The Nation Newspaper

Category: Arts & Life

  • Contemporaries opens at Wheatbaker

    Contemporaries opens 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, last Monday, October 12. 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.

     

    Taiye Idahor’s intricate collage and pencil drawings called hairvolution weave a story of feminism and identity, complementing the works of fashion designer turned full time studio artist, Anthea Epelle, whose heavily patterned and textured canvases draw inspiration from the rich legacy of African cloth. On the other hand Duke Asidere’s deft play on red reflects the growing power of new technology in Freedom & Liberty, which grew out of the artist’s focus on the importance of protecting people’s fundamental right to think and explore, complementing emerging artist Adeyinka Akingbade monochromatic compositions, which appear a visual meeting point between eastern and western symbolism and calligraphy.

    “All these stirring works are a powerful mosaic of avant garde contemporary African expression,” concludes Mosun Ogunbanjo, Wheatbaker Director whose architectural and design legacy helped shape the hotel’s art focus. “The Contemporaries reflects the raw creative energy and opinions of a vibrant country with all its contradictions and potential.”

     

     

  • Exposing the tricks in politics

    Exposing the tricks in politics

    In this book, the author took excursion into the chequered history of Nigeria right from 1914 Amalgamation of the Northern and Southern Protectorates and Lagos Colony into a geographical expression called Nigeria. The country became a conglomeration of people from diverse cultures and orientations, customs and traditions, religions and world outlook.

    Incidentally, the features of ethnic and cultural contradictions rather than become a source of strength and unity seem to have become Nigeria’s albatross as it is still grappling with the problem of nationhood after over 100 years of the amalgamation.  And to address the attendant uneven power equation and distribution inherent in the system which had created tension and fear of domination by any particular group, some phrases had been coined.

    Ozekhome borrowed the title of the book from one of such coinages by Dr. K.O. Mbadiwe, the most grandiloquent politician of the Second Republic who used the term, Zoning To Unzone, in his National Party of Nigeria to address the vexed issue of zoning the presidency in Nigeria as a recipe to douse the fear of the minority groups or a section of the country to lord it over other parts.

    In the book, Ozekhome synthesises the arguments generated by both protagonists and antagonists of zoning, exploring the perspectives of law and national history. He examines the issues of the Fiscal Federalism, Federal Character and the intense competition for power, resource control and derivation by different ethnic nationalities. He also discusses the vexed issues of rotational presidency and devolution of power.

    Ozekhome posits that the continuous controversy generated about zoning is simply a ploy by the political elite to partition the country into fiefdoms and share her booty; that it is all about sharing the national cake, not bothering about baking it.

    The book throws light into the reason zoning had been fervently canvassed and advocated to be the core of political scheme of things in the country, highlighting the remote and immediate causes of the great debate.  The legal luminary writes that while it seems logical to conclude that zoning has been muted by political actors and which was to be in a continual state of political evolution in Nigeria, the word did not come into prominent usage until the death of President Umaru Yar’Adua.  Ozekhome observes that after his death “Political Samurais unsheathed their swords, whipping up ethnic, sectional and regional sentiments to create an atmosphere of political uncertainty while gleefully riding on the word ‘zoning’.”

    Ozekhome warns that the way and manner the concept is used or rather misused has the tendency of creating situations capable of cataclysmic effects thereby leaving the polity at the mercy of regressive forces.

    Of particular interest is the Chapter Four in which he critically examined and analysed the link between Boko Haram terrorism that has been ravaging the North East Nigeria and the politics of zoning.

    Ozekhome points the way forward.  He submits unequivocally that the assumption that the principle of power rotation and zoning are mutually exclusive is patently fallacious.  He insists that one actually presupposes the other, observing that the thought of giving every citizen and zone a sense of belonging and inclusiveness in the government of the country through rotation actually necessitated the concept of zoning.

    He contends that zoning without power rotation is meaningless and irrelevant in the political scheme of things in Nigeria; that zoning standing on its own, is no more than systemic quest to maintain the status quo thereby defeating the actual reason for the evolution of the concept.  He says that even the PDP which saw the wisdom of inserting the word zoning in its constitution never contemplated the subject in isolation of rotation.

    Ozekhome submits that there is no zone in Nigeria that has the exclusive right to access the Presidency of Nigeria to the exclusion of all others.  He argues that though zoning among the six geopolitical zones is not recognised by the 1999 Constitution, the same constitution which allows every Nigerian to aspire to the presidency, does not also state expressly the manner and order it should take.  He contends that the constitution therefore does not prohibit the concept of rotation or principle of zoning, which brings about orderliness and a sense of belonging to and hope by all segments of the society that it would one day be their turn to govern.

     

     

    “This brings about patriotism and a sense of nationalism.  Were we to use majoritorial or numerical strength alone, some of the country would lord it over others for ever, while some other will be perpetually dominated and subjugated,” he says.

    The author concludes by saying that rotational presidency and zoning help to unite the heterogeneous, religious, cultural, linguistic and ethnic diversity of Nigeria that consists of many nationalities.

    He therefore recommends for all Nigerians of whatever gender, religion, language, ethnic group, state in life, circumstances of birth, academic and cultural backgrounds the philosophy of live and let live, and learn the principle of zoning to unzone.

    The book is very relevant in the contemporary politics of Nigeria.  For students, teachers of Nigerian History, Politics and Government, any one aspiring to the leadership of Nigeria and all patriotic Nigerians, Zone To Unzone is a must read.

    The book has the touch of a master. It is written in lucid and easy to understand language which only a person with exceptional communication skills can accomplish. The organisation of facts, printing and layout of the book are superb and done with clinical finesse. All bear the mark of professionalism.

    The book has four postscripts. The first and second deal with the South South Quest for President: The search for Equity, Justice and Fair play and the intrigues that preceded the 2015 General Elections and the limits of President’s power to declare state of emergency.  Postscript four relives the author’s traumatic experience in the hand of kidnappers.

    Chief Ozekhome, a radical lawyer and leading Human Rights Crusader  brought his commitment and dint of hard-work and perseverance to bear in this work.

    The pro-democracy campaigner, public affairs analyst reputed for being the nemesis of many opposing Counsel, Ozekhome, is deep in the knowledge of the Law and procedures and is a flamboyant master of advocacy and researcher who deploys the product of his insatiable appetite for knowledge even in fields outside the Law, to dust formidable opponents in the law courts.

