Category: Arts & Life

  • How Glo turned leading the pack into an art

    How Glo turned leading the pack into an art

    Call it a big swoop or a bumper harvest of stars and you are right. Telecoms giant Globacom has raised the bar as the nation’s network of stars, with its endorsement of no fewer than 29  leading artistes as brand ambassadors, Assistant Editor (Arts) OZOLUA UHAKHEME reports.

    Globacom is huge in my industry and I see the evidence of the company’s commitment to improving the industry and the lives of its practitioners everywhere I turn. To be honest, it’s been a dream to have a working relationship with the Glo brand. An opportunity to turn this dream to reality came, and I took it.”

    That testimonial by Nigeria’s musical star, Wizkid (Ayodeji Balogun) confirms the strong belief among leading artistes in Glo’s massive support for the creative industry and why they found solace with the telecom giant.

    Wizkid, one of the biggest signings this year, was formerly with MTN. He jettisoned MTN and signed for Globacom. According to a statement he issued titled: Why I signed with Glo, Wizkid said Globacom is a brand he had admired for a very long time considering its strong persona and its very massive impact and image in the entertainment industry in Nigeria.

    He added that it’s an incredible blessing to be sought after by arguably Nigeria’s two most powerful brands at the same time. “My decision to go with Globacom this time is not an act of spite against MTN. I simply seized an opportunity to move from Yellow land to greener pastures. God bless,” he said.

    With these record breaking endorsements, Glo has stepped up its support for the arts and has thus attained the largest portfolio of brand ambassadors by any company in Nigeria. Interestingly, Glo’s massive support for the creative industry spanned themed concerts, reality TV competitions, events promotions and campus tours, which have over the years impacted the creative industry to becoming an economic hub for income generation.

    The new ambassadors are nine, while 20 have been with the company for some time. The ambassadors include  Sani Danja,   Sammie Okposo, Ego Ogbaro, Peter & Paul Okoye  (P-Square), Bright Okpocha (Basketmouth), Funke Akindele, Ini Edo, Ime Bishop Umoh, John Okafor (Mr Ibu), Helen Paul, Chiwetalu Agu and Wande Coal. Others are D’banj, Omawumi Megbele, Bezhiwa Idakula (Bez), Chinedu Okoli (Flavour), Jude Abaga (M.I), Damini Ogolu (Burna Boy), Bimbo Oloyede, Bovi Ugboma, Ayodeji Makun (AY), Patience Ozokwo (MamG), Odunlade Adekola, OC Ukeje, Reekado Banks, Korede Bello, Hadizah Blell (Di’ja) and Ayodeji Balogun (Wizkid).

    The mega deal is another major statement about Glo’s commitment to the growth of entertainment industry. Globacom has been consistent in supporting the   industry. Apart from supporting through endorsement deals, Globacom avails the industry of its massive infrastructure to facilitate distribution of practitioners’ works. It is estimated that mobile operator including Globacom has generated millions of Naira for artistes by helping them to sell their music as ringtones. Through this deal, Globacom is ploughing hundreds of millions of naira into the entertainment industry. No doubt, the network provider has been able to turn the lives of many entertainment stars around. It is such a deal as this that some up and coming stars need to blossom into mega stars.

    Bez, for instance, has metamorphosed into a huge star since he was signed up by Globacom several years ago. Glo is also developing different segments of the entertainment industry as the ambassadors are drawn from Nollywood, music, comedy and broadcasting.

    It has also launched a world-class online entertainment portal for the enjoyment of its teeming subscribers across the country which would also help to expose ambassadors to a larger audience.

  • Club launches N25m endowment fund

    Club launches N25m endowment fund

    •Partners ITF to promote skill acquisition

    The Collectives Club, Sagamu in Ogun State, has launched a N25million endowment to sustain its community development and empowerment programmes.

    Its President, Mr Adewale Fayemi, made this known during the inauguration of new executives and induction of new members in Sagamu.

    He said the club was concerned with the challenge of youth unemployment in the country and in its immediate environment. The club has, therefore, offered to sponsor the youth in a three-month course at the ITF skills acquisition centre in Lagos. He added that The Colletives is also partnering the Industrial Training Fund (ITF), Ikeja Area Regional office, Lagos to train 16 youths of the community in electrical installation, web designing and tiling.

    He said: “This is our subtle approach to addressing unemployment among the youth in the community.”

    Stressing the club’s commitment to community service and corporate social responsibility, Fayemi said the club also organised a five-day free health screening and treatment for the residents of Sagamu, adding that about 3,000 people received treatment.

    The Chairman, Board of Trustees of the club, Mr Tunde Ajayi, said in the last 15 years, the club had made giant strides in empowering people in areas such as sports and academics.

