The Nation Newspaper

Category: Arts & Life

  • I need help! Yoruba movie star, Abija

    I need help! Yoruba movie star, Abija

    His fame cuts across local and international boundaries. Tajudeen Oyewole aka Abija is an actor but  eight years ago he almost lost his life in an auto crash. Since then, he tells Taiwo Abiodun, in this interview that he has been living from hand to mouth

    You probably do not know, but Chief Tajudeen Oyewole, popularly known as Abija in the Yoruba movies genre now limps. This much The Nation found out during a chance encounter with the renowned actor recently. Also, you almost wouldn’t recognise him, as the usually vibrant defender of the oppressed, who is always quick to take the battle to the witches and wizards and other negative spirit forces in the movies, now cuts a pitiable sight  no thanks to a ghastly auto-crash he was involved in sometimes in 2007.

    But like a leopard who can never change its spots, the actor’s countenance changed right after the initial introduction, and with raised voice and eyes bulging, he began chanting incantations and gesticulating, as if in a trance or on stage, acting.

    How he got the stage name- Abija

    Oyewole said he derived his stage name, Abija from an engineer. “There was a construction company called Abija Construction in Oshogbo; the company was owned by a respectable old man and when we wanted to do a13-week play, we deliberated on what they should call me and the name of the construction company came to my mind, and I said ‘Abija’. We had 25 episodes in the play and I was asked to use the name – Abijawara Bi Ekun. Later, we simply called it Abija.

    “Before that time, I had been using other stage names, but none earned me popularity as when we used the name ‘Abija ‘ in the series ‘Opa Aje’. The name also became my trademark and shot me into limelight. Today, only a few people know my real name.”

    Opa Aje, facts behind the story

    Said Abija, ‘Opa Aje’ was shot long time before it debuted on TV and it was a surprise to the entire crew that it became so popular. He said “the story line is about three villages and the ‘Opa Aje’ (prosperity staff). The mysterious staff was owned by Lasigun Village (his mother’s village) and it was agreed that it should be rotated round the other two villages: Bilagun and Telude, but Lasigun refused until Bilagun took it by trick and it resulted into a war; Telude also had to resort to force by waging war against Bilagun, to collect the staff from her. Abija a powerful juju man and warrior was asked to rescue it, thus it rotated among the three villages.”

    Interestingly, he said it wasn’t until recently that they found out that the story was indirectly referring to the Nigerian nation’s battle for power and resource control.

    His Taboo

    He confesses that despite the fact that he played the warrior roles in movies, there are some costumes he dared not put on without offering certain sacrifices and atonements to the gods. Also there are some that a woman dares not meet him on the way or even make an attempt to embrace him. “We don’t just treat these costumes anyhow; if there is need to perform rituals or offer sacrifices before wearing them, then I must humbly comply. If not, the side effect could be fatal. I know this because my paternal and maternal line-ages are both from Ifa priesthood and Babalawos. So it means I inherited the act of Ifa from the two sides. Aside this, I am also from the family of hunters. No woman could embrace me while returning from a hunting expedition because of what I may have on my body. If I need any animal, I only need to go into the forest to kill it. The power is there.” He said, beating his chest in confidence.

    How rich is Abija?

    Despite all his fame, Abija revealed that it hasn’t translated to money. “I am not rich; I don’t have a roof over my head, which is part of measuring one’s wealth in this part of the world; I don’t even have a land. And it’s not because I am not serious or that I’m a prodigal son; the money realised from acting is just not much, or even enough, as people out there or our fans think. I am prudent and I have only one wife. But having said that, I cannot say that I am not a rich man, because I have children higher institutions, although I may not be rich in cash.”

    Asked why some male artistes tend to keep a harem of wives, Abija said “it is because of the perception of fans and the general public that female artistes are wayward; so the male artistes prefer to marry them and use them as actresses in their works. If you look at it, this is even economical for them, as they may not have to pay them exorbitant fees they’d have had to pay for independent actresses.”

    The auto crash

    Abija who is still limping as a result of the ghastly motor accident back in 2007, says he is just lucky to be alive. He said it happened on his way back from a film location: “I went with my crew to shoot my new film ‘Ibinu Abija’ and on our way back late in the evening; I hit a big brick road divider along Canaan Land, which position had been changed by the road constructors, without any sign. I ran into it with my Toyota Camry. But thank God, I was not speeding. My hip dislocated, while the lady, an artiste sitting by the driver’s side died immediately. Another woman sitting behind me was seriously injured. I also thank God for Otunba Ajawesola Ayinde Busari, who assisted me, and stood by me. That film will hit the market soon, and believe me; you will learn a lot from it.

    Betrayal from friends

    With a forlorn look, the artiste said he has been let down and betrayed several times by his so-called friends and colleagues that he now finds it hard to trust. “I have been disappointed by a lot of friends. There was a year a man wanted to sponsor my film; I called one of my best friends to accompany me to the negotiation. But would you believe that this friend of mine went behind me to the same sponsor a week later, and negotiated a lesser and ridiculous amount? My friend later invited me to star in a film for him, and I obliged, not knowing that it was the same film I should have owned. On location, I invested all my energy and I almost killed myself to make it successful, not knowing I was a fool. When I later went to meet the sponsor, he began dilly-dallying.  He later showed me the VHS my friend had produced. He accused me of demanding for higher price on the film, lambasted me and told me my friend had done the job.

    “And this is a film I had invited my fellow artistes from Ondo, Abeokuta, Ekiti and other places and even lodged them in hotels in preparation for. In the end, the film did not sell, while my so-called friend and the sponsor became enemies. The sponsor even reported him to the police for fraud. I was the one who again went to beg the promoter to let my friend go.”

    On his rumoured death

    Abija said the rumour of his death, which spread like wildfire some years back, was as a result of the accident, as many feared he had died or could not survive it. “You can see that I still limp. The accident was fatal, but I thank God that I survived it. I spent about two and a half years in the hospital and later at home. I also went to a trado-medic for bone setting, as my hip was badly affected. The accident happened eight years ago, on the 10th of September, 2007. However, I don’t believe it was caused by enemies or that I was being haunted spiritually as some think. I see it as what it is, an accident. No more, no less.”

    On current Nollywood films

    Abija denounced the present crop of home video coming out of the industry for low quality. He said too many movies are being hurriedly put together and said it was not like this when he was active. “We never met it like this and we were never taught like this. I was in Dakar, Senegal with some of our CDs and they only picked two. The films they watched were condemned because in some of them, the ladies were half naked and they detest all these.”

    His solution

    “We need to work harder. The films being produced now are of poorer quality. In Yoruba land, we are known for producing films that educate; thought-provoking films that are well-researched. That is why we are called prophets

     “As for those who think our culture is dying or that it is fetish and ungodly because of their religion, I can tell you that they are coming back to it.”

    His background

    “I was born over 50 years ago. I attended only primary school at Local Authority Primary School, Oniyere in Ayedun Agbo Bi Ekun Village, Osogbo, Osun State. My parents actually sent me to school but I was a truant. That is why I did not go beyond primary school, but it pains me now. At the moment, none of my children is into acting, but one of them edits. As for me, I think it is education first for children. If they place acting first, their future could be ruined. It is lack of education that almost ruined me.” He admitted.

    I need help

    “I want Nigerians to help me in my career. I need sponsors. I am not a greedy person. I believe in Allah. People interestingly call me Alhaji, although I am yet to visit Mecca. The only car I own was condemned in that accident. As I speak, it probably would have been towed away by government agencies. I will appreciate every help that comes my way.

  • Using arts to boost economy

    National Gallery of Art (NGA) Director-General Abdullahi Mukus believes that the arts sector was neglected in the past. He is determined to make things better.  In an interactive session with reporters in Lagos, Muku sheds light on his programmes for a better tomorrow, Edozie Udeze reports

    Most lovers of the art and stakeholders in the culture sector are often at a crossroads as to why the federal government has been finding it hard to decide on a befitting National Gallery for the nation’s topmost modern arts.  Most culture activists involved in this endless debate hinge their concern on the fact that most civilised countries of the world take their time to plan, build and present exquisite monuments and institution where their modern and contemporary works of art are kept.