    As a student and lover of philosophy, literature, history and the scriptures, Ozekhome has a way with words and possesses profound oratorical skills which enable him to strike the right chord, while painting mentally-recorded picture with words.

     

     

  • Queen Amina of Zazzau marries theatre, Nollywood

    Queen Amina of Zazzau marries theatre, Nollywood

    The staging of Wale Ogunyemis play Queen Amina of Zazzau at the Sheraton Hotel and Towers, Abuja in November is reminiscent of Hollywood stars vying to perform on Broadway in New York. Tthis

    time it will be Nollywood that will be in wedlock with the Nigerian stage. To take place in two shows in two days on Friday, November 13 and Saturday, November 14 at 4pm and 7pm the announcement of Jumoke Olatubosun as taking the lead role of Queen Amina in the play is already causing a buzz in Nigeria’s entertainment circles. Olatubosun, a star of the stage also has very intimidating credentials in Nollywood, Nigeria’s film industry and the country’s television.

    Nominated for the United Kingdom-based ZAFAA in 2009 as the Best Upcoming Actress for her role in the Nollywood film Greatness, she has had over 30 marvelous stage performances to her credit. Among her television appearances is the soap Band of Five currently showing on ONtv. Others performances include ‘Wetin Dey’ which took television by storm and ‘Nimi’ (in Yoruba) both BBC initiatives. The other films to the credit of the Jos-based Olatubosun are: Sitanda, White Waters, Pensioners, Laviva, Five Apostles, Heart of a Father and Nadia.

    The performance is produced by the indefatigable Patrick-Jude Oteh, the artistic director of the Jos Repertory Theatre (JRT), who said tickets are already on sale and will go on at the door on the day of the performance.

    Last Monday JRT held two other plays at the Lagos Hall, Transcorp Hilton, Abuja with Pedro Antonio De Alarcon’s ‘The Three –Cornered Hat’ as part of the Spanish Week celebration. The other play, ‘Last Stand’ by Sefi Atta, will be staged on Friday, December 4 and Saturday, December 5 at the French Institute, 52,

    Libreville Street, Off Aminu Kano Crescent, Wuse 2, Abuja by 7pm daily. Tickets will be sold at the gate and Oteh promises that the Jos Repertory Theatre will be going the extra mile as is always the case with the group’s performances to not just enlighten and entertain but to also thrill those who find time to attend.

    Jos Repertory Theatre was founded in 1997 as a not-for-profit independent theatre organisation and started full programme implementation in 2000. JRT as the organisation is fondly called does play/poetry readings, production of scripted plays and the creation of theatre-for-development plays.

    It has done very well in the mission of utilising theatre to confront and challenge crucial issues which affect the society with the ultimate aim of educating and entertaining audiences.

    JRT organises the annual Jos Festival of Theatre which has become a nurturing ground for new playwrights, new directors as well as creating an insight into the Nigerian theatre repertory. Featuring plays from the international repertory, new plays as well as landmark Nigerian plays, the festival is currently the only existing private independent theatre festival in Nigeria.

     

  • Amazingly magical

    Amazingly magical

    With the theme Magic, Wura-Natasha Ogunji and Ruby Onyinyechi Amanze, two Nigerian female artists who believe in the same approach, style and form, dazzle with their hybrid of works that cut across continents and locations.  Edozie Udeze who was at the opening ceremony in Lagos, reports on how the magical images of their art works held guests spellbound.

    The theme of the exhibition is amazing, so magical are the works that when most visitors and art lovers who turned up for the opening programme saw some of the art works, they were truly convinced that the theme of the installations was right.  The duo of Wura-Natasha Ogunji and Ruby Onyinyechi Amanze had to brainstorm on the theme and in the end came up with magic.

    But what is Magic?  Why chose magic to portray these array of works when the artists are not magicians or pretend to be wizards?  But the word magic is a derivative of the forms and styles exhibited by these artists who although did not grow up in Nigeria but have their ideas fertilized based on their experiences across different worlds and locations.  This is why most of their works look bizarre, away from the everyday routine already known in the local parlance.

    For them both, the art of visual has no limitation and so it is proper to continue to engage in more new forms and ideas.  In an interview, Ogunji said, “yes, my most recent drawings are inspired by the experience of living in Lagos.  I love those moments of unexpected beauty, humour, quiet stillness and connection that occur amidst all of the action.  The wave signals, those lines that move between the DJ and the Ife head, are about those moments.  They are about the profound beauty that is present in everyday contradictions.  The DJ in the drawings sees those connections.”

    For the few years Ogunji has been in Lagos, she has seen and experienced enough to help her zero down her gaze on the issues that make Lagos the heartbeat of the continent of Africa.  “When you see the world from multiple perceptions, then what?,”  Osuji queried.  “Is there a moment when none of that matters?  When we have to choose a perceptive and live within that?  If we don’t, will we be constantly floating, unmoored, wandering?”

    In one of her works titled three birds, done on thread, ink and graphite trace paper, she portrays a classical lady caught between two worlds.  In her local gele (head-tie) there is an admixture of Western and Yoruba fashions.  While the head-tie is local, her other attires depict a woman in the throes of confusion.  Yet, Ogunji depicts her deep sense of artistic excellence for which she has been known across America where she grew up and Nigeria where she has her roots.

    However, the central theme or if you like features that define most of these works  is peace.  The presence of pidgin or dove, a type of bird that conveys peace shows that both artists are ambassadors of sorts; pidgin conveys a message of purity, of the universality of love and concern for human progress.  The white pidgin symbolizes such and these works go deep into the human consciousness to reignite that interest.

    In her own works, Amanze confirms her true recourse to the deep recesses of colour and different forms of styles.  She said, “I think with some of those earlier drawings, I was developing the language for this current body of work.  The work indeed began in Nigeria and the experience of living there was in many ways a visual overload.  I’ve been able to edit some of that initial language, and part of that choice was getting larger in scale- to allow for more open space.”

    Her ideas and conceptions came to fruition more as she enumerates further: “I recently made a drawing with a lot of white space.  A lot.   And when I finished I had to resist the urge to fill it.  To put something there… to say more.  In my head, it was like who do I think I am?  Isn’t minimalism for white artists?  No.  But I needed the drawing to be as it was.  So I silenced the opposition and left it with what I thought was the perfect amount of space, even if it was a lot.  There is a delicate balancing act that happens in the work.  I see this in Wura’s works too.”  Thus, the theme magic was created; created purposely to unmask these hybrids of thorough experimentations.