    He said The Collectives gave awards to two distinguished Nigerians, Mrs Eunice Irebowale Adebambo and Otunba Yinka Lawal-Solarin, the Chairman, Literamed Publications, for their contributions and exemplary achievements in education and entrepreneurship.

    Ajayi said: “We encourage people of like minds to continue to show interest in the club, while we will not sacrifice merit on the altar of expediency, we believe its growth will impact positively on our community.”

  • Blackman returns with Beautiful Nubia

    Blackman returns with Beautiful Nubia

    After over 30 years in the doldrums, Blackman Akeeb Kareem returns to the stage with Beautiful Nubia (Segun Akinlolu) and the Roots Renaissance Band at a special concert on Sunday, July 26 at EniObanke Arts Centre, GRA Ikeja Lagos.

    It will commence at 5pm and end at 9pm.

    This will be Blackman Akeeb Kareem’s first live performance in Nigeria in more than 30 years. Foremost music critic Benson Idonije had much to say recently about this great artist: “Blackman Akeeb Kareem made considerable impact as a singer, composer, guitarist and band leader from the 60s to the 80s. Long before the wind of change from the imitation of foreign music to authenticity began to blow across Africa in the late ’60s, Akeeb Kareem was there, making his influence felt. As a matter of fact, before such Afro-inspired sounds as “Allah Wakaba” by Ofo the Black Company led by the late Larry Ifediorama and “Jeun Koku” from the Afrobeat legend, Fela Anikulapo Kuti, adopted authenticity in terms of the Africanisation of their music, Akeeb Kareem was already recording Afro-Pop fusions for Decca West Africa. So consistent and committed was Kareem that his mode of dress and that of his entire band was in the true African fashion. Needless to say that his compositions, most of which were written in Yoruba language, were meaningful and replete with inventiveness.

    He added: “The era of Akeeb Kareem was that of Johnny Haastrup of Monomono, Segun Bucknor and Revolution, Fred Fisher and his Ogiza Band, among others, who all created their different styles of fusion within varying sound identities. Akeeb was perhaps the most successful, not because of his musicianship but because of record sales arising from popular acceptance. He identified with the grassroots in terms of compositional themes and live shows. It was his popularity, as reflected by the sales of his music, that recommended him, in those days, to almost all the record companies. “On Shanu Olu’s stable in the early ’80s, Akeeb registered an artistic impression with the recording of a hit called “Amebo”. Apparently inspired by the role played by the great actress Ibidun Allison on the memorable television series, Village Headmaster, Akeeb told the story of a rumour monger and backed it up with his simple but powerful music. But perhaps the album that has continued to paint him in good artistic light, even though not as financially rewarding, is “Ololufe” (which means My Love) produced by Odion Iruoje.

    Blackman is one of Nigeria’s most talented musicians. At the time he left this country in the 80s, his last record, “Amebo” was doing well in the market. As a reflection of sales, it was occupying a comfortable slot on the hit parade chart in 1984.”

    Beautiful Nubia and his band will thrill all with their popular songs, provide backing for Blackman’s legendary numbers and then the two artists will complete the concert with a duet performance that is sure to please every attendee.

  • Putting Things Fall Apart in visual forms

    Putting Things Fall Apart in visual forms

    In the Heart of Things Fall Apart is a project earmarked and embarked upon by Krydz Ikwuemesi, a Professor of Fine and Applied Arts at the University of Nigeria, Nsukka, (UNN) and some other artists, to present Achebe’s iconic book in visual forms. Now, with over 75 drawings on the novel on display at the Quintessence Gallery, Lagos, Ikwuemesi draws attention to the very many issues raised by the novel more than 50 years ago, Edozie Udeze reports

    Although Chinua Achebe’s iconoclastic novel, Things Fall Apart turned fifty years in 2008, the dream to turn it into images through drawings and paintings was mooted the same year by Krydz Ikwuemesi.  Ikwuemesi, a native of Ogidi, like Achebe, is a Professor of Fine and Applied Arts at the University of Nigeria, Nsukka, (UNN).  His dream was to bring together fellow artists in the persons of George Odoh and Henry Mujunga, an Ugandan, to dissect the book and put the scenes into drawings.

    At the moment, the project titled In the Heart of Things Fall Apart has produced over 75 visual works and they are mounted at the Quintessence Art Gallery, Ikoyi, Lagos.  Opened last weekend, the works had already been previously mounted at Nsukka where the public had the singular privilege of viewing and appreciating in totality what the drawings had to say about the scenes in Umuofia and beyond.

    Of the 75 works on display, each is considered and based on the installationist principles.  However, Mujunga opted to be different.  He is said to have taken a holistic approach to the project, with each of his works dealing with the issues of conflict and dissonance.  This was done in such a way that each of his pieces stands on its own but still related to others thematically.   His are the only works that came out in watercolours, even when the whole concept was to do the pieces in pen and ink.

