November 11 will feature works such as Lala, I hear you, George, Lunch time. Others are Rex, Baby’s rage and Max.

October 28, 2015
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.

October 28, 2015
Solutions to marital mistakes

The per cent of marriages that are breaking up is constantly on the rise, experts have said. Moved by this fact, a couple Pastor Ola Adejubee and his wife, Bose, have written a book, 52 marital mistakes and their solution. If you talk about marriage in some places even in the church, you are perceived as old fashioned and outdated. But we bless God because our Maker is the Ancient of Days and His word forever settled. While marriage is God’s ideas from creation, the need to be equipped with the various mistakes and their solutions in Nigeria is imperative for today’s world.

The book provides answers to questions about how to handle teething problems in marriages. As Plutarch says that to make no mistakes is not the power of man but from their errors or mistakes, the wise and good learn wisdom for the future.

The agenda of the book is to learn from many mistakes of others, because no one is an island, it is imperative to learn from others people’s experiences. A husband and wife that do not learn from other people’s blunders are doomed to multiply their own mistakes and prolong their journey to marital fulfillment.

The book was printed by Point Blank Services, Palm grove Estate Shomolu, Lagos in July 2015.

It is a small contribution to marital harmony, the book tries to inspire the need for regular improvements using our trademark mistakes and Solutions approach.

The book is divided into two segments. It starts with women marital and their solutions in Pages 11-122 while men marital mistakes and their solution is in pages 123-230. The praise for this guide book is in its simplicity, good biblical reference, lazed with some measure of graphics to make them memorable and easily understood language.

The book is easy to read. It has good layout and style. The first chapter highlighted the importance of inspiring trust in a man as a help meet for him. It stated that a wife inspiration should be more than our criticism of him. It posited further that for a progressive and peaceful marital life, the need to think about all the areas you have been criticizing him (making his weakness to bring him shame and correct them.

Areas such as refusal to submit to your husbands, not knowing your identity to positively use your influence, regularly failing the test of humility, choosing friends with total disregard for biblical standard, negative and undue comparison of your husband with others, being negligence of the need of your husband in the bedroom are among the 26 marital mistakes. Each sessions has practical examples and sometimes stories and quote from renown couples which makes the piece a valuable asset for its readers are unscripted to keep the reader inform while lighting the mood of the readers with graphics.

Also for men, some of the marital mistakes are ignorance of the natural difference between the man and the woman,failing to accommodate the woman, not to know that submission is mutual, failing to understand the potency of maturity in marriage, ignorance of damages of ineffective

communication ignorance of the power of trust and refusal to lead are among the 26 marital mistakes and their solutions written in the book.The book highlighted some of these mistakes with tips in each of the session on how to overcome those mistakes. The book is out to inspire hope and mend broken walls in marriages. Every Christian either as single or married should have a copy as it is a guide for a life long of marriage life without stress.

It is a model of solutions packaged to serve as a relive to many who are facing one challenge or other in their marriage. Women too, may become complacent in appearance- and refuse to embrace new things. Crises must show up at some point in the marriage, how do you handle it as a man? On why the choice of the word 52 marital mistakes and solution, the writers noted that it has become a brand title for the couple as they have a few books written by the writers with the word 52 amonh which are: 52 ministry mistakes and their solutions, 52 money mistakes and their solutions.

October 28, 2015
Arthouse holds auction November 2

Arthouse Contemporary will hold the fifteenth edition of its auction of Modern and Contemporary Art on Monday, November 2, by 6 pm at the Wheatbaker Hotel in Lagos. Arthouse Contemporary is sponsored by The Wheatbaker Hotel.

Founded in 2007, Arthouse Contemporary is an international auction house that focuses on modern and contemporary art from West Africa. With auctions held twice a year in Lagos, Arthouse Contemporary aims to create awareness of the scope of contemporary art in the region, encourage international recognition towards its talented artists, and strengthen the economy of its art market. As West Africa’s premier auction house, Arthouse Contemporary has sold over 1,100 pieces of art worth nearly eight million dollars over the past seven years.

As contemporary African art moves to become one of the fastest growing global art markets, this edition of the auction will feature both master works from the modern period and cutting-edge contemporary art from the region’s most celebrated artists. This edition of the auction will feature 103 lots, with new artists being featured for the first time including Timothy Adebanjo Fasuyi, Angela Isiuwe, Obiora Anidi, Chibuike Uzoma, Jimmy Nwanne, Johnson Uwadinma, Cheri Samba, Georgina Beier and Toyin Loye.