    But Amanze did not end there.  Her love for natural beauty explains the profundity of colours and juxtaposition in all their works.  “Beauty is not something either of us can or desire to escape from.  I am not ashamed of that word as it relates to my work.  I am also aware of a large and endless historical conversation around it.  It’s loaded.  It gets into craft, design, the decorative… I’ve been accused of using it as a ploy, that the use of green glitter or gold or iridescent pinks is to catch people’s eyes.”

    Now, Amanze grew up hating the pink colour.  But how come it has now come to be the colour she uses most for which critics often pick holes with her.  “Now, thinking that pink means pretty is far too easy.  That’s not how I see it at all.  The green glitter comes from a story I wrote of these girls who were running together in the woods.  Now, none of that ever matters.   What matters now is that it is never a ploy.”

    And so together these two Nigerian female artists, who were trained both in America and the UK have been brought together by their ardent love for magical things.  Magic is one word that binds them together to have fifteen works that are currently showing at the Omenka Gallery, Lagos.  At the opening ceremony last weekend, it was obvious the works exposed a lot about the human society and what the artists have lived with over the years.  Even though Ogunji worried that the works are too beautiful to portray their core originality, but she concurred that this beauty is also the centre-piece of the works.  “Oh, the story ends there.  It is not that I am trying to imply or impugn one…  I have the desire or talent for that.  It just doesn’t come to the page for me.  I like the beauty of the awkward and almost and the not quite expected.”

    This and more explain the innermost poise of a visual artist.  And this is what these two have brought to bear on these experiments that are not only unique but magical in different forms and methods.

  • Talking about The Fishermen

    Talking about The Fishermen

    A 28year old Nigerian author Chigozie Obioma is among the shortlist for this year’s Booker Prize for Literature. His debut book titled The Fishermen is judged as one of the best books of the Booker Prize list for 2015. In the literary circle Obioma has already been described as another Chinua Achebe in the making.

    Jessica Craig, who started representing Chigozie Obioma in March 2013 and brought him to Pontas as a client says:

    “This has been an unforgettable journey from March 2013 when I first read the first paragraph of The Fishermen in which the mother and father are described as the two ventricles of their boys’ home which would flood with blood if the boys poked them, and I knew from then that my heart would be torn open by this novel and that Chigozie Obioma would prove to be a writer of exceptional insight, imagination, and skill.  I will never forget the first conversation I had about Chigozie’s writing with Elena Lappin, the excitement of when she immediately read the manuscript and her first words when she called me were “Bull’s eye!”. And even though she and Adam Freudenheim were just starting the ONE imprint, I knew they would publish The Fishermen with all the passion, care, and vision that is essential for launching a serious new writer into the world.  I will never forget the excitement during the London Book Fair 2014 when the manuscript was ready to be shown to international editors and on the first day of the fair the North American rights were sold to Little, Brown and French rights to Editions de l’Olivier and German, Brazilian, and Italian editors were falling in love with the novel too. And today it is undeniable that Chigozie Obioma has emerged as one of the most formidably talented authors of his generation. All of us at Pontas are proud to represent him and overjoyed to celebrate this momentous achievement and many more with him.”

    The six names were announced during the week by chair of judges Michael Wood at a press conference at the offices of sponsor Man Group in the UK.

    Marlon James becomes the first Jamaican-born author to be shortlisted, while Chigozie Obioma is the third Nigerian to be nominated, after Ben Okri (The Famished Road, 1991) and Chinua Achebe (Anthills of the Savannah, 1987). One former nominee, Tom McCarthy, makes the list.

    The 2015 winner will be announced on Tuesday, 13 October, in London.First awarded in 1969, the Man Booker Prize was traditionally open to authors from the United Kingdom, the Republic of Ireland, the Commonwealth, and Zimbabwe. However, in September 2013 it was announced that the 2014 edition of the prize would be open to American writers for the first time.

    There were just two Africans out of the 13 authors on the longlist this year: Obioma, for The Fishermen, and Laila Lalami, for The Moor’s Account. Lalami was, however, identified as a United States national by the Prize, although she was born in Morocco.

  • Audition with a difference

    Audition with a difference

    James Johnson is one of the best-known American playwrights whose works pay closer attention to socio-political problems of the society.  His play Audition, was staged in Lagos penultimate weekend to highlight the contradictions in the early times of most celebrities and movie stars in the society.  The play was created to give insight into what most artistes suffer or go through before they finally make it either in Hollywood or Broad Street or in Oscars.

    A two-man act, the play opened with the established female artiste already bored with waiting and trying to see who would come around for the audition.  Sprawling carelessly in her office settee with a stick of cigarette dangling in-between her fingers, she was in no mood to tolerate lazy artistes who felt they could just stroll into her office to become stars.  “Stars are made after series of trials and tests,” she told the only artiste that bothered to turn up.  This was after she had ignored her presence and all the entreaties she made to draw her attention to her.  But then, when she began to put her through series of rehearsals and trials and training, it was tough; the young artiste didn’t seem to be the right person.

    “You are nervous,” she told her.  “And when you are nervous, it is difficult to prove a point.”  “I am not nervous; you are the one trying to make me look nervous,” she returned.  To her utter surprise, her new boss was a Lesbian, which to her was absurd.  Then when she tried to kiss her she insisted on knowing why she had grown into such a monster.  But then, with time, she again introduced her to drugs.  So on and on, the play began to unmask the type of life these people live and how a correct audition is made in the movie industry.  The two artistes, Lorraine and Stella of the University of Ibadan were able to dazzle the audience for more than one hour, going through different auditioning stages and what they mean to artistes.

    On stage, they added elements of satire and absurdity in order to register the central message of the play.  The director of the play Abiodun Akinsekun explained the reason why he chose the play this way: “Johnson is an American playwright who has so many other works.  However, I stumbled on this one when I was doing research for my masters degree programme in Theatre.  And when I read about some issues about the play, I discovered how topical and thematic it is.  This was how I became interested and decided to produce it for the stage.”

    The issues and the themes raised in the play could as well happen here in Nigeria.  “You see, the life of an artiste, the sort of things they see and encounter all over the world, can often mean the same.  It is an industry where only the practitioners can easily see, feel and explain what they encounter.  But this particular incident as it is, I think it happened somewhere in the world,” Akinsekun said.