    Speaking to The Nation on the idea behind the project, Ikwuemesi said he was driven by the passion he has for the book and the aura it has evoked over the years.  “Yes, what we have done is to identify what seemed to us the iconic moments or reflections of Igbo culture in the novel.  Thereafter, we used them as bases for creative and imaginative sorties, which in turn raised new questions and interests in the whole essence of the novel and the enabling cultures therein.”

    This is why each drawing by each artist represents a chapter in the book.  The novel is done into 25 chapters and so are the drawings both in what they represent and the emotions they evoke in the annals of Igbo culture as represented by Achebe.  “When the book turned 50 in 2008, we thought, those of us younger than the Achebes, that we could re-engage the novel, but this time in visual form.  So, we thought these drawings should be done as part of that celebration.  We actually did a conference in Enugu in this regard, with the support of The Commonwealth Foundation.  It was to mark the 50th anniversary and then these drawings were to be exhibited there.  However, we didn’t have all of them ready then.  But again these drawings have been shown at the Anambra Book Festival in Awka,” Ikwuemesi explained.

    The works in their largest epitome and thematic thrusts, indeed took a wider thematic look into what the book said 50 years ago.  How do these issues now affect or relate to us?  Are those issues still thematic and important in this age and time?  What has the book in common with the present era if viewed through the pictures it presented many years ago?  Indeed, the most remarkable of the pictures are where Okonkwo took his life and where Obierika confronted the white man on the death of his best friend and the hero of the book, Okonkwo.  There, you see Obierika tell the white man; “This man was one of the greatest men in Umuofia.  You drove him to kill himself and now he will be buried like a dog”.  Thereafter, he bowed his head and left.

    These drawings went deep into the core values of Things Fall Apart that even the novel itself may have been illustrated with the drawings.  They give a clearer and fresher insight into the scenic views of the Igbo village square.  They penetrate in to the Umuofia of Achebe era, where the Igbo culture was at the peril of extinction; where the white man held the knife and the yam and decided who blinked first – he or the Igbo man.

    Is Things Fall Apart a work that can still open our eyes to the realities of our time?  In doing the drawings the artists intended to use the idea to encourage people the more to show more interests in the issues and problems raised in the book.  Ikwuemesi who began this work with his colleagues many years ago enumerated some of the difficulties he encountered on the way.  “I am even surprised that I finished mine just last month.  There were times I could not even find the time and the inspiration to go on.  There were nights, however, when I did two to three works and it ended there,” he remonstrated.

    There were also moments when as an artist, he felt that travelling out could help him to accelerate the works.  “On a number of occasions I had the drawings in my suitcase, with pen and everything hoping that if I got to some place I’d be able to draw.  But after two or three weeks, the inspiration would not come.  There were other drawings which I did and ended up not liking and I would come back to see that what I captured did not do justice to the project.  So, I had a few drawings I discarded and in the process did new ones to replace them.  Those works may be better in the sight of other people, but they were not to me,” Ikwuemesi said.

    It was such hitches as this that really delayed the completion and public presentation of the project.  At the Quintessence Gallery where they are currently mounted, his works portray a harvest of ideas that speak volumes and pierce the heart.  The drawings tell the story in more vivid forms and bring out emotions long forgotten.

    And as an Ogidi man, how does this affect Ikwuemesi himself who also confessed that somehow nostalgia contributed to the drive to do the project.  “Some of the issues raised in Things Fall Apart are peculiar to Ogidi, no doubt.  But generally, they pertain to the Igbo cultures and the issues that are shared by the Igbo in general.  However, when you look at it from a very minute level, Achebe could have been writing a kind of autobiography if you like.  It is however not that kind of autobiography where you are talking about yourself but about your birth place, origin and cradle.  Achebe is talking about his own personal experience, something you’ve lived and been part of.  It is from that perspective that I feel so much connected with the novel.  Some of the places, some of the ideas and issues and taboos in the book are known to me.  Some of those issues still exist today in our place.  So, I have that sense of personal connection and it is because Achebe and I come from the same place…  Also my father and grandfather shared some of those moments with Achebe.  So there they are in Ogidi, our cradle and there are some of the things we see today.”

    So, as the exhibition continues, it is proper to see the importance of Things Fall Apart within the context it was written.  The drawings are necessary embellishments to add value to the scenes for more concerted appreciation.

  • The magic of  photographs

    The magic of photographs

    It was Andreas Broundoni, an international photographer from Austria who once said, “whenever I look at the photographic works, alienated as they might be, all I see are snapshots of reality – nothing artificial, that is, since the raw material, the moment when the finger pressed the release, appears as proof of the real existence of what I see on the photograph.  And I believe what I see.  That naïve faith can neither be shaken by smart computers nor by skillful manual montage.”