    These works are specially hung in cozy halls and buildings not only because they represent the history and culture of the nation, they equally serve as points of reference, a place where art enthusiasts and tourists visit often to relax and also view the personages that contributed to the growth, emancipation and development of the society.  If that is the case, why wouldn’t the Nigerian situation be more encouraging? Why wouldn’t the National Gallery of Art as headed by Abdullahi Muku be as good and as edifying as what obtains in South Africa, Egypt and Senegal?

    There are some of the topmost African nations where contemporary arts are given due recognition and attention by the government.  There are still some of the prominent places where artists, mostly Nigerians, go to to unwind and be at home with artworks that have been kept in good order from time immemorial.  However, the Nigerian situation becomes more worrisome not only because no one seems to care.  The leaders themselves still perceive modern works of arts as those issues that do not mean much to the country.

    In spite of all these negative sentiments, the Director General of the National Gallery of Modern Art, (NGA), Abdullahi Muku, for the past six years or so, has been consistent in his avowed resolve to the make the department an enviable place and a role model.  Now, faced with paucity of funds, he still ensures that the sector is kept alive and active.  But more worrisome to those who know best is why the National Theatre, Iganmu, Lagos, where a temporary gallery has been provided for these all-important works has not been expanded or relocated to a more appealing and friendly environment.

    A visit to the place indeed shows that even though the paintings of some of the former prominent leaders of Nigeria, like Dr. Nnamdi Azikiwe, Obafem Awolowo, Yakubu Gowon, Muhammdu Buhari, Ibrahim Babangida and others are hung in the hall, there are other equally important paintings that do not have enough space for attention.  “We have written severally to the government to release some of the federal government buildings that are of no more use in Lagos for our purpose,” Muku said in an interactive session with the press penultimate week.  “Yet the response from government is what we are still waiting for.  The art, especially modern art, should be given its proper place in the day-to-day running of the society,” Muku averred.

    What government ought to do with vigorous commitment is the involvement of Private Partnership Participation (PPP) to sort out some of these sensitive issues in order to create more jobs for the Nigerian youths.  “A conducive environment is good for creativity,” Muku enthused.  “And this is what we are here to do, to ensure that the proper indices are put in place to take modern art to the next level.”  This is why, in spite of the dwindling fortunes of the culture sector at the present moment, Muku, with his able team, has continued to expand the frontiers of the modern arts.

    For instance, the Abuja Biennial which is a programme the NGA is committed to has been in the front burner over the years.  He said: “The Abuja Biennial is a programme the NGA is committed to, both for its economic benefits to the country generally and the artists in particular.  For 14 days, renowned artists from Nigeria, Africa, the Diaspora and the world gathered in Abuja to showcase the best of the best of the their works with art collectors, art dealers and art lovers buying these works.  Having participated in the Dakar Biennale almost from inception, we discovered that they have been able to make good money from organising the event compared to what they spend.  We are hoping to do the same by getting the private sector fully involved and other key stakeholders.

    “The Abuja Biennial is an art market that will bring together artists, art and culture administrators, art collectors/connoisseurs, political leaders and administrators, tourists and tourism practitioners.  It is so named to identify with the world standard as every biennial is named after its host city.  Abuja being the capital city of Nigeria is chosen for its economic vantage position and is keying into Mr. President’s vision of diversifying the economy.”

    Muku contended that the event will not only provide opportunities for artists to sell their works but also enable them to network.  This programme is also expected to provide job opportunities for the youth and boost the tourism industry.

    To him, “this is a dream we are hoping to realise with this 8th Assembly.  The Act if enacted will make it mandatory for every public building as well as bridges in Nigeria to have some kind of embellishment, especially art works with a percentage of the construction cost set aside for this purpose.  When this happens, you will agree with me that our artists would never lack.  Apart from the fact that the pool of money set aside is going to be available to the artists to access through the sale of their works, it would make them sit up and bring out the best in them.  With the Artist Royalty entrenched in the Act, if an artist sells his work to somebody and that person resells it, a percentage of it will go to the artist or his/her family.  This is a residual income that will benefit artists just like royalty that performing artists enjoy for the playing of their musical works in any medium.”

    NGA has continued to innovate in terms of its programmes and activities in promoting and propagating the Visual Arts sub-sector.  Some of these includes: Nupe Art conference and exhibition which has been an outstanding show so far.

    This event which took place in the ancient city of Bida, Niger State interrogated the place of Nupe Art in Nigeria.  It had in attendance traditional artists from the nooks and crannies of the old Nupe Kingdom who displayed different works ranging from paintings, sculptures and textiles.  In his lecture, titled, Nupe Arts: A Renaissance, Dr. Ndagi Abdullahi, Secretary, Nupe Culture and Resource Centre, Bida, asserted that the ancient Nupe people were not just the masters of Arts, but were by and large the originators of the arts of ancient Nigeria.

    Art of friendship was also initiated in 2012 as a platform for Nigerian artists to cross-fertilize ideas with their counterparts from other nations through their embassies in Nigeria.  The second edition took place last year with Nigeria and four other countries: Republic of Czech, France, Italy and South Korea.  The exhibition which took place at the FCT Archives and History Bureau, Abuja, witnessed an impressive crowd, which included management and staff of the gallery, ambassadors of the participating countries and their cultural attachees, artists residing in Abuja and numerous foreign and local art lovers.  There were 40 works of art on display, comprising paintings, mix-media, drawings, sculptures and printmakings.

    More heartwarming was the maiden of NGA Children Funfair which took place last year at the International Conference Centre (ICC), Abuja.  Tagged, Rainbow Art Children Art Expression, with the theme, Unlocking Creativity-Christmas through the eyes of the child it is geared towards stimulating values, identifying talents, motivating parents to love art and encouraging young ones to choose art as a career.  The fair featured six segments: Art Competition, Folktale, Face Painting, Hat/Bead Making, Head Tying and Cartoon Characters.  Each category has specific tasks for the children to bring out their innate talents.

    The Director explained that The Art Fair was inaugurated by NGA in 2013 as a deliberate move to encourage professional artists in its employ to produce works for public exhibitions thereby sharpening their skills and developing bodies of works just like their peers in studio practice.  The first edition took place in Kaduna while the second edition was held in Enugu and Kaduna respectively.

    The 5th edition of National Visual Arts Competition took place at the Shehu Yar’Adua Centre featuring works in the primary, secondary, tertiary and professional categories.  The exhibited works showed great promise from the budding artists.  The winners were rewarded with cash prizes as incentive to do more and a motivation for others to strive for excellence.

    What all these mean is that if more funds are raised to pursue these ideals, the sector will take its proper position towards the economic and social growth of the nation.  Now, with the plan to have NGA offices in the 36 states of the federation, it becomes more imperative to give NGA a chance.

  • Olayinka Ayanwale is new Inner Wheel Chairman

    Olayinka Adijat Alayande was recently installed as the new chairman, Inner Wheel District 911 at an elaborate occasion in Lagos. Udemma Chukwuma reports.

    History was made recently as guests and well-wishers gathered in the blue, white and yellow decorated Adeyemi Bero Hall, Alausa, Ikeja, to witness the installation of the new district chairman of Inner Wheel Club, Mrs Olayinka Adijat Ayanwale.

    Ayanwale, who took over from the immediate past chairman, Mrs Nkiruka Josephine Ebo, was all smiles as she was called to the stage to take over the mantle as the newly elected 32nd chairman of Inner Wheel District 911, Nigeria.

    Following her installation, she reeled out her administration’s plan for the eager audience, chief of which is vocational and skill acquisition training programmes, as well as empowerment for girls and women.

    Said Ayanwale: “In the many years I have served as a member of Inner Wheel, I have been involved in various missions and projects. I have travelled far and wide, pursuing the cause of community service. During the course of these missions, two things have always been a source of concern to me – the level of poverty and unemployment amongst women and girls in our society. This is why my star project for Inner Wheel this year, Training and Empowerment; will be dedicated to these categories of women and girls.