    However, most of the incidents did not quite happen in one audition.  It is not possible but what the playwright is saying is that these things happen and that the artistes live with it.”  In it all, it shows determination, the zeal to succeed not only on the part of the younger artiste, but the older one who has assumed larger than life image.  It talks about creativity, dexterity and some of these things thrive all over the world.  And therefore the Audition play is for this season in the world when many people are being pushed into the world.  And while you are being pushed and being traumatized, how do you react, what do you say to it all?”

    The play also addresses the problem of joblessness and how young minds daily face the rigours of Nollywood and the profession itself.  “Often, they feel frustrated.  But it is good because it helps you to discover what you can do to prove your mettle.  So, if you discover those positive things, they help you to build on your talents.  So, it is a mirror with which you look into the struggling characteristics of a typical star who has risen to the pinnacle of his profession.”

    “Mostly in the theatre world, you have to compromise certain principles to be where you want to be.  I do not think many of them still see those things as absurd or strange any more.  Some of the things they do, have come to form part of who they are and what they do to make their profession what it is today.”

    Even though some directors and producers are making it right, that does not still remove the fact that these issues happen.  “But with the emergence of the film industry, if you do not play along or comply, then you do not have a role.  You do dupe, you can be made to be a Lesbian and all sorts of rubbish to be able to belong.  Some would tell you if you do not want to be a Lesbian, you can’t have it.  People don’t talk about it like Stella said on stage.

    In trying to make you conform, teach you to do the job well, there are processes of compromise and this was what Stella tried to instill on stage.  You could see all sorts of problems, like child abuse, sexual harassment and smoking and doing drugs as parts of the issues that trouble the sector.  But the two artistes demonstrated outstanding performances that also kept some members of the audience wondering if this sort of audition truly happens.  And if it does, can it happen in Nigeria or has it been happening in the theatre and movie sectors in Nigeria?  These are issues begging for answer and agitating the minds of theatre enthusiasts and buffs at the moment.

  • Rom displays new medium

    Rom displays new medium

    Outstanding is the word that best describes Rom Isichei’s works on display at the National Museum Onikun, Lagos. The show titled: Someday is Today features drawings, metal constructions, collages, installations and assemblages, captures and explores the impacts of the social media in our society today.

    As usual, Isichei did not disappoint his viewers; he surprised many with his knew creations. This is the best thing that’s ever happened to art in Nigeria. He cleverly delivered his deeper message with WeChat as WeDine, Put on a Happy Face, Tweeting with a-tongue-in-cheek Poise, Twitterpated, the Geek and the technophobe, which buttressed some of the menaces happening on the internet.

    “The tempo of the modern life increases almost at the same speed as the growth of new technology, and this is a human process that we are grappling with as we evolve. This human process is synonymous with the process of making, which is fundamental to my studio practice,” he stated.

    In this show, the images are compelling, the messages make you question what the future holds for the next generation.  “Have an affair…borrows from the slogan of an art in the open, but shrouded in secrecy social-networking-service site. Whereas this online dating site promotes extramarital relationship, the figure in my composition bang the drum to maxim that ‘tomorrow is not promised, the past cannot be changed, let’s extol the present.’ They enact a consuming relationship with social media, alluding to the fugitive nature of fashion trends and its illusory boundaries of fantasy, concealment and pretence, as well as comments on the transitory codes of new culture.”

    Isichei’s ability to achieve his inward view by balancing it with realistic technique on the canvas and boards is a true ambition that triggers and to let us know where we are today. “Digital technology as subsumed in the mass media is one of the many compelling evidences of our conquest over subjugation and dictatorship.” He delivered pictorial expression exploring concepts that lie beyond the reach of spoken words or our ready comprehension.

    While viewing the works, one is led into thinking what audience the artists had in mind when he was putting the works together for the show. You could see that the artist had backed off a bit from his usual style which people are familiar with. He dares to create something that might not be accepted here  but would be embraced by the international community as his narrative is universal in scope. The artist’s inner view leads you to the realisation that the contemporary families live, dine and wine on the internet. “Are we really matching forward or gyrating in circle?” he asked, “these conflicting thoughts necessitate the compositional framework for this exhibition; they evolved from asking these questions and many unspoken questions.”

    The mastering of colours in the painting is unique and the monochrome paintings are captivating as well as inspiring. The works are mind-blowing. The exhibition runs till Friday, October 16.

  • Before the bulldozer roars

    Before the bulldozer roars

    About seven villages in Ogun State are nursing the fear of being reduced to rubles as the state government has given them seven days quit notice. After the expiration of the notice, the villagers are pleading for mercy. Taiwo Abiodun visited the communities and reports.

    Ogun Sate the residents have embarked a diet of fasting and praying to let the cup pass over them. Christians among them have resorted going to churches while Moslems frequent the mosques praying to avert the impending doom. They have been sleeping with one eye open.

    The affected communities are Coker, Tigbo – Ilu, Igbusi,  Orogan, Fagbayi , Ajibode and Tigbo villages. The Ogun State government alleged that the communities have encroached on Coker Agric Settlement. A letter from the Urban and Regional Planning Board with reference number MUPPETS/ URPB/DEM/ 09/2015 reads, “Reminder: Quit / Demolition Notice”, the letter asked the occupants of the  illegal buildings erected on the farm to quit as they had been marked for demolition. Seven days quit notice was given while at the end of seven days the bulldozer would bare its fangs and roar.

    Since September last month, over 2,000 of completed and uncompleted buildings had been marked with red ink for demolition, while owners of these buildings are now pleading with the Ogun State government to temper justice with mercy and not pull down their buildings.

    According to Adetunji Odunlami, the chairman of Ope Oluwa Estate in one of the villages, ” for the past three weeks the Urban and Regional Planning  Board of Ogun State have been pasting notice of demolition on both completed and uncompleted  buildings . The residents of these communities are over 20,000 people and if their houses are pulled down they will find nowhere to go.” He added, “We are ready to pay ratification fee if the government asked us to.”

    Oladele Aiyelokun said about four people have died as a result of the shock when they heard this news while two people fainted when they saw the government officials pasting the quit and demolition notices.  “We have suffered enough in the hands of the government who once pulled them down in 2009 and in the hands of land speculators or land grabbers and we are pleading with Governor Ibikunle Amosun to temper justice with mercy,” he pleaded.