    This has indeed described the photographic images of Boju – Boju, a photo – installation by Akin Akinwande which has just ended in Lagos.  The photographs, drawn mainly from his repertoire of images on masquerades and masks based on the Oro festival shows how deep he has become in his chosen career.  The one week exhibition offered the public enough time to view the different pictures of a festival well-known in most parts of the Western part of Nigeria.

    Boju – Boju therefore was a carefully chosen title to bring out the follies in the pictures and what the masks stand for.  On the main point of the event, Akinwande opined that he dwelt on duality, and multifaceted layers of the human reality.  He took it a bit higher by inculcating the concepts of perception.  He showed that with his works, just like most works of photography often manifests “time is distant whereas space is present.”

    Therefore Boju-Boju which took Akinwande a while to package drew attention to some of the cultural themes that may soon go extinct, if proper care is not taken to preserve them through documentation.  Photography indeed serves for the sake of posterity the needs of ideal documentary evidence.  In other words, it helps, in most known cases, “forensic experts, intelligence operatives, scientific and anthropologists to keep records of evidence or document unique examples and references,” so says Frank Ugiomoh, a scholar and sculptor.

    Akinwande took the metaphor of Boju-Boju a bit further, for it is also a traditional game played in Yorubaland.  It is an adaptation of hid and seek and this was why he cleverly and professionally created these overlapping thoughts and themes into his work.  As an artist, he was too clear as to what he intended to do with the masquerade ideas of his work.  He was able to highlight, for the sake of deeper effects, the focal points of a social spectrum and using same to address certain phenomena that often stare people in the face.

    It was through this way that he was able to hold viewers spellbound while the exhibition lasted.  The entire 100 works on display focused on the aura of Oro, on the thematic thrust of a tradition that signifies the heritage of a people.  The photographs were not only illustrative, they could be taken one at a time to show the historical narrative of the Oro festival before it began to be infiltrated by modernity.

    A graduate of Architecture from Covenant University, Akinwande took to photography to express his journey of life through what pertains to the people most.  It is to afford him that free and unadulterated freedom to be creative in the way he deems best for himself and for the society.  Part of his dream is to fulfill the mantra in photography that says: “Photography creates objects that are often extractions from a given space and time…  This is to affirm in obvious sense the status of the object in the narrative engagements called art history.”

    As the photo-exhibition ended last week, the lessons in it were too many to forget.  It was to show the people how the love and lure of the art can transcend time and age.  It also proved that photography is fast encroaching on the conscience of the society as a formidable means for historical documentations and lots more.

  • Uchay Chima tackles environmentalissues with Revisions

    Uchay Chima tackles environmentalissues with Revisions

    With the discourse on environmental degradation and social anomalies still ongoing, Nigerian artist, Uchay Chima has taken a stand in his ongoing solo art exhibition Revisions which opened on Friday, June 5, at the SugarCube Building, Denver, United States of America (USA),

    Featuring over thirty works comprising a selection of his recent mixed media works such as charcoal briquettes, newspaper scraps, and twine, the exhibition runs until August 28.

    Chima described the opening as one of his best so far. “The hall was filled with people, it was a massive opening,” said the Institute of Management and Technology (IMT) Enugu, graduate.

    He also explains why the works on display focus on social and environmental issues. “I am interested in social and environmental issues. When working on environmental issues, lots of things flood my mind. In an era where global upheaval, whether nature, economic or social are the issues of the day, I am of the view that humans have contributed to a large extent to the cause of environmental degradation, and it will also require the contribution of humans to fight these ills,” he said.

    With new techniques and styles emerging on a daily basis, more Nigerian artists have chosen to break of the confines of the regular, experimenting with other media. Chima belongs to that school. “I want to create art that can be appreciated anywhere in the world,” he said.

    To his credit, Chima has exhibited his works in prominent galleries in Nigeria, South Africa, the United States, and Canada. Curated by Janine Sytsma, the exhibition is put together by the staff of the SugarCube Building.

    Sytsma described the transformation process represented in Chima’s works as one where “devastation becomes the catalyst for reinvention.” Using materials from his Nigerian environment, Systma says, Chima responds to various socio-political issues, from environmental disasters to social injustices.

    “Chima acknowledges a history of degradation in Nigeria and elsewhere, but refuses to allow that history to define the current reality. Instead, he imbues his works with a sense of beauty, hope, and promise,” explains Sytsma.

  • ‘Mum almost aborted me’

    ‘Mum almost aborted me’

    Author of two commendable books, Dickson Ekhaguere, tells Medinat Kanabe the story of his struggle in life, his difficult childhood, and how he almost never was.

    BUT for providence and the intervention of his aunt, who halted arrangements to abort his pregnancy, Dickson Ekhaguere would never have been born to this world and his blossoming talent as a playwright would not have had the opportunity of expression.