    She expressed her happiness at becoming the new district chairman and vouched that through her, help will be extended to school drop-outs from the club. “I believe strongly that this will contribute in no small way towards alleviating poverty and improving the standard of living across many households in our community.”

    She urged people who do not belong to any social club to do so because “in a way, you will be able to contribute more to the society if you are in social club that are service-oriented.”

    Present to witness the installation ceremony was the wife of former Lagos State Governor, Mrs Abimbola Fashola, Executive Vice Chairman, Channels Television, Mrs Olusola Toyin Momoh, former Senator, Ganiyu Olanrewaju Solomon, former Minister of State for Defence, Musiliu Obanikoro and past President of Nigeria Institute of Management, Michael Olawale Cole amongst others.

    The International Inner Wheel (IIW) club was founded 92 years ago by Margaret Golding, a nurse, business woman and wife of a Manchester Rotarian. Some of the aims and objectives of the club is to promote friendship, encourage the ideals of personal service and foster international understanding. Inner Wheel currently consists of over 3,895 clubs in 168 districts in 103 countries, with a total membership of over 103,000 worldwide. Its current international president is Charlotte De Vos, while the National Representative and president of Nigeria is Mrs Phebean Aduke Alade.

    The club also presented appreciation awards to various media houses, including the Nation Newspaper.

  • I once worked as a secuity guard – Cannes Film Festival winner

    28-year old Temilolu Tokosi and his crew recently won the Best Directing Award with his movie titled, Ashes, at the renowned Cannes Film Festival in France. He spoke to Medinat Zuberu-Kanabe on this accomplishment and sundry other issues.

    For Temilolu Tokosi, otherwise known simply as Temi by his friends and colleagues, making an award winning film in two weeks was always going to be an uphill task, but having heard about the Creative Minds in Cannes competition for through a friend, he earnestly wanted to win, so he quickly put something together.

    The Creative Minds in Cannes competition, by the way, is usually organised for a select few of filmmakers from around the world, and it is usually a keenly contested competition.

    Tokosi explained that “I had to do things differently. The first thing was my focus. I went to Cannes knowing that this was without a doubt the biggest film festival in the world and somehow someway, I had to make a film in two weeks. I made sure my mind was right, and I couldn’t forget I was there for a reason, which was to make the best film possible within that spate of time. It was also an opportunity to make some major connections with people in the film industry, follow up on up-coming filmmakers, and learn as much as I could!

    “When I met my film crew, I made sure we all were on the same page. I told them my expectations and they told me what they expected of me as a director. We were all strangers from different places, but we were all filmmakers. So we decided to make a legendary film and win an award. And in the end, our film won two awards.”

    Temilolu discovered his passion for filmmaking after he did his thesis film for college, even though he admits that he wasn’t too happy with the way it turned out.

    “I felt like it was not good enough to send to festivals or represent me. I was not prepared doing it. I rushed the script and I made some casting mistakes.”

    Although he graduated with a film degree, he said he couldn’t call himself a filmmaker with that thesis film. “I could not show anyone the film. I loved the plot, but the script and story needed some more work. I then rewrote the whole script, made it a lot better. I kept two actors from the first film and re-casted every other role; then I studied more about filmmaking. When I began re-shooting the film, I literally smiled on the first day and said to myself, ‘I love this.’ That was when I figured out my passion for film.”

    He revealed that he began his adventure into filmmaking in the most unconventional way back in 2009 in the middle of college years. Quite still undecided about his direction in life; he said “I worked a part time as a security guard. There I met a friend who was an independent filmmaker, who was shooting a film and asked if I could lend him a hand; in the process, he named me his Production Assistant and I was very excited.

    “The next night I came out to his set and I was just blown away. I had thought he was making some bootleg fake movie with fake actors and cheap equipment etc; but this was a real movie! We worked on set through the night, I was nowhere near tired and my excitement level gave me so much energy. I had so much fun and I thought: Is this what people do for a living? Right there and then I saw it was possible, and my life changed from that night.”

    Temilolu knew his team would win multiple awards during the competition because that was the goal of his team but instead of the six awards they had in mind, they won two in the Best Directing and Best Writing; and he says he is very grateful for this.

    He confessed that all through the competition, “We were our own competitors, and we had to get along and work as one. We were six people from different backgrounds and cultures and we were together with each for days, and that can take a toll on a person. So as director, I tried to make sure everyone worked in cohesion.”

    On the state of the Nigerian movies industry, the director of three films- ‘Last Call’, ‘The Will to Want” and “Ashes” said it is very hard to keep up with the fast changing pace of the film industry and that what might seem like being behind today may not be so a few months later.

    In spite of everything, Tokosi says even America still loves Nigerian films and there are a whole new group of Nigerian filmmakers ready to make their mark in the Nollywood industry. What he however loves most about the Nigerian movie industry is the distribution. “I can be in Newark, NJ or London and see a whole list of Nigerian films from the past couple years. Bootleg or not, people are watching and that’s what counts at the end of the day.”

    He also feels the Nigerian government can help fund films either through film competitions and funding to award winners or by building film studios around Nigeria. “We are the next crop of Nigerian filmmakers, our industry can be bigger than Hollywood and Bollywood one day, we just have to keep pushing the limits and helping each other.”

    Tokosi remarked that his biggest encouragement was his late father. “In June 2010 my father passed away due to a heart attack; a couple months before he passed, I had changed my major for the fifth time, but this time to film. And this time, I felt like I really found what I loved to do. I remember going to my parents’ room to tell him that “Now I wanna be a filmmaker.” And his response surprised me. He was excited for me. He started telling me how if I take this seriously, I could one day get to Nollywood and make great films. I was blown away!

    “At his funeral one of my uncles came up to me and asked how I was doing. He told me I have to be the man of the family now. He then said ‘Ya daddy was telling me you’re a director, he was sounding so proud of you, keep it up!’”

    That made me feel so good, because I always thought he wanted me to be something like a doctor or lawyer, but he just wanted me to be successful! I will never forget those words.”

  • Sweet homecoming for music sensation Blackman Akeeb Kareem

    Sweet homecoming for music sensation Blackman Akeeb Kareem

    Between the 60s and 80s,  Blackman Akeeb Kareem’s music ruled the airwaves. Suddenly, the tempo slurred and the music maestro disappeared.  For 35 years, he sojourned in Europe. Last week, he  reappeared  on stage at Ikeja, the Lagos State capital, to the surprise of his fans.  In this encounter with the exponent of Ameboism and Ololufe,  Edozie Udeze takes him  down memory lane; why he disappeared, his experience as a soldier, how he was called to become a pastor and more.

    I was usually accompanied with an enigmatic razzmatazz, typical of an entertainer who knew his onions.  Even though he has not lost most of those charismatic qualities that made him an outstanding musician, entertainer, songwriter, poet, and singer, Blackman Akeeb Kareem has metamorphosed into an elegant and seasoned musician whose international acclaim has gone beyond the confines of Nigeria.

    He still maintains his traditional salutation of raising his left hand as soon he mounts the stage.  He also has not lost his traditional style of swinging with profusion to curry for audience acclaim once he handles his favourite instrument, the guitar, on stage.  Akeeb Kareem still bestrides the stage as if he is in his prime.  His stage craft and mastery of renditions show him as a man who will not retire or relent so soon.  At 69 years of age, he says his love for music is about to blossom to its very limitless height.

    “I love to sing to put my fans in the right mood to sing and follow me all the way to the stage.  When I make them sing along, it makes me bring out the best on stage.” So says this apostle and creator of Ameboism and Ololufe tracks that ruled the entertainment scene in Nigeria in the 70s and 80s.