    The villages

    Going though the land one could see buildings of different shapes and sizes from one room to flats and bungalows. There are also hospitals and clinics, markets and a government owned school;  Igbusi Community Primary School owned by the Ifo  Local Government. There are also secondary schools, hotels and so many others buildings, it has in a nutshell metamorphosed to into towns. Some of the areas have electric power supply with roads built through communal efforts.

     Prophet Adeyinka Oluwaseun said ” some men of God came with me from Lagos to establish a church  here  and when I heard the news few years ago that the communities had been given clean bill of health I was happy not knowing that I would be hearing another sad news,” he said amidst tears.

    Don’t blame us

    According to some of the residents and owners of the buildings among who were armed with their Certificate of Occupancy (C of O), survey building plan papers and Community Development Area (CDA) Registration certificates issued to them by the Ogun State Government and Ifo Local government. The occupants of these buildings said the family and village heads convinced them by showing them approval letter that the state government has released these lands for them. “We were shown these letters and the signature of the official of the state governments that the land had been released for the communities. Akpan Joseph said he is an electrical engineer and couldn’t have bought a piece of land without a proof from the land owners who even showed him papers that the land had been released by the government. He said, “I was here the first time this place was demolished but later they showed us the papers the state government had released the land for them so I came back to rebuild my house.”

    Armed with different types of receipts some of the owners of these buildings  said the self acclaimed land owners said the land belongs to their forefathers  and that the state government has released some parts to them, but did not tell us where the land ends or the  demarcation.”Many of us were driven from Lagos areas due to Shylock landlords who increased their rent arbitrarily. Most of those living here are poor, while some are civil servants, others come from nearby towns.”

    Letter from Bureau of Lands

    Almost all the affected people had photocopies of a letter from the Governor’s Office , and brandishing a letter dated 3rd August, 2010  from Bureau of Lands and Survey , Office of the Governor , Oke Ilewo , Abeokuta, Ogun State of Nigeria and signed by Surv. Gbenga Ogunnoiki with the title ‘Approval for  release of lands and excised villages from Coker settlement agricultural acquisitions in Ifo Local Government Area, Ogun State’ which  reads, “Pursuance to your joint passionate plea for excision of your seven villages / towns  namely Coker, Tigbo – Ilu, Igbusi, Orogan, Fagbayi , Ajibode, and Tigbo and release of lands for future expansion of the villages that the Ogun State government has approved  the release of lands and excised villages / towns from the acquisition. I am glad to convey to you all, approval of His Excellency  the Governor of Ogun State, Otunba Gbenga Daniel to excise all the above named villages and towns from the Coker  Farm Settlement acquisition after the consideration of your appeal.

    “It is expedient to inform you that details of the released lands as it affect each of the excised village or town will be communicated to you in due course as soon as government surveyors conclude the survey works of the released lands

    Thank you.

    Signed by Surv.Gbenga Ogunnoiki

    (Director General ( Lands).

    With this letter the village heads and land agents swooped into these areas and started selling lands.

    To the chagrin of many, members of the community were shocked when a Commission was set up by the Ogun State Governor Senator Ibikunle Amosun and a White Paper Report on the second and Final Report of Ogun State Judicial Commission of enquiry on land (2004-2011) nullified this letter and accused Ogunnoiki of not either doing proper investigation or research but hurriedly approved the excised land.

    Part of the contents said ” the last administration , particularly Surveyor Gbenga Ogunnoiki, who was the architect of the release, either acted negligently  or was motivated by insincere reasons in decide info and recommending that the seven villages existed WITHIN the Coker Farm Settlement acquisition and thus proceeding on that basis, to excise and release the land to them when in fact, this is not so. A simple reference to original Survey Plan of the Acquisition in the custody  of the Bureau of Lands and Survey headed by Surveyor Ogunnoiki himself , coupled with a mere visit to the locus would have enabled the government to find out the truth and avoid this grievous blunder.”

      Aside this, the Commission among her recommendations is that the last administration’s decision should be cancelled,” the Commission considers the decision of the last administration to release or excise land from Coker Farm Settlement to the land from Coker Settlement to the named communities, to have been completely ill- informed  and misguided. As a result, the Commission recommends that the decision be cancelled or reversed FORTHWITH in the public interest.”

    Now armed with letter of demolition, the villagers are crying out and begging the state government not to let the bulldozer roar as most of them have spent their life earned money, some used their pensions, some borrowed money to erect structures to keep their heads.”We relied on what the past government ( Otunba Daniel ) gave us and the land itself has become  infertile for crops said Bishop Zachaeus Adebayo.

    Payments into Ogun State coffer

    The questions on everybody’s lips are ‘ When the place is illegal why is the government still collecting fees from Certificate of Occupancy ( C of O), approval of Plan, CDA’s registration fee, HOS fee and other fees from people living in these communities? Who are the officials signing these papers and receiving and acknowledging their receipts on behalf of the state government? And will the same state  government who knew they were on illegal land go ahead and approve the C of Os and building plans signed and stamped when they know it is not genuine? Is there any foul play among the civil servants? Going round the areas one could see the approved plan numbers and C of Os numbers painted on some buildings. Again street names were approved by Councils. Associations, Community Development Areas were duly approved by Ifo local government and paid their fee, not only this the community with electricity and roads were approved and they paid into the government’s coffer.

    Olountoba Biodun said he is still processing his own C of O but he brought out some that had gotten  their papers, according to him they did not meet any cash or food crops on the land ” aside that we were shown the paper of which the government of Otunba Daniel  signed by the Director General  of Lands which  Gbenga Ogunnoiki  gave them of the excision of the land. We were also given the confidence when we registered our streets, CDA, and other associations by Ifo Local government and Ministry of Community Development and Cooperatives (Community Development Department), from Ministry of Land and Urban and Regional Planning, Ogun State Internal Revenue Service for HOC assessment.

    Some of these people brought out their approved plan and Certificate of Occupancy to convince the government that the state government could have known better as they were the ones who approved the plans and gave them the C of O.”

    Who sold the lands?