The auction will also include charity lots from notable artists Rom Isichei, Isaac Emokpae, Sade Thompson, Olu Ajayi and Gbenga Offo, in support of Arthouse Foundation, a non-profit residency based programme that provides a platform for artists to expand their practice and experiment with new art forms and ideas. The proceeds of these charity lots will go directly to support Arthouse Foundation’s acquisition of a permanent venue for its studio residencies. The Arthouse Foundation has inaugurated its first year with our first artist in residence, Victor Ekpuk, who is completing a four month residency in Lagos.

Works will be on display at the Wheatbaker Hotel for viewing in anticipation of the auction, on Saturday, October 31, by 11am-4pm, Sunday November 1, 12-6pm, and Monday, November 210am-1pm. The auction will be led by noted auctioneer John Dabney.

October 28, 2015
True Worship Heritage unveils ‘Music on Mission’

Music, when used properly, directed and sent on a mission, can repel demons, calm frayed nerves, open visions and inspire the soul.

This was the position of the Senior Pastor of the Dominion Heights Christian Mission International and Coordinator of the True Worship Heritage, Pastor MacPaul Ifeanyichukwu Okolo.

He spoke at the unveiling of the group’s album titled: 80 New and Holy Songs which on the church premises on Abeokuta Street, Idimu, Lagos.

According to Okolo, the album is different as the songs were released for a particular purpose – to give God the true worship he deserves – and in accordance to the instructions given by the Holy Spirit.

“It is a holy enterprise and, as such, patterns may not agree with what is commonly practised.”

Pastor Okolo likened music to fire, which has positive and negative attributes. He said as fire produces light, music can also produce light or darkness. “Music is like fire; as fire produces light or smoke, so music can produce light or darkness. Music travels fast and nothing restricts it from filling your heart. If well directed and sent on mission, it can fire the human spirit.

“Fire cooks our food, fires a rocket, fires a train’s engine, but when not guided, it can destroy. Music when used properly, directed and sent on a mission, can repel demons, calm frail nerves, open visions (as in Elisha’s case) and inspire the soul – the only way known to man to fire the spirit,” he said.

October 28, 2015
National Troupe dazzles as University of Ilorin turns 40

It was a moment of celebration for the University of Ilorin as it turned 40. On hand to add glamour to the one-week festivities was the National Troupe of Nigeria which performed at the Multipurpose Hall of the University last week in what was adjudged a glorious moment both for the university and members of the Troupe. Edozie Udeze who witnessed the event, reports

The atmosphere was agog with excitement as the crowd surged into the hall. When it was time for the show to begin, there were many people who could not hold back their joy and enthusiasm to be part of the euphoria. This was last week when the first event to kick-start the University of Ilorin 40th anniversary celebrations started. The venue was the imposing new Multipurpose Hall of the university.

In the beginning, the National Troupe of Nigeria and the National Troupe of Ghana were billed to perform to usher in the one-week event. However, when the programme was later altered, the National Troupe of Nigeria was given the go-ahead to showcase its own series of dances to pave way for other events. The show however seemed to serve as an eye-opener as the 2,000 capacity hall was filled to the brim. And the National Troupe dancers were equal to the task. As the talking drummer appeared on stage to herald the performances, the crowd cheered and jeered, giving him rousing acclaim.

The drums beat to the rhythmic tempo of the moment, telling the audience to get ready for the real dances. The dances were arranged to suit the spur of the moment. Titled Iba – homage, the dances came in three stages, anchored around the traditional dances of the three major tribes in Nigeria. Although Iba was done and produced a few years ago, Akin Adejuwon, the Artistic Director of the Troupe said it was performed for the purpose of re-echoing change in the society.

With the sudden appearance of the priestess of Yemoja in glittering and shimmering white costumes, it was indeed time to look at the peculiarity of the roles of the gods and goddesses that have been holding forte for the society over the years. Played by Ayo Ewebiyi, a renowned artiste, singer and chanter, she tried to appease the traditional deities in order to register for peace and change amid suffering and hardship.

It was when the other dancers joined on stage that the crowd went wild with ecstasy. The dance patterns did not only synchronize, it was time to use the symbol of white costumes to curry for purity. And since the gods in the persons of Yemoja, Obatala, Sango and Orunmila were meant to liberate the people from the clutches of undue impediment, the sequences of the dances were used to register the message in the minds of the people. From stage to stage, from phase one to phase two, the instruments sounded clearly for the dancers to stampede problems out of the lives of the people. And then Ewebiyi’s voice rose to a mad frenzy, pitching high into the hall. She was troubled in the spirit, begging and cajoling that the gods and goddesses square themselves up for this much orchestrated change.