    Kareem left the shores of Nigeria in 1984, only to be reunited with his folks and fans penultimate weekend for the first time in 35 years.  He told The Nation that he was here to honour an invitation by Segun Akinlolu, aka Beautiful Nubia, to perform at his Ikeja, Lagos, hang-out with other old generation musicians and to also attend the 80th birthday ceremony of his mother-in-law.  Kareem could not help but tell his own story  the genesis of why and how he left Nigeria to seek greener pastures in Europe.  It is a story he said has been haunting and disturbing him for too long; yet he needed to take that prompt decision when he did in order to save himself and his musical career.

     “Oh yes, part of what made me leave even when my musical career was at its peak, so to say, is the same thing that is happening to you and I in Nigeria today.” He began.

    “In this nation, we do not recognise people who are doing great works in their different fields of human endeavour.  Be it journalism, be it music or engineering; even if you go to the university and get the best degree, and you do not know somebody somewhere, they will not listen to you. When it comes to employment, they’d rather employ the person who knows the man at the top.  At times, they’ll even employ the person who is not qualified or who is not as good as you are.  They will put the person there and you who are better qualified will be roaming about without a job.

    “After many years of rolling out series of records and chart-busting albums, recorded with the EMI, every sale of your works, they would send it to you.  You’d know how much you’ve made.  When I began to record with Decca, it was the same thing.  All my records could be played all over the world and my popularity grew.  Then I joined the Performing Rights of Great Britain.  So, every of my record invaded the world and I was happy. I was also getting my cheques sent straight to me right here in Nigeria from England.

    “Now after many years, a Nigerian recording studio came to me and said, ‘Ah, why are you recording with Oyibo and all that?  And you are our own child?  This is not fair; come do business with us.’  They said they wanted me to join them so that together, we would move this country forward.  Oh, yes, I cannot mention the name of the company.  No, I cannot.  Yet one of my best records titled Ameboism  (oh Amebo o, make you shut up your mouth).  And in that same record I did it in Ghana language.  I wanted to give it an international colouration and acceptance.  I sang it in Ashanti language (Suddenly, he begins to sing).

    “The song was also done in Yoruba and it was a hit, a big hit indeed.  That was the biggest moment in my musical career with my own fellow Nigerian who owned a recording studio.  It got to a point that those who used to call me Blackman Akeeb Kareem began to call me Baba Amebo.  This was so because it was a hit.  Then I waited to get letters from the recording studio, but none came.  So instead of Amebo to shut her mouth, they shut my mouth up for me.  At the end of the day, I went to the recording company, complaining about the shoddy treatment I was getting from them.  Both EMI and Decca did me well.  Now, what is the problem with you not releasing my money to me?

    “Now, you know what they said to me?  That Amebo did not sell.  I said, ‘Ah, Amebo shut up your mouth did not sell?’  I said, oh, this is a country that you won’t progress in your life, in your career, in your profession; you need to relocate.  Even if you go to Cotonou, it is still better for you because they are more honest and trustworthy.  There, business is business and people take you for what you are.  That was in 1984, the year I decided to leave this country.  The opportunity came during the 1984 Olympics. I went there to watch Lionel Ritchie of America perform.  He is one artist I love so much.  From there, I got an invitation for my band to come and play there.  It was a golden opportunity for me indeed.

    “This was in Paris in 1984 where I was billed to perform.  I have only sat in a hotel; I hadn’t even started performing when fans began to scream with wild jubilation.  Ha!  I screamed, what is happening?  Then I got a recording company that recorded me the same year in 1984.  The record went straight to the top 10 in France in 1984.  Of course all of us knew that music is an international language, most times it does not have language barrier.  Whether you sing in Igbo or Hausa, once the melody is good, you are accepted; it will sell.  Thereafter, I called my wife and said to her, ‘My dear, if it takes you long to come and meet me in this country called France, I will marry another woman before you come.’  This was so; because I made up my mind I would not come back to Nigeria to ply my trade.  Then when the record went straight to the top 10, I sent a ticket to her immediately because money was no longer a problem.  You see!

    “Yes, she met me in France in 1984 and life continued for two years.  From that day, I sat down and decided that Europe would be my home.  So for 25 years, I did not come home.  What I am saying now, you are also experiencing it or are you not?  If you do not know the right person, they will be promoting him and not you.  Now, how do you live like that or survive in your profession?  Then I got to Europe and in 1986, I crossed over to Britain.  In Britain, they accept you for who you are.  In whatever you do, so long as you do it well, they will promote you and make you achieve your best.

    “That was why I left the country for Europe.  However, home is still home whether you are in America or Britain.  But let them fix this country.  When you come back home now, what do you get? The same old story.  It is even worse now as you can see.”

    Even then, why did you return home now to be a part of this August show at the Eni-obanke put in place by Beautiful Nubia? We asked.

    “Oh, my mother-in-law has just turned 80 years and we needed to be home to join in the celebration.  You all have been to Europe.  It is not that it is full of roses and wine, but at least if you know what you are doing and you are focused, you will be respected.  Oh yes, I have not done many albums; I have only done 16 (laughs).  What you have done is more than mine because you write everyday as a journalist.”

    But how did he become an Evangelist? What was the lure that led him into becoming a Christian?

    “Oh that?  It is a long story.  It was in February 1997, after being a Muslim for 51 years.  I was made to pray with a pastor friend.  I said what prayer, when I am here for business? He was talking about Jesus but I said I am here for business.  I said oh, I don’t want to pray.  But we started to pray nonetheless.  Then after a while, I closed my eyes and joined him in the prayer.  At a point, I began to laugh; I couldn’t stop, yet I did not open my eyes.  I was so confused because I never drank or smoked; now how come I was laughing like that?

    “Suddenly, without opening my eyes, I saw the doves in their beautiful epitome.  I heard a voice in the midst of those doves speaking to me the way I am speaking to you now.  He said, ‘My son, you’ll leave what you are doing.  You don’t sing in hotels again, you don’t sing to praise human beings again.  I will give you peace of mind; I will give you joy and happiness beyond human comprehension.  And that was exactly 51 years of being a Muslim. That day, it was the Lord’s voice speaking to me, saying, I will give you three things  peace of mind, joy and happiness.  He did not promise me money, because I don’t know where some preachers get the notion that He must be God of riches, and my God is not a poor God; when you come to Jesus all your problems will be solved.  Jesus did not promise us that.  So the voice told me that if I should do that I should work in ministries.  But then the ministry I knew then were the Ministry of Agriculture, Ministry of Finance, Ministry of Aviation and so on.  I didn’t know there was Ministry for God.  Do not form a Church; do not form a Church, the voice repeated thrice.”

    Now known as Michael Akeeb Kareem, he narrates how God then told him that He has enough churches in the world to praise Him.  “Oh, God went on: my people have enough churches in the world to praise and honour me.  This was on the 17th of February, 1997 and that day when I got home, I told my wife what happened.  Ah, how can Jesus speak to Akeeb Kareem; how can He?  Then when I knocked the door and my wife opened the door.  Oh, she had been faithful to me and I didn’t know that she had been praying behind me to become a Christian and for Jesus to touch me.

    “Immediately she saw me, she exclaimed ‘Oh dear, your face is wearing a new look.  Where are you coming from?  There is peace all over you, dear!’ Then I went in and I told her the story and the first thing my wife said was: “It was Jesus, darling, and my wife of over twenty years could not be wrong, you see!  From that day on I have been having this full ministry, where I sing and praise God.  Indeed, that has been my whole life; a whole life devoted to the worship and service of the Almighty God.”

    Today, Blackman operates Akeeb Kareem Media Ministries in London, where he preaches through music about courage in the powers of the Almighty Jesus.  Courage is the weapon to face the trials and problems and fears of failure, witches, wizards and haunting dreams.

    “He also taught me how to love my enemies, forgive them and pray for my persecutors.  From that moment too, the unnecessary love for worldly and self-imposed physical debts disappeared; because the desire for material things of the world in order to please and show off to others are no longer fashionable to me at all.  And I, now, by His grace, do not live in the past; no more restless, foolish, sad-filled years, caused mainly by living in fear or uncertain future.  For my future is now very and truly safe in my Lord and saviour’s gracious hands.