    While many are crying that the government should not throw them into the dark by pulling down their structures, Ajoke Odemakinde pleaded and said, “I bought my land from one  surveyor called Yisa before Olojoru came in. This is my nineth year here in this community and I never thought of this ugly thing.” Also Madam Omowunmi Bello claimed she has built two bedroom flat on her land when she bought the land from Oluwo. While Madam Titlayo Oyebade (64) said she bought the land from the Olojorus. Ruth Adebisi and Olamide Awolaja broke down in tears and asked where they would locate to since they are petty traders selling vegetable and taking care of the family.

    History of the land

    According to history, these areas were established in the 1950s by the government of Old Western Region under the leadership of the late Chief Obafemi Awolowo, to develop the agricultural potentials of the region and create employment for several thousand of people. Thus the land was acquired from the original owners by the government and compensation was fully paid in every case, thus vesting full ownership right in the land in government. Ogun State inherited the farm settlements which fell within its geographical location upon its creation in 1976.

    The Commission found out as a fact that by letter dated 3rd August 2010, the then DG Bureau of Lands, Surveyor Gbenga Ogunnoiki, conveyed the approval  and excise of the seven villages: Coker, Tigbo – Ilu, Igbusi, Orogan, Fagbayi, Ajibode and Tigbo from the Coker settlement to the said communities, the letter stated further  details of the release of the land.

    Government’s reaction

    When The Nation visited Land  Bureau office at Mosan, Abeokuta, one of the most senior officers who pleaded for anonymity said he could not talk to the press as a civil servant. He, however, blamed those who erected buildings on Coker Agriculture land for doing so. According to him, “that land was bought by the then Western Nigeria in the 50s by the late Obafemi Awolowo for agriculture. The then Western Region paid compensation to the owners of the farmlands then. But few years ago we heard that some land grabbers were selling these lands and people were building on it. We sent a letter warning them until we went to destroy the place and reclaimed the land back by force.” Asked whether there was demarcation, the man said “There is none but if you go to the farm you will still see remnants of some palm trees there as these land grabbers had pulled some of the trees down. You need to read the White Paper of the Commission of enquiry that was released. While it is true that some areas were excised for the towns but the process was not completed. You need a Gazette, demarcation from the government which the communities did not do. I blame the villagers for not exercising patience to let the government demarcate but the land grabbers continue to be selling the land. It is like sending you on an errand to Abuja without giving you a definite address. The fact is that some of these land grabbers and the buyers should be blamed. And there is nobody who will issue the C of O, or approve building plan for such locations, if they have let them show it.” He added that it depends on the government who can ask them to pay for ratification.

    One of the of the village heads, Bishop Zachaeus Adebayo did not deny selling the lands, he said the government gave them the letter of approval which they relied upon as extension of the areas. ” I have the letter the government of Ogun gave me that they have approved the excised of villages which was signed by one  Ogunnoiki  the Director General of Survey, this gave us hope and audacity to sell the lands. We did not do it unlawfully. The Bishop pleaded with Senator Amosun to allow these people to stay, he said ” we were in full support of Amosun during the first and second term of his election, and we have over 80 per cent vote for him. Although it was the former administration under Otunba Daniel that released the said land but it would be magnanimous if the Governor can use his good office not to pull the villages down. What we want the governor to do is to demarcate this portion or kindly release them for human habitation. We still have land, thick forest for agriculture. If the Western government bought this area in the 50s and now it has become towns and cities we should leave them alone. Over 98 percent of people who built houses here are low income earners and market women, mere hearing that government is pasting papers has caused many to have high blood pressure.

    The Baale of Igbusi Tuntun, Temitope Ismail Shitta said, ” it is true that the Ogun State government released land for the seven villages for the Aworis and Egbas and both benefited but there was a clause, and the clause is that the government said they would come and demarcate the land and that a surveyor would do it, but our agents who should do it did not. The governor discovered that the indigenes did not enjoy most of it, and I think it is the right time for the governor to rescue us from these agents who are fooling us. These places have developed where we have over 4, 000 buildings and with over 20,000 people living there now.”

    The Arogundade of Igbusiland, Chief Olusina Sofela, said all the land there are no more good for agriculture, “The government should please show human feelings and consider the poor who came to erect structures there to hide their heads as they cannot afford to pay house rent, times are hard and the state owns the people and vice versa while our communities have done so much to develop this state.”

    Visit to Governor’s office

    Some of those who went to the Governor’s office during the week  said they were asked to make photocopies of the receipts used to purchase the land and other items, adding, ” they only collected our phone numbers and said they would call us on phone, ” some of them told The Nation.

    But Mrs.Silifatu Ogunsuada (62) said “what remains for me now is to commit suicide. Few years ago, I came back from Mecca and found my house pulled down here and when we were told to go back home then as the governor has granted our appeals I had to borrow money to build another. Now it is another song, which means immediately I sighted a bulldozer suicide will be the next thing, for at what age would I build another house?” she asked in frustration.

    Mr. Lanre Akanni who is the Vice Chairman, Glory Estate asked, “What will become of the Igbusi Community Primary School established by the government here? Our children go to this school and it has been marked. We don’t really understand at all.”

    Secretary to the community, Mrs. Olushola Osanyintola said she is a school teacher and has lost her husband few years back, “where would I start? I built this house with the cooperative money I took five years ago and I have not recovered. Feeding is difficult and I can no longer live in Mushin or Osodi where house rent has gone up. We are just pleading with the governor to save our soul.”

    Will the Ogun State government hearken to their plea? Time will tell.

  • Humility, water thy name is Sweden

    Humility, water thy name is Sweden

    Statistics favour Sweden, the Scandinavian country with a GDP of $570.40b. A recent survey also indicated that it is the third best country to raise a family, with almost zero crime rate and easy life. Assistant Editor, Seun Akioye, visited Stockholm, the capital city and reports on life where  life’s luxuries are taken for granted.

    “Put the money here, money here, please,” the destitute said in stuttering English. He extended a small bowl which was full of coins to passersby and wore a look enough to soften a lion to part with at least a part of his dinner for this hungry son of earth.

    Nearby his family slept on a bed, which from the impression of poverty he created looked really comfortable, mother and two children devour a hearty meal of fish and other things I could not comprehend. By the side, other families pitched their beds, ready for the night, the streets of Stockholm, the capital of Sweden, the rich and fabulous Scandinavian country is their home.