Yet the dances did not stop there. When the war dance of the Ohawfia people of Abia State took the stage, the stampeding feet of the warriors immediately changed and charged the rhythm of the renditions. The war dance was both for peace and liberation. How can the people wriggle themselves free from the socio-political issues at hand? Who can be there to rescue them when their enemies come charging at their door steps?

But Arnold Udoka, who choreographed the show opined that it was time to pay homage to the ancestral spirits; time to ask them to come to the aid of the people. For this, a cock was used to appease the land and ensure that success and progress became the lot of everybody. “As we transit to the other level, we have to call on the powers that be to accept what we have to offer to them,” Udoka, the director of dance of the Troupe, explained.

This dance was always used to test the prowess of the youths and their readiness to wrestle power from their enemies. The strength of the dance, the heavy percussive nature of the drums and other local instruments used to celebrate it, all pointed to the fact that this was not for the lazy youths in the community. As their whole bodies shook to the sounds of the drums, their eyes and attention were promptly focused on the need to give psychological succor to the people. The dance steps were forceful and urgent, signaling an era when people have to be on their toes for concerted change, the type of change that must permeate the inner psyche of everyone.

The last dance showed moments of transition, moments of healing, deep-rooted and evocative healing meant to encourage both the leader and the led to sit up or be swept away by this momentous urgency. As the crowd screamed for more, the farmers who tried to outsmart one another in their dance patterns, displayed the type of acrimony that often play itself out in most communities.

Here, it was Dayo Liadi of the Olorioko fame who played into the hands of his foes. They hounded him and soon he succumbed to their whims and caprices. Having been carried off the stage, it was time to give him his strength and courage and healing back. A sorcerer was sought, a very potent and powerful one who immediately began to invoke her inner power. A moment of struggle ensued between her and Liadi who now was not in control of his own senses.

But a clear and long-lasting healing must be accomplished if there was to be peace and harmony in the land. To this end, Adejuwon said: “Yes, this dance shows the processes of healing in the country. The processes seem to be slow, but you can see that the moment of change is here. President Muhammadu Buhari is for change and that dance shows that after much hatred and backbiting, change becomes the answer; the ultimate for everyone.”

And so, it was truly time for change. People who lost their values; who thought that their whole essences in life had been totally debased were restored to life. Vou Bala who played the role of a sorcerer is widely known for her full interpretation of this message. A widely travelled artiste, Bala came in from Jos, Plateau State, to give that role its maximum touch. Bala bestrode the stage like an unseen spirit. Her presence indeed filled a lot of people with awe. For here was an actress who could not hide her natural penchant to infect people with her stage mesmerisation. Hers was a role that stirred people into unbridled consciousness, a resonating fact that theatre or dance is for change. Indeed, it showed that dance is a potent vehicle for meaningful and progressive nuances in the society.

Professor Gabriel Olatunji, the deputy vice-chancellor in-charge of research who stood in for the Vice-chancellor of the University, Professor Abdul-Ganiyu Ambali told guests that it was time to use the occasion of the double celebrations to bring out the best in the university. He said; “the National Troupe has both national and international status as they usually showcase the best for the country. You will never regret you came here to watch them give you series of the traditions of the people in form of dances. Indeed this evening is important to the university community, for it is a rare occasion for us all to see these stimulating dances anchored on the Nigerian people.”

The crowd equally reciprocated, for even when the occasion began later than the scheduled time, people still waited. And it was time to savour the aura and profundity of the dances, the crowd showed their full appreciation and gratitude. They acknowledged the fact that this is an era of change. Ismaila, a 200 level student of the university who said he just strolled in to watch the show, said “oh, for me, each dance here was Nigerian. They all showed how we can use culture to preach love, togetherness and unity. You could see how the people reacted to every movement the artistes made on stage. I was so thrilled I even forgot it was getting late to go back to town.”

Thanking both the university and the National Troupe for the rare privilege to see some of the big artistes live on stage, Osondu, a first year student of the school opined that dance has been a better tool for national consciousness and cohesion. “You could see the crowd of people that turned up for this. It was unprecedented and that shows that we can always use what we have as our traditions and customs to cement love.”

In it all, the National Troupe artistes proved that they are truly national; ever ready to exploit and explore the myriad of Nigerian cultures. With the assortment of costumes assembled and put to use by Winifred Akunne, no one was finally left in doubt whether the Troupe has everything going for it. The costumes did not only bring out the scenes properly with well-orchestrated stage directing and lighting, they all highlighted the real epitome of theatre.