    “Now, if you leave your professional band in Europe to play this sort of music, the voice must be God’s.  And since then, if Jesus calls you; if He really loves you, he said all other things shall be added unto you.  As soon as you do that, the things you did before, you would stop doing them automatically.  And you will not beg to eat or to survive.”

    Kareem, who began his musical career in 1966, delved a bit into his life as a soldier during the Nigerian civil war, where he fought as a volunteer.

    “Even then I served in the army here,” he confessed.  “That was in 1967 at the outbreak of the Nigerian/Biafran war.  May be today somebody somewhere is collecting my retirement money or whatever that I am entitled to.  I started singing since the 1960s but when the war came, I joined to keep Nigeria one.  After that, I came back and in 1974, I released my first album.  I started singing with King Kenny Stones.  Then Orlando Julius came from Ibadan and met us here in Lagos.  Then there were people like Chris Ajilo, all of us played in Lagos when music was music.

    “In 1968, Orlando Julius invited me to Ibadan also to play when I did my first recording.  Then when the war ended, I left the army and continued with my music.  Yes, I am home now because I met Beautiful Nubia in Canada and he mentioned this show.  It is a good thing to be here to see how your numerous fans still rout for you.  So when we met, we performed together in Canada last year and it was indeed fun.  I have not performed in Nigeria for 35 years and so this moment is momentous for me.  It is a joy to see this sort of crowd who still love to see me on stage.  This is why I have to sing some of the old tunes to bring people back into the groove.”

    And truly, as soon as he mounted the stage, the crowd screamed for him to give them some of his old stuffs.  It was the singing of Ameboism that brought people to the dance floor.  Most of the women, young and old, who had stayed glued to their seats, now went wild with the groove.  Kareem did not disappoint, as his quaint voice rose deep into the foyers of the night.  He sang and danced together with Beautiful Nubia and Chris Ajilo, all of whom were delighted to be reunited with him after 35 years in the Diaspora.

  • ‘Battle for food security cannot be won by wishful thinking’

    ‘Battle for food security cannot be won by wishful thinking’

    Uduak Afangideh is a Biology professor and researcher (specialising on plant breeding and genetics) at the Faulkner University, Alabama, US. She is a member of the Genetics Society of Nigeria, the Agricultural Society of Nigeria and the Alabama Academy of Science. In 2011, Prof Afangideh initiated the first research and creativity day of the university, which has sparked interest in collaborative researches among different departments and with other universities in the states. She speaks with Assistant Editor (Arts) OZOLUA UHAKHEME on the differences in education standard between Nigeria and US, why she returned to the US to teach, why Nigerian professors and students should be exposed to research techniques and resources available internationally and how Nigeria’s battle for food security can be won, among other issues. 

    You chaired Faulkner varsity’s first research and creativity day committee. What was the research about and what were your experiences?

    In spite of the fact that Faulkner has existed as a university for over 60 years, until a few years ago, it was primarily a teaching university.  With recent increase in post-graduate degrees in various fields, faculty members began to be involved in research in different disciplines.  In 2011, I presented a proposal to the university’s faculty board on the need for a university-wide research day, in which the faculty and students would showcase the research that they are involved in in their fields of study. The proposal was approved by the Board and I was made the chairman of the planning committee for Faulkner’s first Research and Creativity Day.  The event has been successfully hosted twice by the university; and in addition to creating an awareness of the different research areas at Faulkner University, it has sparked interest in collaborative research among different departments and with other universities. It has become a biennial event in the university and the next one is scheduled for March 2016.

    How do you feel getting your full professorship few years ago?

    Getting full professorship is a mighty feat in itself and considering that the promotion was achieved in a reputable American university, known for its high standard of scholarly activities, made it an even greater accomplishment.  I am aware that, like the scripture says, “promotion is not from the East or the West but from the Lord,” and so I give Him all the glory.

    You had your first and second degrees in the US before coming to work at Unical and got your Ph.D? What were the attractions returning to the US?

    After my Ph.D in Plant Breeding and Genetics, it became more and more obvious that the lack of sophisticated equipment, infrastructure, research materials and other resources would make it almost impossible to carry out meaningful research in Nigeria.  My desire was to grow in my field and to form meaningful connections with international geneticists and I knew this would be difficult to do unless I looked beyond the borders of Nigeria.  When the opportunity came to travel back to the United States, I embraced it with the full support of my Department at UNICAL.

    You were among three that got full professorship at Faulkner, and effectiveness in your discipline, commitment to scholarly pursuit and dedication were factors considered. How would you have felt if you did not get this recognition?

    I don’t think there was any doubt that I would be promoted to the rank of full professorship.  When you give 110% in your duties, working as if you are working unto the Lord, it quickly becomes obvious to your peers and your employers.  I think this was the case with my promotion.

    How regular does the varsity carry out such promotion?  

    The university has an equivalent of an Appointment and Promotion Committee (A&P) that meets annually, at the departmental and faculty levels. Those who meet the requirements for promotion apply and are either recommended for promotion or denied promotion based on evaluation of their academic contributions and achievements.

    How will you describe the education standard in Nigeria and US, using Unical and Faulkner varsity as case study, especially in your discipline?

    There are so many differences in educational standards in the two countries.  For starters, at Faulkner classrooms are well equipped, not just with enough tables and chairs for students but also with loudspeakers (in large classrooms), computers, projectors and other things that make for effective lecture delivery.  Compare this to teaching in University of Calabar where students scramble for chairs and tables and can barely hear the lecturer who is shouting at the top of his or her voice in front of the classroom.  Also, in 2013 Faulkner embraced ICT on its campus fully and every registered student since then is issued an ipad.  This empowers the students to take ownership of their learning and makes it easy for professors to increase student engagement and learning therefore becomes more of an interactive activity.  This is a far cry from what is obtained at UNICAL. Finally, one cannot teach science without well–equipped laboratories and facilities.

    At Faulkner, every science class has weekly laboratories whereas UNICAL students in my department are lucky to be engaged in three to five labs per semester.  I think this and other factors are reasons why there is such a disparity in the standard of education in both countries.  Having said that though, it is amazing that the Nigerian student strives to excel academically, in spite of the less-than ideal conditions in which they are taught.  The stamina and desire to learn displayed by the students that I teach at UNICAL is a testimony to the depth of the Nigerian spirit, and it is quite admirable.

    As a specialist in plant breeding and genetics, are there gaps between town and gown that are hindering the realisation of food security in Nigeria?

    Definitely! It is amazing that research done in our universities seem to be more curiosity-driven than driven by the need to solve problems that the country is facing.  Every year, we graduate hundreds of students who have carried out research in fields of agriculture and biological sciences, just to mention a few. Yet, the research projects are aimed at getting them good grades and are seldom transferred to practical applications for farmers and consumers.  I think it requires a change of mindset and a change of focus among professors who are the supervisors of research and the student researchers. Given the global nature of science, there is the need to expose Nigerian professors and students to research techniques and resources available internationally.  This requires collaboration between Nigerian professors and their counterparts in other parts of the world.  The fact that such collaboration is encouraged by UNICAL and other universities in Nigeria will go a long way towards bridging the gap between town and gown.

    How prepared is Nigeria in the battle for food security?

    I think for the reasons mentioned above, we still have a long way to go.  For an agrarian society, food security should not be a problem that we face but it is and that means that there is something fundamentally wrong.  Very few states in America are blessed with the tropical weather we have in Nigeria which favors food cultivation and yet they produce most of their food items and even export them to countries like Nigeria!  Why would a country like Nigeria import food items like strawberries which can be grown in parts of this country?  Why is the Tilapia sold in our local markets imported from China with all the Riverine areas we have in this country? The battle for food security is one that that can definitely be won, but not by wishful thinking. All hands must be on deck to ensure that we are prepared to win this battle.

    What profession would you have chosen apart from teaching sciences?

