Category: Arts & Life

  • Akinleye preserves each passing day

    Akinleye preserves each passing day

    Photography is life and you cannot do without life” said iconic photojournalist, Akintunde Akinleye, at the opening reception of his second solo photo exhibition which opened over the weekend at Red Door Gallery in Victoria Island, Lagos.

    In this ongoing show, Akinleye captured the daily activities of a common Nigerian man including some unpleasant events such as petrol pipeline explosion in 2006 at Abule-Egba, which killed many people; titled Hell from Heaven. This very piece got him a World Press Photo award in 2007. The images Akinleye took at the scene of crashed Arik plane sight in Iju Ishaga, 2012, were also presented to the viewer in large frames.  You could see the firemen trying to put out the fire from the crashed plane. The exhibition runs till May 3.

    He went further to document the people who work so hard for their daily bread but are unnoticed; this he titled: Lagos Sand Merchants; focusing Jonas James who scoops sand from Lagos Lagoon on daily bases.“I began documenting this set of Nigerian residents in 2007 but would not go deeper than the on-shore for obvious reasons. At a ripe-time, in September, 2011, I sailed deep into the Lagoon with the Lagos sand merchants to satisfy my curiosity,” he said.

    The exhibition covered important aspect of life: youth, women empowerment, educational, street economics and rapidly transforming landscape.

    Each Passing Day he said “is a selected work. It is not like a full story of a particular theme. It comes from many documentary projects, a selection of few works I have done in the past. This is something I am showcasing in this exhibition, instead of showing one straight jacket story; I want to show something, more stories. The titled was also inspired by a man passing through a bridge.”

    Akinleye ability to recorded decisive moments, frame within frame, patterns, high and low angle shots, shades and colours, is very impressive. “I work like a hunter. A hunter has to be at alert all the time. You have to be very observant. Decisive moment is also part of the story each passing day, as time passes you cannot recover it. So you have to be at alert for that moment, to capture them so that people can relate with them because everybody cannot go to the field to get it, but I can go to the field to get the story, then share it with people, with my society, about what is going on, what has cured and what needs to be put in place.”

    The exhibition hall witnessed ocean of people who came to view the interesting images which took Akinleye fifteen years of hard work to gather. Entitled: Each Passing Day. “There are all sorts of activities going on in each passing day. That is the reason I titled the exhibition Each Passing Day, so that people can relate with virtually some of the works,” he explained.

    However, he said he never planned to be a photojournalist. “I had loved broadcasting, and nurtured dreams since childhood of being a radio or TV correspondent, but by some unpleasant arrangements, I started learning the rudiment of photography at the age of 11,” he revealed.

    Akinleye can boast of thousand of works including awards such as National Geographic Society. Photography to him “is not just about the financial value. What is more paramount to me is the vision, I want to write my name in history because history is everything you live for. I want to put my own positive impact on the society so that people can say there was a young man, a photographer, that just pass through this phase and that is just my mission.

    Today his works have gone far and far from but the story was different eight years ago. “Galleries were not willing to accept my works. I was not known and nobody was will to corroborate with me, I felt I have to force in myself and I was able to pull the first show through based on that determination. I am more experienced now and my archive is bigger.”

     

  • Satchmo’s Jazzfest honours Armstrong

    Satchmo’s Jazzfest honours Armstrong

    For four days (music enthusiasts in Lagos especially Jazz, will savour the exciting package of this year’s SATHCMO’s Jazzfest, a UNESCO International Jazz Day celebration opening tomorrow April 30 till May3, at about 20 venues across the city. Among the venues for the festival are Oceanview Marque, Victoria Island, Lagos, Oriental Hotel, German Consulate-General, AERA GQ, Queens Drive, Ikoyi and Miliki. Other venues are Four Points Sheraton, Wine House, Ikoyi, Banana Island Café, Angle Villa, Lekki Phase I.

    The festival which will feature jazz film screening and talk by Sunara Begum will also feature over 50 performances by international and local jazz musicians such as Jonathan Butler, Somi, Tunde Jegede and Nomadic Mystics,   HKB FiNN Trio, Kasse Mady and ACM Ensemble, Cleveland Watkiss. Others are Trio Ivoire, Yemi Sax, Kwitee and the Hot Seven. The works to be screened include Blue Note, Last song before the war and Play your own thing.

    In November 2011, UNESCO General Conference proclaimed April 30 as International Jazz Day to celebrate the virtues of Jazz as an educational tool and a powerful force for peace, unity, dialogue and enhanced cooperation among people.

    According to the organisers, the SATCHMO’s Jazzfest (an annual four-day musical phenomenon) is a collaborative celebration of the unifying and uplifting spirit of Jazz, a response to UNESCO’s initiative while celebrating Nigeria’s jazz legacy as well as (Louis Armstrong) Satchmo’s tireless efforts to promote jazz throughout Africa. Armstrong was a legendary jazz musician, world renowned trumpeter, bandleader singer and soloist. His name was synonymous with Jazz music globally.

    “Throughout the year, the festival will sponsor and support the community with free musical educational programmes implemented by the Satchmo Residence in Lagos Island and at the MUSON Centre in collaboration with the Thelonius Monk Institute of Jazz. These programmes will enrich the lives of hundreds of children and their families. Your support will help young people access musical learning, particularly supporting undeserved students and young people and adults with special needs,” the organisers said. SATCHMO’s Jazzfest philosophy is to engage with the city of Lagos and do much more than hold great performances at main venues.

    At a lecture titled: 70 Years of Jazz in Nigeria by jazz historian Emeka Keazor at the Goethe Institut, Lagos the pioneering efforts of some leading jazz musicians were highlighted as well as the evolution of the genre into several brands of mix-bag music such as highlife and Afrobeat.