    But if you think this is all about Stockholm, perish the thought. The city which has endured for many centuries is one of the most developed and peaceful cities in the world. In August, it played host to the World Water Week (WWW) organized by the Stockholm International Water Institute (SIWI) and an opportunity to showcase to the world why the city has one of the least crime rates in the world and one of the best places to raise a family.

    The city of water

    The Prime Minister of Sweden, Mr. Stefan Lofven, a man of fine stature and well made hair loves to boast about Stockholm.  He described the city as that of water where “one can take a swim or go fishing right in the middle of the city.”

    The Swedes are proud of their water and Stockholm has been described as the city of water where one can drink from any of the water fountains scattered all over the city. If you had lived in Africa or North America, one would find the attitude of the Swedes to drinking water impossible.

    The Swedes would be very angry if you buy bottled water to drink, they echoed the opinion of their Prime Minister that the water in Stockholm taps is good for drinking. In restaurants, they hardly sell carbonated drinks and they never sell bottled water, water is taken from the rap into a jug from where everyone drinks.  Afraid not to offend, one is obliged to drink not without some hesitation, “Drink up, drink up, this is Sweden, our water is number one,” Vikky, a Chinese woman said. Seeing that I was shaking and unconvinced, another man placed a hand on my shoulder and in a very compassionate and assuring voice said “I promise you, this water is safe.”

    But that is nothing compared to this piece of information; “If you need to drink water, you can drink the water in your bathroom; it is very safe for drinking.” One of the iconic water scenes in Stockholm is the Klara Sjo, which was once a lake but had now been made into a 35 metre wide canal with boats for anyone interested in water transportation. The Klara Sjo is adjacent to the city hall and it is a spectacular sight in the afternoon sun. Standing on top of the bridge, one can see speed boats racing on the water, but it was evident many use the river as sport than for real transportation.

    The shore of Klara Sjo with its lawns, weeping willows and wooden jetty is a peaceful oasis in the middle of the city. By the shore too is the Blekholmen restaurant, a part of which was built on the river, in the summer, business booms as residents enjoy an outing in a restaurant on the river with boats speeding by.

    I took the words of the Prime Minister literarily and went in search of fountains to drink from and also lakes to fish in.  Starting from the fountain at the City Conference Centre in Drottninggatan, sipping a cup directly from the fountain, I discovered that true to the words of Mr. Lofven, the fountains in Stockholm are clean enough to drink.

     I went to Riksgatan, which is the centre of power and the seat of the Parliament, a bridge connected Drottninggatan to the parliament houses and royal palaces which incredible are open to the public. Right in front of it is a river where citizens are free to fish at anytime.

    Louis Quinze, who teaches English and French and who comes to fish three times a week said it was a hobby he had maintained for many years. But it has not been a good season for fishing and the weather has gone to hell. Quize has not been lucky, catching only a tiny tilapia after many hours of fishing.

    “It is not good season this year, the weather is bad and fishing needs stable weather, so we have not been catching many fishes. But this morning, I caught a very large one about 30kilograms, it was so big, it cut the line and escape,” he said.

    Easy life

    The Swedes lead a very easy and uncomplicated life, for those who are fortunate enough to be born into this prosperous country, life couldn’t have been more fortunate. Although a democracy, the country also operates a welfare system that has ensured that the difference between the rich and the poor is almost non-existent.  It is this easy and contented lifestyle which has made it one of the most livable countries in the world. In the mornings, residents of Stockholm could be seen mostly riding to their offices and they go about their work without any fuss.

    In the city centre, there was none of the hustle and bustle usually associated with cities like Lagos or New York, instead, bicycle riders rode alongside the most expensive cars in the world. Stockholm is devoid of the chaos of Lagos or the anxiety of New York, instead everyone looks peaceful and one could tell that life is good.

    This good life is what led thousands of Nigerians to the shores of the country where many have prospered and a great number have found ruin too. But Charles Omobude who has been in the country for about two decades is one of the more inspiring stories. From a humble beginning, he has educated himself to becoming a water engineer.

    Sweden, unlike many other European countries still have job opportunities for immigrants, this has made it an attractive destination for many Africans. In the past when education was free and easy, many Africans took advantage of it to get legal status. But this opportunity was abused with many getting resident visas using fake university degrees. “When they come here and can’t perform based on the qualification they presented for admission, they destroy the opportunity for the others. In Sweden, if you are not educated you will rot in odd jobs,” Omobude said.

    Now, life is hard for the half educated immigrant with the life saving menial jobs now going to Romanian immigrants who are daily becoming a blight on the city’s skylines. Omobude said, “the most common jobs for Nigerians are driving taxis and distributing newspapers in the morning.”

    He would not advice anyone without any tangible thing to do to come to Sweden. “If you don’t have anything to do, please stay away from Sweden. If you come here hoping to hustle, you will be disappointed, there is nothing to hustle here.”

     The activities of some Nigerians have cast aspersions on the country generally but this is changing with the new direction being giving by President Muhammadu Buhari. At the Nigerian Embassy, a top official who does not want to be named said the President’s anti corruption drive is helping in changing perspectives about Nigeria.

    Omobude agreed. “Now we have Swedes asking more about Nigeria and saying they love what is happening now.  We like what the President is doing. It is elevating our reputation, in four years we will be at the top. This is what we are hoping that Nigeria can settle so that we can all come home.”

    The Association of Nigerians in Sweden, which is the union of Nigerians living there, also believes that the impact of the present administration is helping to burnish the image of Nigerians in the country. “The new government is the change we are all waiting for, we pray that it turns out to be positive,” Dominic Emene, the president said.

    But every blue sky must have a dark cloud, so is the story of the Romanians in Stockholm, fleeing poverty in their country, they have flooded Sweden constituting a nuisance to the cities. In Stockholm, they are seen in the day hanging around street corners begging for money. In the night, the walkways become their sleeping room with families and children bringing out their beds-hidden in train stations during the day- and duvets, sleeping on the pavements.

    Some are seen eating hearty dinner in the open, the whole family eating from one plate. I learnt that the government had done its best to return the destitute to their country with cash rewards which could have set them up in business. But they come right back after lavishing the money, mostly on frivolities to take their place on the pavements of Stockholm.

    Rich country, humble people

    Despite its status as a rich and important country, the people of Sweden are very humble. For instance, the opening plenary of the World Water Week had the Prime Minister Mr. Stefan Lofven, in attendance. But no one would have noticed that the most powerful man in the country is among the crowd, there were no obvious armed security details- save for two bodyguards-, no siren blaring policemen and no uncontrolled photographers struggling to take a picture of him or the other dignitaries present.