October 25, 2015
Wewe exhibits in Paris

Ola Wewe is no doubt a pioneer of his style of painting which he never fails to credit to Ona symbols of the Yoruba culture. This he said remains his main source of inspiration, and his themes dwell on the traditional myths of his native Yoruba culture.

Wewe’s style stands him out. You can easily identify his piece at a first glance. The renowned artist who sees himself more as a witness than an author said “communicating with the spirits of the ancestors, and drawing out the invisible spirits, the anjonnu, emere and the ebora, who make the artworks. I am the vehicle, and they are the drivers. We go on these strange journeys to the most remote ends of imaginative experience.”

His works are widely acclaimed and accepted both in Europe and America for their originality, simplicity, surface texture and mastery of colours. His work is a mixture of African and Western sensibilities and images, reflecting his own training and experience as an international artist. His work, bold of classification, silently grows on viewers, blending with their moods, simultaneously taking their minds to strange and familiar colourful places full of false nostalgia.

Due to his unique style, the Galerie Duvivier, Paris, France, will present his works to the Paris audience and art collectors for twelve days. The exhibition entitled Tola Wewe, will open for public viewing on Tuesday, November 24, and runs until Saturday, December 5, 2015. Wewe revealed that the exhibition will feature twenty three pieces of his recent paintings and terracotta works.

In his paintings, Wewe draws the audience into a personal exploration of his playful and dynamic energy. Executed in a style rich with abstract expressionism and action painting, his works are characterised by spontaneous and confident brush strokes. And inspired by his heritage, the riot of colours, personal symbols and African textile prints all serve to infuse his canvases with vibrancy. His work explores both themes from the perspective of the observer, inviting the audience to position themselves in the stunning scenery.

The organisers of his upcoming international exhibition said they are pleased to present Tola Wewe in Paris. “We are showing Wewe for his diversities of styles,” said the exhibition curator, Ms Bose Fagbemi who has curated other international shows. She continued: “As distinct from being an African artist from Nigeria, which is left for the viewers to analyse.”

The gallery which was founded in 1945 is located in the heart of Neuilly-sur-Seine, Paris, France.

Wewe is from Ondo State and was born in 1959. He trained and graduated with a degree in Fine Arts from the University of Ife, Osun State in 1983. He then went on to obtain a Masters degree in African Visual Arts from the University of Ibadan, Oyo State in 1986. He worked as a cartoonist before becoming a full time studio artist in 1991.

He is also a founding member of Ona movement, which emerged in February 1989. The movement is a group of scholars, critics and practicing artists committed to pursuing artistic excellence through the adaptation and interpretation of traditional materials and methods, forms and styles of contemporary Yoruba art and design. He has participated in various group shows locally and internationally, as well as many solo exhibitions.

October 25, 2015
Power of written words

Two books written by Victoria Praise Abraham were launched last week at the Terra Culture in Lagos. The books titled, “The Tiny Big First Step and 100 Life’s little Lessons were reviewed by Kingsley Opia Enwemuche and Simbo Olorunfemi.

Excerpts from the books were taken by Victor Olojo and Funke Treasure Durodola. The subtle messages being passed across to the reader were motivational and inspirational. The focus encouraged readers to make bold steps in life, achieve so much against the many odds as well as avoid procrastinating what can be done today.

Using simple language and an insightful approach, the writer introduces the first book, “The tiny big first step with her personal story of how she had so far overcome procrastination by taking big first steps over the last few years. The author goes further to highlight procrastination scenarios that almost all of us find ourselves in our daily routine. “Procrastination is within us and around us on a daily basis”, she says.

Victoria adds creativity to the book in Chapter 2 with a short drama on procrastination written by Oluwatobilola Obaromi. The short drama further drives home the central focus and message of the book. Chapter three on the other hand provides the readers with a mirror wherein they can see themselves while in chapter 5 she takes you through the experiences of 20 people with diverse backgrounds on the issue.

In the second book, 100 Life’s little lessons, the content is as simple as it sounds. Here she shares with the reader the pillars of a meaningful life as handy nuggets which we can easily run with. Here she gently lets you into her world, the challenges she has been confronted with and the heroic solutions and actions that helped in tackling them.

Guests present at the launch included Bolanle Austen Peters, Ayo Awe Daniels Yinka Ogunde, Pastor Dipo Ojutiku, Ikechi Odigbo and Pastor Inkky Olayiwole.

October 25, 2015