    Keazor took the select audience down memory lane in his presentation that highlighted major contributions of some leading Nigerian jazz artists to the growth of the music genre. He recalled the great works of artistes such as Maud Meyer, Ambrose Campbell, Mike Falana, Fela Kuti, Solomon Ilori, Bayo Martins, Bala Miller, Gboyega Adelaja, Aleke Kanonu and Mary Ali Usuah.

    Renowned music critic, Mr. Benson Idonije said Nigeria’s romance with jazz music began as far back as the 1940s after the Second World War with the home-coming from overseas of such names such as Bobby Benson, Tunde Amuwo, Bob Edwards and Willy Payne among others. He noted that they started by mimicking the big band sounds of Glen Miller and Benny Goodman, the guitar virtuosity of Charlie Christian, the saxophone sounds of Coleman Hawkins and Earl Bostic-who seemed to have influenced them.

    He however noted that jazz was not the bands’ main preoccupation as they played a mixed bag that also included calypso, Latin-American stuff, jive, dance music of the ball room type such as waltz, quickstep, tango, fox trot and even highlife.

    “However, to underscore the fascination they had for jazz, almost all these early bands adopted jazz tunes for self identification: Bobby Benson Jam Session had the standard, Soft Winds as its signature tune while Tunde Amuwo adopted the classic Seven Eleven. Even E.T Mensah’s Tempos Band which was the model settled for the classic, Tiger Rag,” he said.

    Idonije said two groups created an ideal atmosphere for jazz in Lagos on account of the alternative they provided jazz aficionados, noting that while the Fela Ransome-Kuti Quintet, in its modern jazz setting, played such tunes as Bags groove, Billy Bounce, But not for me and Errol Garner’s Misty which were identified with contemporary times, The Preachers, a ‘Mainstream’ jazz outfit entertained its audience with such tunes of the swing era as Pedido, C.Jam Blues.

    According to Idonije, the Fela Ransome Kuti Quintet transformed to the Koola Lobitos in April 1965 while the reformed Preachers carried on actively under the leadership of Art Alade. He said many thought that Fela’s jazz music would give way to free-wheeling, conventional highlife but they were disappointed.

  • Road to Sambisa is here

    Road to Sambisa is here

    Until a year ago, the name Sambisa was relatively unknown among Nigerians, especially the youths of the Southern extraction. Today, Sambisa is as popular as a telephone handset in and outside Nigeria, no thanks to the unfortunate kidnap of 276 students of Government Secondary School, Chibok, near Maiduguri in Borno State by Islamic terrorist group, Boko Haram, and were taken to Sambisa forest.

    In spite of the outcry from local and international human rights activists, the hope of rescuing the kidnapped Chibok girls dwindles by the day as the joint military operation in the troubled zone of Northeast is not giving enough convincing message on the recovery of the girls. Even the President-Elect Gen Muhammadu Buhari said last week that he could not promise finding the girls. “We do not know if the Chibok girls can be rescued. Their whereabouts remain unknown. As much as I wish to, I cannot promise that we can find them,” he said.

    But in Lagos, 33 children from some schools in Lagos State under The Vision of the Child segment at the on-going Lagos Black Heritage Festival are expressing themselves in words and visuals what they understand by the phrase The Road to Sambisa.

    Mindful of the entitlement of the young generation and to remind the adult world of the brimful of talent that ensures artistic continuity and innovation, the festival brought in an innovation-to allow the children to capture their thoughts about Sambisa in words and in images.

    Last Saturday, 33 paintings and drawings by these children were displayed at an exhibition titled: The Road to Sambisa opened by Governor Babatunde Fashola represented by Lagos State Commissioner for Tourism and Inter-Government Relations, Mr. Disun Holloway. Venue was the Kongi’s Harvest Art Gallery, Freedom Park, Lagos.

    In all the selected exhibits, the children capture the reality of the kidnapped girls by depicting the agony, pain, torture, loneliness and trauma the girls could be going through in the hands of the Islamic sect in Sambisa forest. The children use effective colours and imageries to reflect how they feel about their fellow students as well as imagine the intimidating and scaring masks of the armed militants. Others such as dark cloud, birds, chains, forest arms and ammunitions are what the children play on to form the content of their works.

    Commentaries such as the followings speak volume of the outpouring of the 33 exhibiting children. In painting 27, the child artist says: “I have drawn a picture of a child dying in his mother’s hands. Boko Haram has killed many children. Poisoned the child when he was sleeping, but his mother woke up and Boko Haram was out of sight. It was the deadliest night ever.”

    In painting 9, the child uses trees to represent the girls, who he feels may not be found. The red paint rushing out of the trees represent the agony and pains of the missing girls. On the foreground are skulls that represent the dead among the girls.

    But painting 13 is very instructive. The painting depicts a lost girl sitting and crying in the forest though escaped from Boko Haram. Sitting lonely the girl recalls all the bad things she went through in the hands of Boko Haram- a pitiable sight, indeed.

  • Akalaka: A refreshing menu from East

    Akalaka: A refreshing menu from East

    For the first time in a long while, a joint exhibition of works that dwell on the rich heritage of Igbo culture especially the Uli, is being held in Lagos as a post-elections menu for Lagos arts connoisseurs. Interestingly, the two renowned artists-Tayo Adenaike and Obiora Anidi, are no strangers to Lagos exhibition circuit, but it is a home-coming of a sort for the duo. In fact, for over 20 years neither of the two has held any art exhibition in Lagos. So, it was ‘destined’ for the duo to be in Lagos this season in tandem with the title of the exhibition, Akalaka: Lines of destiny.