    Sweden’s royals are not left out of this down to earth attitude. At an event which had King Carl XV1 Gustaf and his daughter, Crown Princess of Victoria, Duchess of Vastergotland, they arrived without any fanfare. A day earlier, I had seen the Crown Princess at the Grand Hotel; we were only required to stand up for the royal to take her seat, apart from that nothing distinguished her from the rest of us.  I stood by the road to see how many cars would be in her convoy and was disappointed to count only four and almost devastated to see her security details included two policemen armed with pistols.

    Humility is however not the exclusive preserve of the rich and mighty in Sweden, it is seen in the average citizen. All over the city, the humility of the people is felt in their walks and stores especially at Drottninggattan which caters to the rich and in a manner of speaking the poor.

    If the simplicity and gentleness of the Swedes rattles you, wait for this.  Across the bridge from Riksgatan is Stromgattan road. Looking at this narrow street, it seems insignificant save that it faces the road to the parliament. However, the first house on the street had a Swedish flag flying on it, it was the Prime Ministers house.

    There is no visitor who did not find this unbelievable, I did a quick scan and discovered save for the flag, nothing registers the house as that of the Prime Minister. Traffic moved easily with people passing in front of it. The main door also opened to the street, if the Minister must gain entry into his house, he would be compelled to do so in the presence of the crowd and the fishermen.  There were no armed guards around the building and the house built in the fashion of most European houses was joined with others.

    I dashed to the main entrance and listened for any sound, all was quiet; it was an unbelievable experience. A new feeling took over me but I resisted the urge to knock on the door and ask “Mr. Prime Minister, are you at home?”

  • Time for live theatre on Sunday

    Sola Adenugba has been involved in what he calls Live Theatre on Sundays in which he produces well-known plays for the stage.  He says this is part of his contribution to make stage plays attractive once more to the public.  In this encounter with Edozie Udeze he talks about the early stage of the project and the progress he has made so far and more.

    “I am the producer of Live Theatre on Sundays.  This was what I started in 2007 as part of the concerted effort by us to produce a lot of plays for the stage.  Before now, live theatre was very popular in the country.  We started at Ikeja, Lagos and have moved to other places.  Yes, so far, it has been a journey, a long journey with people accepting us and falling in love with the sort of things we do.  It has been a gradual acceptance.  We started from having three people as the audience to having twenty.  Now, we’ve begun to have a lot of people.  Indeed, we started from having small cast to having large cast, with a lot of big time actors and celebrities among them.”

    Adenugba whose love for stage theatre is unequivocal, confesses that it is now a bit late for him and his group to quit.  “This has come to stay,” he quips.  “We are moving on.  Yes, by the Grace of God we are moving on.  Suddenly, we realized for business sense that being at Terra Kullture, here in Victoria Island, makes a lot of sense.  This is so because there are no theatre venues around.  We’ve been doing our theatre at Ikeja and the few venues where you can work or convert into stage there have been so much issues.  Now some of the venues on the Mainland are being shared with churches.  Sometimes, we call a show for 3 o’clock we are not even sure the church would have finished their programme.  And then you won’t get access to the venue until they are done.”

    These and more have been part of the frustrations he and his group have been battling with from inception.  But to him, it is like a journey of a thousand miles that begins with the very first steps.  For us, it is part of my finding joy in doing what I have to do.  I work in an organization, yet I find time to do plays and it gives me some kind of fulfillment engaging artistes in plays.  It is very heartwarming seeing these artistes do their thing and then the people, the audience, big and small alike reacting to their actions on stage.”

    Adenugba’s unreserved love for plays takes him mostly to the ones that are didactic, plays that mirror societal immediate worries and then point the way forward.  “I love didactic plays and that is the beauty of working with amazing people.  When we began King Baabu, for instance, the whole emphasis was to pick someone who by nature is a Soyinka lover, someone who has been at home with his works.  Our attention zeroed down on Toju Ejoh, who today played the lead role.  And you could see his interpretation of the script was amazing and then we were able to bring so much humour and laughter into it.”

    The play which was directed by Toyin Oshinaike made the scenes clearer and the beauty of the story was totally simplified for audience appreciation.  “When you have an amazing cast who believes in your vision, they would do wonders for you.  At times, it is not all about money.  No it is not.  It is the love of the theatre which radiates in them that propels them on to do more.  For us therefore it is about contributing to the ongoing narrative.  What is the narrative in governance?  What is the narrative in the economy?  Even people living their lives and living them well, all form part of what theatre does to the psyche of the society.  And we are glad we are totally involved in it.”

    When the King Baabu project started, the whole concept was to tell a Nigerian story, dwelling on the genesis of our democracy.  Live theatre was to form the pivot point of that centre piece.  “Yes, this is the story of Nigerian democracy and that was the beginning of the democracy we have today.  We decided from the beginning not to make King Baabu complicated to watch.  I saw the Beautification of Area Boy, I didn’t understand what it is all about.  So, we decided we would make this story simple for the layman to relate with.  And we thank God, for Professor Wole Soyinka gave us the permission to make the play as simple as we could.  And I am so grateful we’ve been able to do just that, with the audience following and making the best out of it.”

    The play which is full of messages for public consumption and which also conveys salient lessons for the good of everyone was first staged in July.  It was to coincide with the birthday anniversary of Soyinka.  It was again staged last month to point out areas where the nation’s leaders have defaulted and how to make amends.  “Of course, what we have come to see is that live theatre is not for everyone.  If you are not a rich man what do you have to see theatre for?  That is the perception in Nigeria.  Some even find theatre very, very boring and they’d say is it not for rich people?  I know that a lot of people who have taken their time to come, usually go home feeling better.  Even though the appreciation has not grown as yet, a few who come to watch still have one or two issues to take away.  And this is the beauty we are talking about.  We need to grow theatre, we need to continue to do it, hoping we’ll get the necessary sponsors to take us to the area we need to be.  We need more ideal venues, affordable and made available for use.  For us theatre is available, we are available to do more for the public.  We are prepared to be able to do these sort of stories.”

    He opined that the National Orientation Agency and other such government organizations should come in to use theatre for positive propaganda.  “If they do so, theatre will reach more people.  This is our dream; our prayer.”