    Sharing the story of his life, Ekhaguere, who has written two commendable books, Unstable, a play  and wealth- a children’s book, said life has not been fair to him. Aside escaping into this world by the whiskers, Ekhaguere said life has really never been fair to him, saying he did not have a fair share of childhood. “My father and mother were never married. They had an intimate relationship which led to her getting pregnant, but which automatically ended their relationship because my father was already married.

    “My mother’s family thought my mother was too young to have a child, so they concluded arrangements to abort the pregnancy. According to my mother, they went to some hospitals, where the doctors turned down their requests because they didn’t want to be involved in abortion, but later got a doctor who accepted to abort the pregnancy.

    “Fortunately, my mother’s sister who was against the arrangement thwarted their plans at the last minute by volunteering to take care of my mother and I.

     “However, the problem did not end after I was born. My benevolent aunty had seven children at that time and all she had was a petty trade. To assist the family, I hawked everything my aunty sold such as tubers of yam, plantain, cassava, onion, pineapple, cocoyam, potato and other things.

    I also assisted her in frying bean cake in the morning before going to school; and when I get back from school, I also hawk in the evening before going to bed.”

    Continuing, Ekhaguere said he almost could not make it to the university due to lack of money. His mother had also told him to forget about the university and enrol at a roadside computer school, but because he was determined, he took up different petty jobs and writing, which he began to demonstrate a flair for at a very early age. It was in the course of this that he met Mike Abiodun, publisher, Best Solution Books.

    “Mr Mike Abiodun, started to pay me for my works, so I was able to pay and write my JAMB examination.  It was when my mother and grandparent saw that I was determined to go to the university that they rescinded their initial position and decided to support me.”

    Describing his university experience, he said “It is not a period I want to go through ever again, for the pains and sufferings I went through could drown a whale.”

    Ekhaguere says his play, Unstable, published by Kraftbooks, Ibadan best describes his life and fear.

    “Writing Unstable was more than just writing a book or play. I dug deeper and farther beyond myself, beyond the physical into the spiritual, into the metaphysical and back to the physical. From the design of the book cover to the method used in writing the title, up to the choice of words and down to the main story itself.”

    He said “Maybe I should say I was inspired by my psychological concept or paradigm of success as a ‘whore’ vis a vis my life’s ordeal, or by the never-ending win-lose relationship between God and man.”

    Explaining the use of the word ‘whore’, Ekhaguere said, “Here is why I might use the word “whore” for success. I am from a very humble background and in search of success; but the more I go after this success, the more it drifts away from me, but stay with people who don’t work as hard as I do. This inspired the story.

    “Also on the aspect of God-man relationship; I saw God consistently giving so much for man, loosing and taking too much for the sake of man, just to have man find his way back to him, but unfortunately the reverse is the case as man keeps deviating, but yet God keeps going after him.”

    Asked who encouraged him to write, Ekhaguere who started writing at 13 and got his first pay at 16, said he believes encouragement has to come from within, adding that the inner encouragement births the outer.

    “If you do not have anything for people to see and encourage, they cannot encourage you. So first, I encouraged myself. Also, Mr Abiodun really encouraged me at the very early stage of my writing career; seeing sense where I felt there was none, telling me to send more of my writings to him, whilst he sent me money.

    He and my grandparents who are late now, with my friend Emeka Dumnoi, encouraged me.

     “At a point in the early stage of my writing career, I almost gave up. I had gone to a publisher in my usual style of going from one publisher to the other and the publisher collected my work and asked me to come back after two weeks. I called him after two weeks and he asked me to come over. I was broke financially, so I had to trek a very long distance under the scorching sun to go see him. On getting there, he criticised my book so much so that I told myself I was never going to write again.

    “But there are things that you can never ever leave behind; and that is your passion. So I continued until I met Mr Abiodun, who appreciated my works and gave me room to grow.”

    On his inspiration, Ekhaguere said he is inspired by many things. One of them, he says, is his past experiences. “After the long relationship with Mr Abiodun went cold, I had to leave Akure and that was just three months or four after my Youth Service. I wanted to leave Akure but did not want to go back to my home state in Edo state; so I called my friend Hakeem Adeleke, who lives in Lagos.

    “Hakeem however told me there was a job opening where he worked, but that he could not guaranty me accommodation. I call everyone I knew in Lagos, friends and family, but no luck. Every one of my friends had just finished service like me and had yet to settle down on their own.

    “In the end, one of them told me that I could find a place to stay at the Mountain of Fire Ministry Prayer City Camp. It was quite funny at first, but I realised it was the only option left. So the next morning, I carried my ‘Ghana Must Go’ bag and headed for Lagos. I got to the camp and went to the hostel, but I had not settled in before I was forced out for not paying for the hostel accommodation. I resolved to go live in the open auditorium, where I slept sitting on one white seat, with my legs on the seat opposite. And then I would wake up very early in the morning, so I could steal into the hostel and take my bath before setting out for the day. Sometimes, if I couldn’t make it back to the camp from the city, I would look for another church that was observing a vigil and pass the night there. All of these inspired me. But above all, God is my inspiration.”