    Last Monday, Akalaka…opened at the Wheatbaker Hotel, Ikoyi Lagos featuring 20 works from each  artists, who are Enugu-based. Expectedly, the two artists are presenting works in their area of strength-water colour and sculpture, to express their minds among others on issues of national interest and humanity in general. While Adenaike presented water colour paintings Anidi presented black and white sculptural mix of metal, cement and marble.

    The exhibition, which will run till July 15, is co-sponsored by Global Energy Company Ltd and Ruinart.

    Adenaike and Anidi are part of the Uli art movement, which originated at the famous Nsukka Art School of the 1970s and 1980s, spearheaded by internationally acclaimed Prof Uche Okeke of the University of Nigeria, Nsukka. Akalaka, literally means ‘the lines on the palm of your hand” connoting destiny in Igbo, is showing works, which draw inspiration from  ‘a repertoire of Uli motifs found largely in Igbo land, which is a dying art form; it was solely the preserve of women, who either used it for body adornment or wall decorations of sacred shrines,’ Adenaike explained.

    The duo, who last held a joint show at the Italian Cultural Centre, Lagos over 30 years ago, have created an unforgettable, powerful visual language that though expressed in different media, shared a deep congruity even in messages.

    Anidi expressed himself through the sculptures with which he deftly intertwined with thin strips of metal to create unusual and powerful sculptures reminiscent of the ancient Egyptian renaissance while clearly drawing on important Uli and Nsibidi traditions. He literarily used these motifs as carriers of his conceptual thinking in his works. Similarly, Adenaike’s water colour paintings have over the years transformed into a commune of Uli, Nsibidi motifs and Yoruba oral traditions though without concern for their spiritual or cult interpretations.

    In Ekwu Ito…trinity of the extended family, a three-legged sculpture, Anidi demonstrated his profound simplicity. The work clearly showed a strong external family structure harbouring deft internal politics and alignment.

    Also, in Our Hope Lies in the Begotten Son, there was an incredible, beautiful interplay of thoughts and expressions across starkly different media, but showed the poetry and symbolic significance of Adenaike’s layered visual echoes.

    In fact, his layered human forms with their intense expressions reminded viewers of the complex tension between emotion and the spirit, which coud be seen in perfect alignment with Anidi’s concave spaces and solid marble planes representing symbiotic relationships, beautifully intertwined with metal accents; both artists echoed the interplay between existential perceptions vis-a-vis physical form and energy, and the traditions as well as the restrictions of culture and society.

    Adenaike who runs a successful advertising business in Enugu, said he paints mostly at night and on weekends as he does not live on his paintings. “I paint for the joy of painting, just like a dancer would dance for the joy of dancing.  If in the process of painting I have enough work to display for public viewing and I get applauded or chastised, neither response would make me to stop painting. Painting to me is like writing, you keep writing because of the joy you derive from writing,” he said.

    On what he paints, he said: “I will be a happier person if my paintings are actually not titled. I do not like the idea of people thinking along with me. I want people to feel free and think for themselves. I want people to see themselves and judge themselves in my work.”

    Sandra Mbanefo Obiago, who curated the show, noted that it was important that ‘we celebrate the works of artists who have had a major influence on Nigerian art, and don’t enjoy the same local exposure as Lagos or Abuja based artists. Akalaka presents two master artists, amongst the best of contemporary Nigerian art, to a new generation of local art enthusiasts and collectors,’ she said at a preview session last week.

    Adenaike has lived in Eastern Nigeria for over 41 years and speaks Igbo fluently. He presented intricate works which reflected his dual ethnic heritage. He has taken part in over 62 exhibitions, mostly in the United States (US) and Germany, and his works are in the permanent collection of the Smithsonian Institute’s National Museum of African Art as well as in the “Museum der Weltkulturen” in Frankfurt Germany.

    Anidi, who is currently a Chief Lecturer at the Art Department, Enugu State College of Education (ESUT), graduated from the Institute of Management & Technology (IMT) Enugu in 1982, before pursuing graduate and post-graduate degrees in Educational Technology at the University of Nigeria, Nsukka and Enugu State University of Technology, respectively. Apart from showing in numerous exhibitions in the United States, Jamaica, Germany and Italy, Anidi co-founded the famous AKA Circle of Exhibiting Artists, along with Adenaike and other great artists from the Nsukka Art movement.

  • 360 Art Studio opens at Isolo

    360 Art Studio opens at Isolo

    Arts and photography studio, 360 Arts Shop has been opened at Block 118, Suite 3, Jakande Estate, Oke-Afa, Isolo Lagos. The official launch and opening ceremony which witnessed a gathering of art lovers was held penultimate Sunday and boasts of large format printing with its HD printing machine which is capable of printing life size photographs, photo shots and art collection.

    Aside from the large format print, there is an on-line arts shop, www.360artshop.com.  360 Art Shop is the first online art shop in Nigeria, solely dedicated to the sales of art works ranging from, painting, sculpture, photography, ceramics among others.

    The photography studio is a one stop shop for corporate and social events in and outside the studio environments. It is poised to revolutionize the marketing landscape of artworks in Nigeria and sub-Saharan Africa in general plus offering modern and affordable (creative + photography) studio space with multi-functionality in mind. The studio welcomes art collectors, photographers and creative minds alike.

    According to Washington Uba, 360 Arts Shop is to ‘help you search, appreciate and buy limited-edition prints in the pop and urban aesthetics at prices you can afford. 360 online gallery features a curated collection of works from prominent and upcoming artists. It’s for lovers of art, or those who simply want to taste the thrill of collecting.’

    360 Art Shop is also focused on the development of unique editions, supporting traditional techniques alongside modern mediums. Striking and affordable artworks is just a click away.

    Its vision statement is to become the largest online art hub in sub-Saharan Africa.