    I love education.  My husband and I are blessed to own a secondary school in Calabar, called The Christian Science College and impacting the lives of these young students gives me a great sense of fulfilment.  So if I wasn’t a biology professor, I think I would have gone into educational administration.

    How fulfilling is teaching especially in a foreign land?

    It is quite fulfilling.  Nothing surpasses the joy of seeing the light dawn in the face of someone when they finally grasp a concept.  Students everywhere seem to struggle with science and so I love being able to simplify complex concepts and make it meaningful to students at different levels.

    “Teaching at Faulkner allows me to combine the two things I love most: influencing lives and pointing people to the One who designed us as the master piece of His creation.” How do you mean, and is there any link to Christian Science College?

    There appears to be a tension between scientists and atheists, with people claiming that you cannot be a scientist and believe in a Creator.  For me, it is the reverse.  The more I study biology as a science, the more I am awed by the intricate design of biological beings that point to a Master Designer. Since Faulkner is a Christian University, the emphasis is on seeing God’s influence in everything we teach and I love being able to do that as I teach biology.  With reference to the Christian Science College, it is a dream come true for my husband and I. We are excited about the growth of the school and the doors of opportunity that have allowed us to affiliate the school with Christian universities in America. Along with parents, I think teachers are in a unique position to influence lives and I take this responsibility seriously.

    Raising children in Diaspora is a big headache to most Africans. How are you handling this in your family such that the children will not be lost to the world?

    I think raising African children in Diaspora is challenging for those of us who do not want our children to lose track of the things that make us uniquely African, but it is a challenge that we embrace in my family.  We intentionally inculcate traditional values into our children such as respecting their senior siblings, not addressing their elders on a first name basis, morning duties and family chores.  We incorporate African dishes into our daily diets, use our native language at home and dress in Nigerian attire on Sundays and on special occasions.  Our children are constantly reminded that they are Nigerians by Divine design and not by accident, and we make a point of spending as many holidays as we can in Nigeria.  I think it is great for them to be exposed to American culture and traditions but even more important for them to hold on to the things that are important to us as Africans.

     

  • All for ‘Uncle Sam’ at 80

    All for ‘Uncle Sam’ at 80

    The publisher of Vanguard, Mr  Samson Oruru Amuka, is 80. Dignitaries, especially from the media, thronged the city of  Lagos to celebrate the commitment and passion of the ‘birthday boy’ to journalism. The day was marked with tributes, presentation of a festschrift in his honour and a lecture on the future of Nigeria’s media. EVELYN OSAGIE writes.

     

    [dropcap color=”#000000″]S[/dropcap]AD SAM is gone; long live Uncle Sam. All that is left of “Sad Sam”, the witty column that was the favourite of many newspaper readers in the 70s, is the caricature of the writer ­— a beautiful portrait of it has been made. But the columnist, the inimitable “Uncle” Samson Oruru Amuka, is 80. He was born on June 13, 1935.

    Averse to any celebration, Uncle Sam fought gallantly to stop any of the festivities that go with clocking 80. But some of his admirers, mostly his younger colleagues, found a way round it. They organised a ceremony in his honour at the prestigious Nigerian Institute of International Affairs  (NIIA) in Lagos.

    It featured a lecture on Today’s Newsroom, Tomorrow’s Newspaper and the presentation of an anthology of essays entitled: Voices from within: Essays on Nigerian Journalism in Honour of Sam Amuka(Second Edition), which Prof Ayo Olukotun of the Obafemi Awolowo University (OAU), rightly observed, was an “appropriate birthday gift to Amuka”.

    The event’s convener and the book’s editor, Mr Lanre Idowu of Diamond Publications, said celebrating Amuka was inspired by his belief that great men should be feted while alive. He praised the modesty of the Vanguard publisher, saying Amuka had initially objected to the celebration because he felt it wasn’t appropriate to celebrate when many media organisations were experiencing hard times paying salaries.

    According to him, the book’s first edition was issued in 2005, when Amuka turned 70. The current one has eight new chapters and focuses on contemporary and topical issues in journalism.

    In concert with Diamond Publications, the event was convened by the General Manager, Vanguard, Gbenga Adefaye; Managing Director, Independent Newspapers Limited Ted Iwere and Provost of the Nigerian Institute of Journalism (NIJ) Gbemiga Ogunleye.

    In addition to its intellectual charm, the event was one of hearty recollections and eulogies to Uncle Sam.

    Among the guests were Senate President Bukola Saraki; former Governor of Ogun State Aremo Olusegun Osoba; former Minister of Information Prince Tony Momoh; Chief Phillip Asiodu; National Democratic Coalition (NADECO) chieftain Chief Ayo Adebanjo; publisher of Business Day Frank Aigbogun; veteran journalist Ladbone Bonuola and The Source publisher and Secretary-General of the Newspapers Proprietors Association of Nigeria (NPAN),  Dame Comfort Obi; Ovation publisher Dele Momodu and Channels  CEO John Momoh, among others.

    Guests showered encomiums on the celebrator for his long-standing contributions to the media. They agreed he is a mentor and a trailblazer in his own right, urging media executives and journalists to draw from Amuka’s examples.

    He was praised for being “a man of intellect/wisdom”, “a reluctant celebrator”, “a creative narrator”, “a bookworm” and “gentleman”.

    The first tribute was by Osoba. For Osoba, who chaired the event, the honour conferred on the celebrator was well-deserved. He called him “a reluctant celebrator”, saying it took strong persuasion to get Amuka to agree for his 80th birthday to be marked with the book.

    “We are here today not because Sam Amuka wants us to be here. If he has his way, in the next five minutes he will disappear. That is Sam; it is his style. When he goes to a party, before you know it, he’s gone. I thank Idowu and all others who arranged it,” he said.

    Recalling his early days with the celebrator, Osoba, former governor and journalist, who made reporting a delight, described him as a lover of arts and “pioneer, in terms of magazine”, observing that, as he was first editor of Spear Magazine 50 years ago, Amuka was “the first to make us appreciate cartoons”.

    He said: “Most people don’t really know Sam enough. We call him “Uncle Sam”, but his most famous column was known as “Sad Sam”, with beautiful write-ups, elegant language, rich and very cynical writing. Amuka’s columns were witty and thought-provoking.

    “I still remember a particular edition of his column in The Punch. Its title was ‘Thank God’. So, I want to thank God for Amuka’s life…Because of his growing works in magazine, we now have many magazines, such as Tell, Newswatch, The News, that followed him. He is a lover of artworks and a good swimmer. I enjoin those above 70 to start swimming.”

    The Senate President, who presented the book, urged younger journalists to emulate Amuka’s wisdom and professional conduct.  Saraki, who was represented by his Deputy Chief of Staff, Gbenga Makanjuola, eulogised Amuka for his sound intellect at 80.

    He said: “Uncle Sam is more than an uncle to me. He is Daddy  Sam. We will be here to celebrate you at 90.”

    Prince Momoh praised Uncle Sam’s contributions to the media and his humane qualities, saying he represented everything noble in journalism.

    Listing the places he had worked with the celebrator as his boss, Momoh described Amuka as a mentor in several ways, adding that he learnt a lot from his professional and personal lives.

    Momoh, who also worked with Amuka at Daily Times, said: “Amuka has always been my boss. When I joined the Daily Times, I was an assistant editor while he was the deputy editor. As the deputy editor, he used his position to contribute to the development of the profession.”

    Adebanjo said: “Amuka impacted on the society positively because he was fair and honest. He mirrored the society with his column without compromise.”

    Dame Obi said: “Uncle Sam has done everything anybody can do for journalism. To us, Uncle Sam is a mentor and stabiliser and we cherish his inspiration and moderating voice. He has done everything anybody can do for journalism and the younger ones.”

    Itsekiri leader Chief Rita-Lori Ogbebor, who represented the Olu of Warri, Ogiame Atuwatse II, praised Amuka for his contributions to the country and the Itsekiri ethnic nationality. She described him as a “performer, honest and gentle.”