  • Larry Agose installed President of Lagos Rotary Club

    Larry Agose, former Nigerian Breweries image maker was recently honoured Adetutu Audu was there

    I was a night of music, fun and entertainment as Larry Agose, former image maker of Nigerian Breweries Plc, was installed as the 55th president of the Rotary Club of Lagos.

    The event which took place at the Metropolitan club, Kofo Abayomi Street, Victoria Island, Lagos, had in attendance several members of the club, including the immediate past president, Ayo Banjo, who bowed out in a blaze of glory.

    On hand to add spice and colour to the occasion was former Chief of Defence Staff, General Alexander Ogomudia, who was chairman of the occasion; and Chairman of the Board of Diamond Bank Plc Dr, Chris Ogbechie, who was guest speaker.

    Speaking after his investiture, Agose thanked his colleagues for their commitment to the club, stressing that they would strive to continue on the path of service to humanity in the coming Rotary Year.

    Listing the areas the club would be focusing on in the coming year; Agose said he has identified six areas, which include Basic Education and Literacy, Economic and Community Development, Disease Prevention and Treatment, and Water and Sanitation.

    Others, he said, are Conflict Resolution and Maternal and Child Health.

    He explained that these projects would cost the club almost N20million in the Rotary year and called on well-meaning Nigerians to support the worthy causes, for which Rotary Clubs worldwide are known.

    Out-going president, Ayo Banjo, while giving account of his stewardship and activities to the club in the last one year, said the club was involved in so many positive and life-changing activities.

    “We have had major accomplishments this year. We have taken the initiative of adopting a village in Ibeju Lekki and teaching about 5000 residents how to make money through vocations. We also adopted malnourished children and pregnant women in the village.”

    Speaking further on activities of the club in the last Rotary Year, Banjo said the club held an End of the Year Children’s Party for children of the Campos Square area of Lagos Island, while the club also “assisted three physically challenged students of the University of Lagos, as we provided them with N100,000 each to subsidise their tuition and cost of living for a full academic year.”

    He disclosed that the club also provided e-library to a public secondary school, in collaboration with the management of Dowen College, Lekki, which donated the sum of N1.5million for the project.

    He thanked those who have invested their time, funds and energy in helping the club achieve its objectives in the course of the year, stressing that without them, they would not have been able to achieve anything.

    Chairman of the occasion, General Alexander Ogomudia, praised the impact of Rotary Clubs on societies where they are found. He, however, lamented the dearth of moral and ethical standards in every aspect of the nation’s public and private lives.

    The guest speaker, Dr. Chris Ogbechie, on his part spoke on the joy of giving. He said in the spirit behind the Rotary philosophy, there is always gain in giving.

    The evening did not go without the thrills and frills of such occasions, as guests went home with fantastic prices after a raffle draw.

    The climax of this segment was when those who had bought raffle tickets waited with bated breaths for the winner of the star prize of an all expenses paid return tickets for two to the United Kingdom, to be announced. Other prizes won include microwave oven, blenders and juice mixers.

    The night did not end without a fund raiser by the club towards financing its projects in the coming year.

    The Rotary Year starts on July 1st of every year with the installation of a new president, and ends on June 30th of the following year.

  • Inner Wheel Nigeria celebrates first Nigerian International Vice President

    The national governing body of Inner Wheel Societies in Nigeria recently hosted the newly elected International Vice President, Oluyemisi Alatise, to a grand reception at the Sheraton Hotels and Towers, Ikeja, Lagos. In the gathering were dignitaries, past presidents and their spouses and other top members. Dressed in a yellow and blue uniform that had the society logo inscribed on it, they sang, danced and rejoiced. A giant portrait of Alatise was later unveil and presented to her.

    In her response, Alatise said “I feel so excited, very excited and I feel grateful to God. It is not all merit that is awarded, it is not all goodness that is recognized and it is not all hard work that gets recognized. I give praise to almighty God”.

    She advised Nigerian women aiming for the top to always “be committed. Anything you have passion for, do it with all honesty and be kind. I believe in the law of Karma, what you sow, you reap. Nigeria as a country is on top of Inner Wheel and I believe that our women will also get to the top of mainstream politics in Nigeria soon. At the last International convention in Copenhagen, I was very happy. I was elated to have been presented to over 2500 delegates from 56 countries. I felt proud as a black woman, I felt proud as a Nigerian. I have been participating in conventions for over 25 years”.

    On her part, High Chief Winifred Awosika, a member of the association’s board, commended all the women for a job well done. She also revealed that it was Mrs. Alatise who installed her as the Chartered President of the Inner Wheel Club, Opebi.