    Uba, an artist/photographer, the brain behind the new project had some of his works also exhibited during the event. Among the dignitaries in attendance during the occasion were Director, Corporate Communications, Daily Sun Newspapers Steve Nwosu and Mr Johnson Oladesu  and his wife, a lecturer at the Olabisi Onabanjo University, Ago Iwoye, Ogun State and a PhD student  of painting in ABU Zaria.

  • 2015 elections: How women became change agents

    2015 elections: How women became change agents

    If the just-concluded elections could be likened to a drama crafted by an invincible wordsmith, then the participants would be actors interpreting the ‘2015 election script’. In the many tales characterising the period, the role of womenfolk was grossly under-reported. Evelyn Osagie writes on the inputs of some women in Lagos in the making of the ‘2015 elections script’.

    Children with toys in hand scampered everywhere as movement and business activities were halted. The middle of streets/roads became makeshift playgrounds for football and other sports. The pin-drop silence in certain areas was torn to shreds by the sirens of police vans driving pass at intervals. It was holiday like no other. It was the 2015 election.

    The curtain may have fallen on yet another electoral process, but the many spectacles and side shows it paraded would be remembered by all.

    As men thronged out to vote, the women were also prepared for the occasion. They came decked in different attires. There was no room for merrymaking. It was a day Nigerian women chose who became leaders in the next political dispensation. And so, to the polling centres, each and everyone marched to cast their votes. And loud on the streets was “Change”.

     

    Voting percentage of women

     

    The percentage of women participating in election whether as voters or as politicians are usually relatively small compared to the men, according to the Gender In Nigeria (GIN) Report by the British Council, Lagos.

    This year’s was no different, but women rights activist Dr. Joe Okei-Odumakin decried this trend, adding that: “In recent times the roles of women have been reduced drastically to just voting in elections.”

    She said: “Although during the last elections, women voted massively in both the presidential and gubernatorial elections, generally, women’s participation in politics and electoral processes is still very poor in Nigeria. Although there are few increases here and there, compared to what we had in 1999, 2003 and 2007, there was a drop in 2011. And 2015 wasn’t that good too either.”

    Odumakin, who is the President Women Arise for Change Initiative,named maginalisation as a key factor behind the drop. “Unfortunately women seemed not prepared enough for the 2015 elections, although there might be slight victories compared to the representations in 2011. The reasons for this forecast is simple, women are still faced with the numerous challenges that have contributed to their being marginalised from mainstream politics. Though there is a growing awareness and resolve by women to influence the decisions that affect their lives and their families, the political, economy, social environment and the structure of the nation still define women’s political participation and representation,” she said.

     

    Why women vote

     

    In the just-concluded elections, some women in Ifako, a Lagos suburb, were undaunted by the challenges they face and their small population. They were determined to make their votes count.

    Mrs Ayeni was part of that percentage of women, who registered and were determined to make their votes count in 2015 elections. But what could have made her and other women  leave their homes and children very early on a sit-at-home holiday morning to queue up at a voting centre?

    “Change is the reason we, women, vote,” said Mrs Ayeni, a self-acclaimed women’s right advocate, who wanted her first name off the prints.

    “The election,” she said, “gave us the power to choose our next leaders and call them to accountability. We want leaders, who can understand our needs as women and make laws that would help us harness our potentials. We are very talented and need leaders to brush us up and use our talents to the fullest.”

    For Mrs Busola Ladipo, a businesswoman, 2015 election meant hope for her and her family. “Electing the right person would bring about change that would affect me and my family positively,” she said, adding: “We need a lot of changes in Nigeria. Election is not only a time to decide who would pilot the country, but the future of my children. That is why I have come out today to vote.”

     

    Fears before elections and effects on business

     

    Before the elections there were fears of violence because of provocative statements and hate messages by some politicians. This trend, Mrs Busola Ladipo said, affected her business negatively. “I am happy the elections went well. Before the elections, people were afraid because of past experiences of violence during elections. But in my area, a day before, people went about their businesses. However, market was dull because lots of people were uncertain and didn’t want to spend much,” she said.

    Speaking to Mrs Ladipo after the elections, she said, she was elated that some of those she voted for emerged winners. “I think the card reader made the election more credible. We hope they will not disappoint us,” she remarked.

     

    Centre where women received special treatment

     

    Women’s participation in political processes, gender experts say, is of strategic importance, “not only for women’s empowerment, but because it has wider benefits and impacts”.

    Dr Odumakin said: “Women in Nigeria played significant roles in the making of Nigeria’s democracy. During the pro-democracy struggle a good number of women, most especially, those in various higher institutions as at that time played active roles; they later graduated and worked closely with notable activists to achieve Nigeria’s democracy. They marched, protested and deployed their God-given talents and education to achieve what we have today.”

    In a joint agreement and to increase the participation of women in the area, the men and INEC officials of Ward 004 on Mojisola Street in Ifako-Ijaye Lagos, allowed women to be accredited and vote without having to join the long queue during the elections.

    Describing the gesture as “strategic”, Mrs Badmus, who also did not want her first name in print, observed: “I did not spend more than 10 minutes during my accreditation. Our men understood the importance of women in an election process and nation-building. Our role doesn’t only stop in making sure our families are properly taken care of, we must join hands to make our country better for our children’s sake.”

    On Mrs Ayeni’s part, the move showed that “Nigeria is moving forward”. She said: “The work of women, mothers, is never done. The centre made it very easy for us. They eased our work a lot. As I came to the centre, I was told to go to the front that women have been given special privilege today to do their accreditation and vote. We are grateful to the men in this area for such initiative; the gesture encouraged lots of women to come out as you can see today. We were able to quickly return to children, and prepare food for our husbands, who may not be returning home until after the election in the evening. Others should learn from this example,” .