     

    Forging a future by re-inventing the old model

    Prof Olukotun, the book reviewer, described the celebrator as a bookworm, writer and creative narrator, who is also one of the few outstandingly successful entrepreneurs.The festschrift (a term academics use to describe a book celebrating one of their own who has made significant contributions to the discipline), he said, is “an inspiring testament dedicated to a man of excellence, a great achiever, who wears his distinction lightly”.

    Olukotun, who was represented by the Head of Mass Communications Department, University of Lagos (UNILAG), Dr Abigail Ogwezzy-Ndisika, said the book offers “rich insights not just into the honouree’s life, but various aspects of print journalism, including visual aspects as practised in Nigeria”.

    He said: “The book is divided into three parts. The first features reflections on media content, looking at such things as news reporting, cartoons, and editorial writing. The second examines the business side of publishing in the context of the Internet.  The third section contains reminiscences by people, who have worked closely with Amuka on various aspects of his career.

    The collection features a few of Amuka’s contemporaries and those of the younger generation, such as Adefaye, Adesina, Aigbogun, Haruna, Fagbenle, and Ogunleye, among others.

    Delivering the lecture, entitled: Today’s newsroom, tomorrow’s newspaper: how to survive and thrive in the internet age, Iwere advised newspaper publishers and journalists to embrace changing methods of handling news contents. He called for the re-creation of the newspaper business and re-orientation towards production and presentation of in-depth, analytical stories, and re-modelling akin to a daily news magazine.

    Urging publishers and journalists to “keep informed and re-tool themselves on the opportunities arising from the continuing convergence of the newspaper and the internet”, he also called for the re-organisation of the newsroom and its management, and the re-invention of content creation and distribution in the industry.

    “Beyond income from such traditional sources as Google adverts, display and banner messages, a newspaper must make money from its news and information. The newspaper must monetise its online presence. In deciding what and how to charge for news on the web, a distinction ought to be drawn between commodity news that is generally available (who, where and when) and premium news (how and why). While the former is most likely to remain free, the latter can, and ought to be moved from free to fee,” he said.

    When asked to address the guests, Amuka, moved by their kind words, said: “May you live to be 80 years and above. May you have great tributes showered on you when you are still alive.”

    Also at the ceremony were Odia Ofemun ‘the poet’; veteran journalist and The Nation columnist Mohammed Haruna; social critic and activist Chief Fred Agbeyegbe;  Senator Bode Olajumoke; Chairman of Leadership Newspapers Mr Sam Nda-Isaiah; former chairman of  the Oil Minerals Producing Areas Commission (OMPADEC) Chief Albert Horsfall; The Nation Editor Gbenga Omotoso; Editorial Board Chairman Sam Omatseye; Managing Editor (Online) Lekan Otufodunrin; and The Guardian Editor-in-Chief, Debo Adesina.

    Others included: Mr Dare Babarinsa; Lanre Arogundade; Mike Awoyinfa; Tunde Fagbenle,  former House of Representatives member Mrs Abike Dabiri-Erewa; Bisi Olatilo;  Mohammed Fawehinmi; Emeka Opara; veteran journalist Prince Henry Odukomaiya; Muyiwa Adetiba; Kunle Oyatomi; Louis Odion; Oma Djeba;  Fidelis Anosike;  factional president of the Nigerian Labour Congress (NLC)  Comrade Joe Ajaero and Felix Adenaike.

  • Solomon Temitayo Oyefeko (1930 – 2015)

    Solomon Temitayo Oyefeko (1930 – 2015)

    Pa  Solomon Temitayo Oyefeko, the pioneer dicrector, School of Environmental Studies, Yaba College of Technology, died recently at 85. Oyefeko, popularly known as Baba Oye, was a former president of the Association of Professional Bodies of Nigeria (CORBON). In this tribute, ADEOLU OYINLOLA writes of his many contributions to humanity.

    [dropcap color=”#000000″]T[/dropcap]he Yoruba place considerable premium on names.  The general belief in that corridor of Nigeria is that a child’s name is a prognostication of sorts.  Apart from the first Temple of Jerusalem, the Bible attributes to Solomon the rebuilding of major cities and ports.  King Solomon’s wisdom was also legendary according to Holy Writ.  It is no surprise, therefore, that appropriately-christened Solomon Oyefeko was wisdom personified, an accomplished builder of physical structures and a remarkable developer of minds (S.T.O embodied the finest tradition of education in Nigeria). The difference, though, between the biblical Solomon and our very own Solomon is that ours never turned from God.  He was steadfast to the last and kept the faith to the very end.

    My association with Baba Oye (as he was fondly and affectionately called by many) took off a little over 20 years ago, after he and his wife handed me, an “Ara Oke” ( a somewhat pejorative, loosely-used term  for those of us whose mother tongue is Yoruba but are indigenes of states other than Lagos and Ogun) the most priceless gift ever: their daughter, Yemisi, as my wife – who, like her English-speaking siblings, mirrors them (my parents-in-law) in a delightfully integrated beautiful-inside-and-out-package.

    To know Builder Solomon Temitayo Oyefeko at close quarters was a rare privilege and a distinct honour.  How could a soul so graceful and rich in his humanity, so accomplished yet so simple and unassuming, depart this earthly plane without the faintest hint of his imminent departure?

    As we faced the devastating reality of his permanent absence from this firmament – mid-afternoon – on Thursday, July 23, 2015, we still struggled to come to terms with the finality of that awful occurrence, because Pa Solomon Temitayo Oyefeko was a decent, generous, dependable, reliable, knowledgeable, witty, convivial, debonair gentleman of high sartorial elegance.  S.T was always well-turned out; even regal.  His dress-sense was classy without being flashy.  He carried himself with effortless grace and inimitable panache, and was an elegant, nimble dancer.

    Pa Oyefeko had a way with people that put them at ease – regardless of their station in life; an attribute of his that lent him a compellingly magisterial aura. When you met him, you beheld a man who was so comfortable in his own skin, so profoundly at peace with who he was – so much so, that, humility, modesty and serenity were his most notable trademarks.  My father-in-law was also deeply human, as he accorded every individual, due dignity and respect, and extended his usual courtesy to all.  I will remain eternally grateful to God that my path crossed with that of such a self-deprecating soul who radiated genuine warmth and had a genial disposition and an extremely generous spirit.  He would be the first to put a call through on our birthday anniversaries and followed up with a visit – armed with a gift – in the evening.   A reunion of sorts ensued at each well-attended get-together he organized every New Year’s Day.   When I lost my maternal grandmother five or so years ago, ageless, octogenarian Baba Oye not only turned down all entreaties that he and his wife needed not stress themselves to attend, but also fully participated in her (my grandma’s) burial rights in faraway Offa, Kwara State.  What a man!

    S.T related to me like a pal.  Often, we engaged in conversation and debate on a range of issues during fairly regular Sunday evening visits his daughter and I used to pay him and his wife of close to six decades at their residence.   Even when we disagreed on issues, he was never disagreeable.  A case in point was our diametrically opposed views on two of the candidates in the period leading up to the last presidential election.  He not only articulated his position in his usual measured, contemplative, polite and non-confrontational style (as opposed to many of us Nigerians that believe he who shouts the loudest wins an argument!) but also listened very attentively to mine and ended that particular interaction on a philosophical note, when he said: God’s Will be done.

    Extraordinarily, S.T kept his very sound mind and photographic memory till he breathed his last. As recently as one week before his death, he still reeled out people’s GSM numbers from memory, and used to recall events that happened in his childhood with a bewildering exactitude.  He had an inexhaustible repertoire of jokes – usually accompanied by a unique, polished laughter – and a raconteur’s gift for inflection.  Baba was also a sports enthusiast.  He supported both Chelsea and Arsenal (in that order) and was sometimes child-like in reacting to the successes and failures of the two English Premier League clubs.  For instance, last May, when Chelsea won the League and Arsenal claimed the FA Cup, he welcomed me and my wife on a visit to his residence with “thank you, Jesus”.  Prodded by his daughter to reveal to what we should ascribe his ecstatic expression, he retorted: “are you not aware that the two teams I support are champions concurrently?”   In all probability, it was that kind of guilelessness, simplicity and innocence which kept my father-in-law’s hair almost completely jet-black in his 85-year sojourn here on earth.  And, to be sure, he never touched dye of any kind in his life!