    Turning to Alatise, she said “If we have people like you in Nigeria exhibiting this kind of selfless love, Nigeria would be a better place. In our little corner, we are doing well and touching the lives of others. In those days, we didn’t think of greed or tribe. All of you have been working silently. God would continue to bless us and crown all our efforts. Yemisi, you will shine and reach the top and we will always be proud of you.”

  • ‘My father was a ‘gorgeous’ monarch’

    ‘My father was a ‘gorgeous’ monarch’

    Thirty-five years after, Prince Aderounmu Ishola Aderemi speaks to Taiwo Abiodun on the myths and legends surrounding his father, the late Ooni of Ife, Sir Titus Martins Tadeniawo Adesoji Aderemi. He also spoke on other critical issues of the time, including the location of the Western Nigeria University in Ife, the relationship amongst obas and elites of the time, their children and his Christian belief.

    For lovers and followers of Nigerian politics and history, the name, Oba (Sir) Adesoji Aderemi, Knight Commander of the Order of St. Michael and St. George (KCMG), Commander of the Order of the Niger (CON), first African Governor of Western Nigeria (1960) and the late Ooni of Ife, reputed to be the origin and source of the Yoruba race, can never be forgotten. Last week, precisely July 3rd, made it 35 years since the iconic traditional ruler joined his ancestors, and his children and entire royal family spared no cost at celebrating him yet again.

    The late monarch, Sir Titus Martins Tadeniawo Adesoji Aderemi, was a member of Nigeria’s first Federal Legislative Council convened in 1947. He was a member of the Nigerian delegates to the first African Conference at Lancaster House, London in 1948. He was also a member of Nigeria’s first Cabinet in 1951, and a delegate to all Constitutional Conferences until the attainment of independence in 1960.

    His last moments

    Prince Aderounmu Ishola Aderemi, one of the elderly male children of the late monarch and the family’s spokesman, described his late father as the longest reigning Yoruba monarch, having ruled for 50 years (1930-1980). Said Prince Aderounmu (now in his 70s), “I was very close to him while he was on the throne before I went to England and also when I came back. I also stayed with him until he died – I was by his bedside when he breathed his last. It happened suddenly that day after he had had his lunch. He just had an attack and passed on. That is why I have over 5,500 portraits of him in my compound here.

    Aderounmi continued; “My father had premonitions of his death. Two strange things happened to him. He was on his sick bed, when the news came to him that one of his executors had died. The man was a very prominent person in the town and was like a son to my father, so he was not happy. He wondered how a man like that could die, while he was still alive. My father was old and he was fond of the proverb, ‘If somebody stays too long in the toilet, different kinds of flies would perch on him.’ At times he would mock death, and say: Where is thy power, death?

    “In the early 1970s, there was also a case of somebody whose child was kidnapped right in his presence. He was told to release one of his children; otherwise they (the kidnappers) would kill all of them. Although the matter was quickly reported to the police and the kidnappers were apprehended, my father, though still in government, felt that was too brazen and wondered what the world was turning to.

    “Those two episodes perplexed him and made him feel strongly that he had seen it all.”

    The gorgeous monarch

    When reminded that the late Ooni was one of the very flamboyant Obas of his time, Prince Aderounmu took serious exception. He said “That word is derogatory. What do you mean by flamboyant? You use the word gorgeous. That has more respect. Flamboyant is to throw yourself. I will show you his picture before he became an Oba. He had been dressing like a king. And he was fabulously rich. He was the first Nigerian to be appointed Instructor of Railways (Signal); he was a big merchant of cocoa, gold and transport, before he became the Oba. He was popular, gorgeous and loved by people.”

    On the many myths about him

    Asked to comment on the many myths surrounding the personality of his late father, some of which claimed that he had metaphysical powers to transform into wild animals like lion, cat and other animals in the face of danger, and also look young even in old age, the prince burst into a big laughter and said, “It is all rumours.”

    He continued: “People say it before me too. If he was using ajidewe (a magical power that makes one look young even in old age), I would know. Our father loved us and he had no hidden agenda. He was open to all of us and dressed before us. In fact, his bedroom was open 24 hours, so I can tell you authoritatively that he did not use anything. People just feared and respected him because of his position, charisma and frankness. If I respect you and I’m sitting before you, I may not rest my back on the chair. Hardly would you see any Oba of his time, rest their back on the chair, while sitting with my father; except the late Alake, Oba Ademola Oladapo, who was very close to my father and older. They loved each other and my father called him Baba.”