     

    Business twist to civic duty

     

    Big Show, as she is popularly known in the area, perhaps, because of her size, had a different story. Located in front of a light brown three-storey building, Big Show’s open-air eatery spot, Temmy’s Corner, served as relief spot for voters, who arrived early to perform their civic duties.

    Queuing up to vote under the scourging sun can be dehydrating and energy-sapping. Temmy’s Corner, specialist in boiled noodles, was a big relief from hunger and thirst.

    Although that was not her usual spot on normal days, she took advantage of the long wait involved in the process to make some quick money, saying:  “I was moved by their plights and felt I should save the situation by providing them food.”

    Her real name is Temilade Olasunkanmi. She has a dream of owning one of the biggest eateries in the country someday. Temilade was one of many business-savvy folks, especially women, who used the period to make some quick money. So, while the country gained a new government, she also joined others like her to exploit the situation.

    Depending on each customer’s needs and for the right price, she provided quick noodle snack garnished with fried egg or boiled one.

    But providing food for customers was not the only item on Big Show’s list that morning. “I have my PVC. I am also here to vote. I have already been accredited and would vote later. This is not my usual spot, I just felt that if nothing is done to help the situation, our people would be very hungry today.  Some have left their homes – from far away Lekki – early to come here to vote and would not be returning until evening. That is why I chose to provide food,” she said.

    One of her customers, Mr Yemi Fashiku, in his 30s, came from Lekki that morning to vote. He said: “Thank God for her O. I had registered here, but relocated to Lekki. So, by 6am I left Lekki to come here to vote. The men in this area believe women have a great role to play in election. I praise INEC for the card readers. It is better, safer, easier and gives no room for rigging. But in the future INEC should ensure that no matter where we register, we can vote anywhere in the country as long as we have our PVCs.”

    “Big Show is helping to provide for the community. My sister, where would we have gone to find food today? And a lot of us came from very far away. I have come from Obawole far away since morning. Now, it is about noon. In fact, she should be praised for helping the election process go smoothly,” Sunday Anibire said.

    This reporter was unable to engage women from other polling centres in the area because her election monitoring programme was cut short due to a police arrest.

     

    Gender friendly environment needed

     

    The elections have ended with a record of progresses made since 2011. However, experts say, more needs to be done by INEC and the government to increase the percentage of women registering to vote. They advised that the newly elected administration should pay attention to the assertions of the GIN report. Although published in 2012, they say, it remains apt and valid to achieving gender parity in all spheres of the nationhood.

    With 49 per cent of Nigeria’s population as female (about 80.2 million girls and women), Dr Odumakin argued that any discussion about Nigeria’s future must entail consideration of girls and women, the role they play and the barriers they face. While the GIN report suggests that “a rethink is required with a two-pronged approach, which should combine building the capacity of women’s candidates and reform of the general political environment (violence, corruption, registration conditions”, Odumakin insisted that “the National Gender Policy remains the only persuasive document that can translate into a good negotiating instrument for concession for women”.

    Odumakin added: “Women in political parties must negotiate gender parity through the party system as a temporary measure. Women activists in Nigeria can mobilise around the policy, create awareness particularly, regarding the provisions relating to 35 per cent affirmative action and through this demand electoral accountability from political parties. Women activists and women politicians should explore the opportunities created by some gender friendly provisions in political parties’ manifestoes and constitutions to demand accountability for women.

    “There is need for a proactive identification and recruitment of women members with political potential for future elections. Another door of opportunity is for women activists to engage INEC. Besides campaigns for balanced gender representation in political decision-making positions, an integral part of the core of strategies for women’s political participation is building women’s agenda for change.”

  • ‘The Bible is my model’

    ‘The Bible is my model’

    A prolific writer, Soji Obebe, a director with the Ogun/Osun River Basin Development Authority, Abeokuta, Ogun State, is author of many novels.  His works include A Pot of Rot, A Mind to Atone, A Ticket for Regrets, Where Lies the Honour and many more.  He writes basically to correct many ills of the society and point a way forward for the younger generation.  In this interview held in Abeokuta, he shares his high and low moments as a writer with Edozie Udeze

    What sort of books do you like most?

    Yes, I have been writing for quite sometime now.  And the sort of books I read are those that can inspire.  Books that inspire me a lot; indeed books that have to do with life.  Books that have to do with challenges in life.  Books that will help me to overcome many problems of life.  Then I also like books that talk about the life of individuals and what they have encountered to stem the tide of life.  That is autobiographies.  Then I love to read novels generally; by this I mean thrillers.  I love to read them to get my inspiration as a writer.

    When you read a book, what are the salient things you look out for?

    The basic things I look out for are:  what are the interesting things the author is telling me.  What can I really learn from that book?  What is the primary message the author is trying to convey to me, to his readers.  Then after that, I look at the language.  As a writer myself, I try to look at the way the author makes use of his language skills, in order to deliver his message.  Then the style.  I like to look at the style of the author and how he manipulates words.  Another thing is the vocabulary.  I’d like to be conversant with his vocabulary and anytime I come across a new word I jot it down and then look it up in the dictionary.

    Who are your favourite authors?

    Ah! My favourite authors?  Oh, I would say in Nigeria, I love Chinua Achebe a lot.  Anybody can almost read him and understand him.  He writes with elegant simplicity.  Wole Soyinka too.  But it takes a lot of hectic time to read and comprehend him.  Although it can be very tasking reading him, I love to read him all the same.  Then I love John Grisham a lot.  I have read most of his books and I learnt a lot from him and the way he presents his ideas.  Also Sydney Sheldom, I love his works, just the way I also love to read Harold Robins, Jeffery Archer, and many of these popular and bestseller authors.  They handle issues of life with special attention that you’d also love to be like them when you write.

    When and where do you like to read?