    In a country where many have no compunction trading their names for money or suborning themselves for a mess of porridge, Baba Oye’s name was his most cherished, jealously-guarded asset.  He was motivated and inspired solely to leave an imprint in the area of education.  He was a teacher par excellence and his former students who are spread across Nigeria’s public and private sectors are a testament to the indelible, magnificent imprint he left.

    Baba Oye’s greatest joy in life was his family; his wife, Moji, children and his grandchildren.  However, he left such a rich, impressive legacy, because he touched the lives of so many other people.  Born in Sagamu, Remo, Ogun State on March 3, 1930, Pa Oyefeko worked for some years with UAC of  Nigeria, before he travelled to the United Kingdom in 1958 to further his studies.  He returned to Nigeria in 1966 and joined the staff of Yaba College of Technology as an Assistant Lecturer; where he rose to the post of Chief Lecturer in 1981 and subsequently, the Head of Department of Building and Quantity Surveying.  He was also the pioneer Director of the School of Environmental Studies at the same college.  He was a Fellow and one-time President of  the Nigerian Institute of Building (NIOB); Fellow, Nigerian Institute of Quantity Surveyors (NIQS); third President of the Association of Professional Bodies of Nigeria (APBN) and  member, Council of Registered Builders of Nigeria (CORBON); to mention but a few. What an outstanding profile for someone who lost his father at age 6!

    My father-in-law was a devout Christian. He was a member of both the Christian Fellowship Society of Yaba Baptist Church, and” Egbe Itesiwaju” of First Baptist Church, Sagamu.  He was an exceedingly kind man.  As I think about S.T’s life, I am reminded of a passage from Paul’s letter to the Colossians: “As God’s chosen ones, holy and beloved, clothe yourselves with compassion, kindness, humility, meekness, and patience” (Col 3:12). Pa Oyefeko lived out these virtues more consistently than anyone I have known or will probably ever know. This is not just a grieving son-in-law writing. These words – “compassion, kindness, humility, meekness, and patience” – describe Baba Oye to a T.  We who loved Builder S.T. Oyefeko will miss him. In truth, we began missing him the very moment doctors informed us that he had changed mortality for immortality.  But we give thanks to God for his life well lived, as well as for his life everlasting with God.

    Because he inspired us with his life of service; because he left us prodigious ethical and moral codes; because he patented the art (and indeed the science) of giving, the man will continue to live in our hearts.  Like Zion, the city of our God, glorious things shall continue to be spoken of Solomon Temitayo Oyefeko.  I can confidently posit that he has fought the good fight, he has finished the race, and he kept the faith.  May his generous soul find peace profound.   And, as Baba was fond of saying: “Cheers”.

     

    • Oyinlola is a geologist and public affairs commentator
  • NGA resolves to keep faith with programmes

    NGA resolves to keep faith with programmes

    Despite paucity of fund the management of National Gallery of Art (NGA) has resolved to keep faith with the implementation of its progammes and activities, which are initiated to promote and propagate the visual art sub-sector. The gallery is also unrelenting in its campaign to push the Art Embellishment and Artist Royalty Act through the national assembly.

    Director-General of NGA, Mr. Abdullahi Muku who spoke with Arts Editors in Lagos said that ‘if enacted the act will make it mandatory for every public building and bridges in Nigeria to have some kind of embellishment especially art works with a percentage of the construction cost set aside for this purpose.’

    He stated that apart from the fact that the pool of money set aside will be available to the artists to access through the sale of their works, it would make them sit up and bring out the best in them.

    “With Artist Royalty entrenched in the Act, if an artist sells his work to somebody and that person resells it, a percentage of it will go to the artist or his/her family. This is a residual income that will benefit artists just like the royalty that performing artists enjoy for the playing of their musical works in any medium,” he noted.

    It will be recalled that three years ago, an Act aimed at promoting embellishment and artist royalty could not go beyond the first reading at the seventh National Assembly. But, Muku assured that NGA is hoping to reopen the bill through private sponsorship. “This is a dream we are hoping to realise with this 8th Assembly,” he added.

    Leading the prorammes is the proposed Abuja Biennial, which has been in the works since 2013. Also, on the priority list of NGA is a proposed-bill to repeal and reenact the Act that set up the agency over 20 years ago.  According to Muku Abuja Biennial is an event, which the agency would continue to push for as it has a lot of economic benefits for Nigeria. “The Abuja Biennial is a programme we are committed to, both for its economic benefits to the country generally and the artists in particular,” Muku said.

    “For 14 days, renowned artists from Nigeria, Africa, the Diaspora and the world would gather in Abuja to showcase the best of the best of the their works with art collectors, art dealers and art lovers buying these works.”  Earlier scheduled for this year, the event has been rescheduled to hold in 2017.

    The decision to initiate the event, he said, was informed by the experience of NGA’s participation at similar events within Africa and overseas. He cited the Dak’Art in Dakar, Senegal as an example of a biennale that inspired the event. “Having participated in the Dakar Biennale almost from inception, we discovered that they have been able to make good money from organising the event compared to what they spend. We are hoping to do the same by getting the private sector fully involved and other key stakeholders,” he added noting that the biennale would start even on a low key.

    Reacting to questions on how public-private partnership (PPP) can drive the gallery’s events, Muku said:  “We are open to the input of the private sector.  In fact, the coming in of Art Galleries Association of Nigeria (AGAN) was meant to promote government’s policy of public-private partnership (PPP) which was used to run the now rested Art Expo, Lagos.

    Muku did not fail to flaunt the economic viability of the Abuja Biennale, saying: “The Abuja Biennial is an art market that will bring together artists, art and culture administrators, art collectors/connoisseurs, political leaders and administrators, tourists and tourism practitioners. It is so named to identify with the world standard as every biennial is named after its host city. Abuja being the capital city of Nigeria is chosen for its economic vantage position and is keying into Mr. President’s vision of diversifying the economy.” Other events of the gallery include Nupe Art Conference/Exhibition, Art of Friendship, Children Funfair, Children Funfair, Art Fair and National Visual Arts Competition. He, however, blamed the inability to host the National Visual Arts Symposium and the distinguished lecture series last year on logistics, hoping that they will take place this year.

     

     

     

     

     

     

     

  • LIMCAF flags off at Abuja

    LIMCAF flags off at Abuja

    The zonal screening and exhibition of artworks for the yearly Life In My City Festival has begun with an exhibition held at the Thought Pyramid Art Centre, Wuse 2, Abuja.

    The theme of this year’s festival is Beyond all odds. The 10 collection centres are expected to display their best entries. The festival, which enters its ninth edition, is to promote artistic creativity and professionalism among young and talented Nigerian artists.

    Cultural Programme Officer, Institut Français du Nigeria, Alice O’Reilly said the festival has been driven mainly by passion for arts by Chief Robert Oji since 2006.

    ‘This year sees the 9th edition of what has become the most consistent and most expressive art festival in Nigeria. This constant high performance has been made possible because of people such as Elder Kalu U Kalu and Kelvin Ojiofor who involved thousands of people in their dream and whose passion for visual arts has few bounds.  And this passion has driven the whole board, the organising committee, the jury panel as well as all the people involved in this nation-wide project. They also had the very strong support of the Alliance française in Enugu which has actively participated in the organisation of the festival from the very first day,’  she said.

    According to her, the concept of LIMCAF is simple, unifying and it has extended to all over the country through the support of the French cultural network formed by the Institut Français du Nigeria in Abuja and the 10 Alliances Françaises spread around the country. ‘And it wouldn’t have been the same without the support of many generous private sponsors as well as the Embassy of France in Nigeria,’ she added. LIMCAF has been growing every year. As a proof of the vitality of young Nigerian artists, there are more participants every year and the standard gets higher.