    Crisis of locating the University to Ife

    Regarding the rumoured controversy over the location of the University of Ife, which the late Olowo of Owo, Sir Olateru Olagbegi II had wanted the Western Nigerian Government to locate in Owo, (now Ondo State) and which the late Ooni was said to have hijacked for his domain, Prince Aderounmu said “There was no crisis. It was a disagreement or mixed up. Owo was not even on the list of places to site the university. Three places were suggested then: Akure, Ekiti and Ijebu. Ijebu was automatically knocked off because of its closeness to Ibadan. Don’t forget that there was already one university in Ibadan. The two remaining towns were Ekiti and Akure; and the people fighting over it were those in the Executive Council: Akindeko, Osuntokun and others. So Owo was not among the towns being considered.”

    While the tussle continued, the prince said news got to his father, who then called to tell the late Chief Awolowo that he was interested in having the university located in Ile-Ife. “My father was the governor then, while Akintola was the premier and Chief Awolowo was the Leader of the Opposition; so Chief Awolowo called the premier that kabiyesi wanted the institution in Ife, and Akintola simply said ‘No problem sir.’ So Akintola simply announced at the next Executive Council meeting that there had been another development, and that the university Ekiti and Akure were fighting for would now be located in Ile-Ife.

    “Naturally that sparked off another confusion, with the Ijebus saying ‘Why Ife?’ And that it was the same distance from Ibadan to Ife and Ijebu-Ode, but Akintola simply replied that ‘Baba Ooni wanted it, Baba Ooni has taken it.”

    Interestingly, Prince Aderounmu revealed that the well documented squabbles and political disagreement amongst these principal characters of the time never really affected the relationship of their children. “The Late Chief Wole Awolowo was my classmate; he was my very good friend even till his last days on his sick bed. When we were at Ibadan Grammar School, I used to go to their house to eat. His sister, Tola Oyediran, was my sister’s friend, while the late Segun Awolowo was my brother’s classmate at Igbobi College, Lagos. We were also very close to Papa Awolowo; he loved us so much; my father also loved Chief Awolowo as if there was nobody else in this world. But we weren’t so close to the Akintolas; although we knew each other. I knew Yomi and Modele; and Ladi was my very good friend in England.

    “We were very close to the Olagbegis as well. I know Dr. Fola, who is now the Olowo; and also Yanju. Even the crisis that led to the exile of their father didn’t affect both our fathers’ relationship with each other. He (the late Sir Olateru Olagbegi II) used to say ‘Baba feran mi pupo,’ meaning ‘Daddy (the late Ooni) loved me so much.’ He was like a son to my late father.”

    Knocks for today’s royal fathers

    Prince Aderounmu is not happy with the present crop of royal fathers, whom he says have degraded the royal stool and also lack the charisma of royal fathers of yesteryears, like his late father, the late Olowo of Owo, Sir Olateru Olagbegi II, the Alafin Ladigbolu, Oba Akenzua of Benin, King Jaja of Opobo, the late Emir of Kano, and the Sardauna of Sokoto. The Prince admonished the royal fathers of today, whom he said, are busy chasing after contracts. “How can you, an Oba, be chasing after contracts?’ He asked. My father did not run after contract. Chief Awolowo said it; even Chief Akintola once wondered why my father went for the royal stool, because he was already very successful in business. He was the first Oba to use Rose Royce in Nigeria.”

    Would he like to become the Ooni in the future?

    “Every prince automatically wants to become an Oba, because they have the blue blood and had seen their fathers perform,” said the prince. “But the choice is of the royal house and the council of chiefs. However, it is not in my interest. Most of my friends wish I would become Oba someday; one even told me he would spend billions of naira on the course, if need be; but I always say that I am not interested because I am a born again Christian. I am not sure my Christianity will allow me to go in line with it.”

    He however added “If by destiny or by the wish of God I become the Ooni, I will push for development, because a lot of things are happening in Ile-Ife that brings backwardness. This idol worshipping of a thing is bringing backwardness. Can we say we don’t want light now and that what we want is the oil lamp? You can’t make something with your hand and start worshiping it. It is stupid and does not make any sense. Most of the things that they used to do that can bring backwardness to the town must be stopped,” he said.

    Spreading the gospel among royal fathers

    The Prince revealed that he has also extended the gospel to some royal fathers, who have also become born again on account of his preaching. He said: “Most of them became Christians because I was going round, and giving testimonies of my new birth. Some even speak in tongue now. But one has to be very careful as well. Take for example the case of the Oba of Irun Akoko, who is a good Christian. There was crisis when his people told him he either continued the idol worship or leave the throne some years ago. The man said ‘No, I have the right to worship what I like.’ It got to a level where they wanted to kill him; so I went to see him in his palace. When I got to Irun, the whole town was deserted. I went to Governor Bamidele Olumilua and explained the situation to him, and in the end, the town was told that everybody is free to practice his own religion, and that nobody should be forced to perform any worship against their wish.

    “My father was a devoted Christian too; he built the St. Peter’s Anglican Church (aka Church Oba) and prayed three times daily. My father also built the first palace in 1937. The palace is in the new palace till the present moment.”