    I like to read in any environment where there is silence.  It can be in my house; in my room.  It can even be in my office.  I read almost anywhere so long as there is no noise to distract me or distort my flow.  Where-ever there is absolute silence so that there will be no distraction.

    What is your preferred genre of literature?

    Oh, yes, my preferred genre of literature is prose.  Of course I do read poetry, but not as often as I read prose.  I even write prose because that is where my whole interest lies.  Then as for plays, I prefer watching plays on stage to see how they interpret life and handle the issues of the society.  It is usually better to watch plays on stage because it will afford you time to enjoy it better than when you’ve read the book.

    What inspires me most to write prose is that prose can be enjoyed by virtually everybody who can read.  But if you are not conversant with poetry you may not enjoy poetry.  It is likely to even put you off.  After reading two or three lines, you may get discouraged.

    What book has had the greatest impact on you and why?

    The book that has had the greatest impact on me?  Oh, the Bible, the Holy Book, I must confess.  Lots of stories, lots of life experiences are contained in the Holy Bible.  After reading it, if you are the type that thinks or reflects you begin to be inspired by it.  Oh, it is a great book indeed.  You gain a lot from the Bible and that is why I read it often and often.  I also love inspirational books that teach how to handle and deal with life challenges.  I have read as The Man Thinketh and so many of them I cannot readily recollect.

    While growing up what books tripped you most?

    Oh, okay, I read Oliver Twist a lot, several times over.  I read it when I was growing up.  The book taught me a lot and I began to imagine how the character was created.  You see, the person of Oliver Twist interested me a lot that I also began to create another character in my imagination.  I also read David Copperfield, another character that impressed me to no end.  These were some of the books I read in forms one and two.  They really became sort of eye-opener to me then.

    Even though some of them were prescribed books, I derived pleasure in reading others that were not prescribed.  I saw the world through them and thereafter I began to develop interest in African Writers’ Series.

    At what point in your life did you begin to nurse the idea of becoming a writer?

    Oh, right from secondary school.  When I wrote my essays in secondary school, my English teachers commended me.  Then there was a time I wrote an essay on the disadvantages of illiteracy and I was citing examples with people who were not properly educated.  I was in form 3 and my teacher started commending me.  That commendation was all I needed to push me on as a writer.  It was more than ordinary essay for what I wrote there was a story to illustrate the fact that illiteracy was not good in any way.  From then onwards, I became interested in writing.  My teachers encouraged me and from time to time they would give me essay to write so that they’d mark for me.  Gradually, this started to ginger me on and then when I started reading some books in the African Writers’ Series, my mind began to dwell on how they were able to get these stories.  Some of the stories were not even far from me.  To me, I imagined how I could also use the things around me to tell my story.

    Now, how has writing reshaped or re-ordered your life?

    Oh, yes, it has reordered my life in one way.  I have been trying to watch my action and conducts in public.  But at times people I don’t even know would meet me and say, oh, you are Soji Obebe?  I would be surprised and say, oh, how do you even recognize or identify me?  Then the person would say, sir, I have read your books.  Then I’d be conscious of what I say or do.  Even on the net, whenever I open it and see the sort of comments people make about my works, I marvel.  In fact I got this awareness when I travelled to Ghana in 2009.  I was even going through the internet when I saw plenty of things Ghanaians were saying about my novels.

    Some of my books are in the Library of Congress in the USA.  I was surprised to discover that too.  Some are also being used in most universities across Europe and America.

    If you’re to meet your favourite author, what will be your first question to him/her?

    I’ll ask him, how do you write or how do you come about writing?  Most of these foreign writers are full time authors.  But I’ll ask, how do you manage to be a full time writer?  This is so because in Nigeria hardly do you find someone claiming to live fully on writing.  No, it does not happen.  It is almost impossible finding people living completely on writing.

    What time of the day do you prefer to write?

    Oh, I prefer to write early in the morning when I wake up.  However most of the time I have to go to work and may not have enough time to devote to my writing.  At times I write on weekends when I have enough time to do so.  But it has to be when there is silence and quiet all around me.  At the staff quarters here, we have serene environment all around us.  And this is quite conducive for me to write.  I also try to write during the week when I am not so tired.

    How do you gather the materials for your work?

    I don’t talk much.  Those who know me know that I don’t talk much.  I think more, and I listen more.  When people are discussing or joking, I listen more to them.  At times I pick my story ideas from what they are talking about.  At times too, when I read a book I try to refocus attention in an area where the author did not touch.  You can easily look at it from that different area.  On few occasions, I’ll just be in the bathroom when an idea strikes my mind and when it happens I’d quickly jot down the idea so that it’ll not escape me.  Thereafter I can develop it into a prose.

    Jotting ideas down, help to keep them fresh in my memory.  If I do not do that, I may forget.

    What book do you plan to read next?

    Ah, I have so many books by Jeffery Archer now in my collection.  One of them is Time Will Tell.  It is one title I want to start reading any moment from now.

    How do you arrange your library at home?

    Ah, do I have a library?  All I have are two bookshelves at home.  Then on my reading table there are many books there.  I have no standard library so to say, but I have many books scattered here and there.

    Are you a re-reader?

    Yes, I am a re-reader o!  Reason being that you can’t remember in details what you read the first time.  Then you can go back much later to see it clearer.

  • Gbekude:  Between life and death

    Gbekude: Between life and death

    It wasn’t just for the excitement alone.  There was so much to learn from the drama.  It is not just the type of stage show that runs everyday or comes on on a regular basis.  Gbekude is not only for the fun it generated and the comic appeal it gave to the audience.  It was purposely shown to direct people’s attention to some of the issues that hold and bind the society together.

    Gbekude is a Yoruba comedy which was first adapted for the stage and directed in 1971 by Late Professor Ola Rotimi.  However, it was made one of the main stage plays for this year’s edition of the Lagos Black Heritage Festival essentially to pinpoint the level of poverty in the land.  The poverty level especially among the youths is now very alarming.

    Unemployment is rife.  Discontentment in the polity is at a feverish stage.  Families daily face the headache of how and where to get the money for their meals.  Most homes do not have the resources to send their children to school.  Those who have graduated do not have work or even have the hope of securing one in the nearest future.

    As the play went on stage at the Freedom Park, Lagos, last week, what was uppermost in the minds of thespians was the continued relevance of the play meant to mock poverty in such a way as to ridicule the way people live without trying to wriggle free from their situation.

    In itself, Gbekude means Tying up Death.  How does Gbekude tie death?  What is even the fate of a pauper who, in his prime entered into marriage with a horrible and nagging woman?  How does he enjoy this matrimony or settle down to begin to think for a way to alleviate his condition?

    As peace continually eluded him, so was the intensity of the heat from his woman.  And because he could not have the desired peace to move on in life, Ise, the husband devised his own means to survive.  In the process of inventing ways to circumvent his situation, Ise planted an orange tree on a patch of land within his premises.  This did not quite go down well with his wife Aro.  This further worsened the acrimony in the home which Aro exploited to the fullest.  However, the orange tree somewhat became useful in the way it dealt with their adversaries.

    As the couple was visited by a servant of Eledumare who offered them a single wish to enable them overcome penury, their different choices did not help matters.  Finally death itself appeared.  This was when Ise used his own portion of the bargain to hoodwink and chain death.  From this moment, Ise decided to extract from death a strong and committed pledge that defeated his own innocuous mission.

    The play was so hilarious on stage, that most people saw in it the kind of sense poverty gives people.  The stage was properly set to elucidate sympathy, to drive the idea into the people.  The costumes were basically local, depicting the overall scenes and what the situation portended for the society.

    The costumes demonstrated the state of poverty and nagging in a typical Nigerian setting.  In the end neither the man nor woman enjoyed the matrimony.  So why not settle down and marry for the purpose of peace?

  • Ajai-Lycett, Joke Jacobs, others advocate for women

    Ajai-Lycett, Joke Jacobs, others advocate for women

    Gender inequality has been one of the most difficult challenges women have been battling with for a long time. Not just in Nigeria alone but across the globe. And women who have been able to find their feet in the society and have been able to succeed in male dominated fields are tagged with all sorts of names.

     This was one of the topics of discussion among prominent female actors during a press session recently held at Goethe Institute in Lagos. It is against this backdrop that these women chosen to participate in a play titled ‘Hear Word! – Naija Woman Talk True,” a play based on a collection of true life stories which aims at dressing and highlighting the challenges of Nigerian women through theatrical performance.

    The play directed by Ifeoma Fafunwa premiers on Saturday, May 2, at MUSON Centre, Onikan, Lagos, by 2: pm. It is produced by iOpenEye productions.

    This theatre productionkicks off with a special performance at the University of Lagos on April 29. The production will subsequently run at the MUSON Centre, Onikan, every Friday and Saturday in May, alongside satellite performances in public spaces around Lagos.

    Jacobs said she will play the role of a mother who pressurised her daughter to marry because her mates were all getting married. She said: “One of my pieces in the play is about the pressure parents, especially mothers put on their children. We think it is our tradition as mothers and we are pressurising our children into this mindset of incompleteness unless we (women) are married and have children.

    “This is not right because we don’t do the same to a man. The pressure we put on the man is slightly different. We put the wrong kind of pressure on our men. We allow our men to get away with things they shouldn’t get away with it. We allow them as the British will call it ‘sole their wild oath’ and bring their wild oath into what union they are in and we also pressurise the men in a wrong way. These are some of the things we examine in Hear Word!’ she said.

    According to Ifeoma Fafunwa, the woman behind the production and directing of the play, “the play is build after taking monolog and voices of women from different social economic. What is it that will make a woman say I am nobody unless I’m married; I am not a person because I have no child? A woman should leave her God given potential and talent and send the next fifteen years of her life searching how to get pregnant or how to get someone from the village to help her give birth to children for her husband. The idea of this play; we are asking women to leave the baggage behind to bring what is it they were brought on this earth to do.

    “The stories featured in Hear Word are based on the everyday realities in Nigerian women. It is our hope that by lending our voice to theirs, that we can amplify their reach and begin to transform realities. I am truly grateful to be part of this process,” she said.

    Also speaking at the briefing was Kate Henshaw who did say about the role she will but spoke violence against women and children.”Women are not seen as human being but thing that can be done away with it.”  She urged women to fight for their rights. She also commended the Lagos State Government for passing the bill on act of violence against women.

    Bimbo Akintola described Hear Word as the best platform to address the issues of violence against women such as rape and murder “Things I hate about our people is that they sweep some issues under the carpet, we don’t want o talk about it and if you are that person that wants to talk about it, they tag you with names. And if you are not married they call you a prostitute,” she stressed angrily.

    Omonor, Deborah Ohiri, Lala Akindoju, Zara Udofia, Rita Edward, Ufuoma McDermott, Joke Jacobs, Taiwo Ajai-­Lycett , Kate Henshaw , Bimbo Akintola and Elvina Ibru and Odenike are some of the cast in this play. Hear Word is supported by Etisalat, Vlisco, African Magic, Fayrouz, Cool FM and MUSON.

  • Labour issues awaiting  Buhari’s government

    Labour issues awaiting Buhari’s government

    As this year’s Worker’s Day draws nearer, Yetunde Oladeinde takes a look at the numerous challenges facing the Nigerian labour force, even as it eagerly awaits the newly elected government at the centre.

    In a couple of days workers all over the country would be rolling out the drums to celebrate this year’s Worker’s Day. The big question however is whether the average Nigerian worker has any cause to celebrate. A number of challenges still bedevil the Nigerian workforce, ranging from unemployment to casualisation.

    It is therefore pertinent to take another look at some of the labour issues awaiting the in-coming government of General Muhammad Buhari, especially as it concerns the ordinary man and the downtrodden workers, who are hinging their hopes on his genuine intentions.

    In the past, workers have asked for increase in their salaries because the take-home pay usually does not meet their needs. Added to this is the realisation that many states across the country are facing serious economic crunch, which is biting hard on their workforce. On the front burner therefore is the issue of unpaid salaries to civil servants in several states.

    Apart from Lagos and Rivers states which, financial analysts say, are able to meet their financial challenges, for obvious reasons, the other 34 states literally depend solely on allocations from the Federal Government for survival.

    The situation is so bad that some states are owing as much as five to ten months salaries, giving rise to protests, and protest votes, a la Benue State, in the last elections. Osun State workers have also threatened to boycott this year’s celebration.

    As a temporary measure, some governors have had to turn to banks for loans to pay salaries, while some workers have had to make do with half salaries; and some have received nothing for months.

    Worst still is the alarming rate of unemployment in the country, as the figures keep rising without any appreciable cushioning efforts.

    “Sadly,” says Nnamdi Orji, an unemployed citizen, “corruption in both public and private, as well as at individual levels and industrial decay and neglect of the agricultural sector are among the many factors responsible for this scourge. It was also revealed that widespread poverty, youth restiveness, high rate of social vices and criminal activities are prevalent because of joblessness. If left controlled, apathy, cynicism and revolution might become their consequence.”

    He adds that: “The recruitment scam that ravaged the Immigration Service last year is very disturbing and I pray that things like this don’t happen again. Unfortunately, the intrigues and alleged sharp practices in the recruitment process of immigration service is far from being an isolated case. It actually depicts the rot and deliberate disregard for justice, equity and good conscience in the employment process, particularly in public service. The truth of the matter is that there is hardly any public service recruitment that is anchored significantly on merit. Rather, ethnocentric and other discriminatory considerations and god-fatherism are elevated over and above merit and patriotic zeal.

    Instead of applying and looking for jobs that are not available, a lot of our citizens have resorted to accepting casual jobs for survival. Casualisation in both the private and the public sectors is therefore one other area that should be addressed to improve the standard of living of the average Nigerian worker, as it seems employers are taking advantage of the situation. Sadly, the trend has exposed so many Nigerian workers to abuse, while some lost their lives in the process.

    Some of these unpleasant incidents have prompted the organised labour to query organisations and those involved with the aim of getting justice and compensation. This also gave birth to another trend where some foreign companies avoid unionisation in their organisations.

    “Interestingly, contract employment and casualisation of labour contravene Section 7 (1) of the Labour Act, Cap 198, Laws of the Federal Republic of Nigeria, 1990.

    The law provides that, “not later than three months after the beginning of a worker’s period of employment with an employer, the employer shall give the worker a written statement, specifying the terms and conditions of employment.”

    Recently, the National Union of Civil Engineering Construction, Furniture and Wood Workers (NUCECFWW) threatened to down-tools without further notice to Chinese construction firms over what it termed unfair labour practices in Nigeria, particularly the casualisation of workers at their sites and offices.

    In addition, the organised private sector unions have accused employers of hiding behind what they call the ‘core’ value of their businesses to casualise over 70 per cent of their workers.

    “The  growing culture of casualisation by employers is more common in banks and other financial institutions, insurance firms, food and beverage companies as well as in the printing and publishing sectors of the economy”, informs Assistant General Secretary of the National Union of Textile Garment Workers of Nigeria, Comrade Ismail Bello.

    He submitted that work environment in Nigeria will become a lot livelier and more rewarding if the issue of casualisation is nipped in the bud.

    Adebimpe Nasiru, a Lagos-based businesswoman believes the current insecurity challenge in the country is another crucial situation the incoming government must tackle for overall development and growth of the economy.

    “The productivity of the Nigerian worker will only blossom and compete favourably with that of their counterparts in other countries if the current insecurity situation is addressed.”

    For Folarin Kasali, the quality of the workforce can be improved with better welfare packages and initiatives. “The truth of the matter here is that human resources can make or mar any organisation and nation. Government needs to invest in the citizenry and workforce to get the best from them.”

    Like Kasali, Uche Agba, an economist says the provision of employment opportunities and good socio-economic infrastructures is very important at this stage. ‘Once people have jobs, you will fill the impact on the economy and we would not have the kind of disaster and scandal experienced at last year’s immigration recruitment scam. In addition, creating infrastructures like processing hubs for our entrepreneurs would reduce the cost of production. It would also help to create more jobs for our artisans on a daily basis. A lot of people in this category have abandoned their skills for commercial motorcycle and tricycle business.”

    To this effect, Agba says it is important for the new NLC president, Ayuba Wabba and his team to reposition the union and seek the review of Nigeria’s industrial policy towards massive job creation.

    In the view of Oyebisi Babatunde Oluseyi, executive director NNGO, “There is a need to look at government/Civil Society Organisations relationship. It is important to look at the regulations and the environment to see how things can improve. Issues like access to credit, taxation and money-laundering all need to be assessed critically. The new government means new opportunity to engage and it would be a great idea to have an adviser on CSO. We used to have this position during the Obasanjo regime but it was scrapped.”

    Over the years, trade unions have become important agents of socioeconomic transformation and class struggle. This role actually began from the period of the colonial struggle and continued till the post independence and military era. They have recently been in the forefront of struggles against unpopular government policies and actions on workers’ welfare and wage issues.