Category: Arts & Life

  • Proudly Nigeria

    Proudly Nigeria

    Dream Chasers is an anthology of short stories by different writers, however, in its diversity; the stories are relatively close to the Nigerian experience through the names, locale and themes. The seasoned writers wrote wonderful pieces in few words and each storyline cannot be easily determined by the reader because of the heavy use of suspense.

    Major Nigerian cities mentioned in the anthology include Ibadan and Port-Harcourt in Camouflage; Nsukka, Orba, Onitsha in the Magic Ring; Iseyin, Okeho and Oyo in the Great Discovery; Marina, Lagos in Love on the Marina; Ile-Ife, Onitsha, Surulere, Lagos in Tough Guys write poetry; Bere, Ibadan in the House that Hunger Built. Other locations mentioned in the book include USA, South Africa, Paris and Zimbabwe.

    The Nigerian content of the book is found in the themes of each story except in How I met Steve Biko and What Would Saffron Do?The themes include: deception, intricacies of intercultural marriage, armed robbery, single parenthood and depression in Camouflage; Incest, Western influences are the evident in The Little Girl with Bussing Breasts and a Bubble Gum Laugh; Insecurity, Insurgence, HIV/AIDS, Death of Neighbour, Information shared via Social Media were mentioned in The Curtain.

    Others are   Voodooism, Gambling, Apprenticeship, Western education, Assumption, Religiosity explored in The Magic Ring; Traditions in The Great Discovery, Depression, Loss of a grown-child, Foreign education, dashed hope in Love on The Marina, Intertribal marriage, Affection in Too Much Pepper; Extra-marital affairs, Reminiscence in “Fur Elsie”.

    Additional themes in the book include Fraud, Impersonation, Disgrace, Financial challenge as reflected in Double Wahala; Joy of reunion, joblessnesness, desire to travel abroad, daring nature, love in Tough Guys Write Poetry. The House that Hunger Built is related to the tall Yoruba narrative similar to the Amos Tutuola’s style of Africanism.

    The other two stories have African themes such as Xenophobia, Supporting acquaintance, bribery, doggedness, professional knowledge and assault in How I met Steve Biko while suspicion, unaccomplished mission, despotic leadership in What Would Saffron Do?

    The language of the text is lucid and concise. Interestingly, the text is domesticated because Pidgin is infused into the book and this makes the book relate closely with Nigerian readers. There are few errors in the book, however, it might be limited to the particular copy, which are negligible.

    The book is largely and proudly Nigerian. It is a way of exporting our literary culture and nuances to other cultures and countries. The book is another distinct piece from Nigerian writers.

  • Life and times of Joseph Adeleye Obutu

    Life and times of Joseph Adeleye Obutu

    My earliest memory of my father is a bit foggy: rather like a camera trying to focus on its subject. I can barely make out a guy that was always trying to tell me something by mouth when we are alone or through his eyes when there were other people. However, I have a vivid, cinematic picture of locations, of people and my father who was always watching me.

    In the years gone by, the message was constant, the teaching repeatedly drilled to avoid any chance of being lost. My father’s teaching was a whole life motion picture that continued to the very last day of his life on earth. His teaching was at first in those early days a monologue to a little boy, later a dialogue, a conversation that was so unique that I am particularly privileged to have been part of.

     

    The Man

     

    At about the turn of the nineteenth century, a powerful (very powerful) exiled Prince from the Benin Kingdom ended up at Igbo Ajagun an outpost not far from present day Iju and Itaogbolu with his battle weary entourage after a protracted and monumental journey through the woods of Akoko-Edo and beyond. The settlement made up of arriving groups in the area was a form of a military camp from where the nucleus of early settlers of Iju and Itaogbolu eventually migrated. At this unsettled war period in Yoruba land, affiliations were made and groups emerged making decisions on choice of place of permanent settlement.

    The Benin Prince, Prince Obutu Akenzua took his entourage to Itaogbolu which along with Iju were the two main evolving settlements at the time. Consequentially, the elders of Itaogbolu invited him to ascend to the throne. But, he declined stating he was there to rest after a long and difficult journey. In the local parlance, he was there to Simi with a proviso that his offspring should reserve this right in the future. The elders immediately made Imi a traditional title with Obutu as the first and the family a ruling house in Itaogbolu. The revered Prince had nine wives as was the practice of nobility at the time.

    One of the nine wives was a maiden chosen from the prominent Isaoye family of Iju- Ifasote Olofinsusi. She arrived as the eight and one of the two junior wives. This union yielded four male children of which Papa Joseph Adeleye was the third born in the year 1927. His early years were in the royal household under a close watch of his father who took a special interest in him.

    Unfortunately, this early romance that Papa used to talk fondly of, ended in his early teen with the death of the patriarch of the family. This momentous event in the early life of the young Adeleye led to his mother taking her four boys back to her paternal household of Isaoye in Iju where Papa continued his early childhood.

    Papa taught himself to read and write and used this knowledge to travel extensively engaging in various merchandising; he traded in clothing materials and Agro chemical products. In 1951, he came back to Iju, settled down, took up extensive cocoa cultivation in addition to his commodity trading business. In 1953 he married a beautiful Princess – Juliana Ademolahan from the royal household of Oloofe of Oke-Iju a union that produced Papa’s greatest treasure of all-his children who he brought up as Princes and Princess. Till his later years, papa remained a very active and successful cocoa buyer and exporter.

     

    Education

     

    For someone who did not have the benefit of formal education, Papa understood the imperative of it. He realised very early that the only way his Princes and Princess would not be labourers and messengers to others was for them to have good education.

    Papa thrived in knowing his children were educated. He saw this as his own education and his window to the world.

     

    Faith……

     

    Papa was a man of extraordinary faith. Till his last days on earth, he conducted his early morning family prayer. His prayer was really a command. Papa always asked that we speak with our Eleda. One particular instance has stuck with me over the years; I was sent home for my school fees during my secondary school days: it was one of those years when cocoa was under-priced and the market was bad. In the morning, Papa prayed, commanded his Eleda to provide so that his Prince can return to school. Daily prayers time was six o’ clock in the morning.

    This particular morning, as Papa opened the outside door, there was a man waiting. He came to buy Agro chemical. Strangely, this was old stock that had been there for years. Like it was a normal, regular day, he bought his stuff in cash and went. I looked at Papa and said so “your Eleda heard you.” He said yes with a big smile. “You must learn to communicate with your Eleda,” he said. He gave me my school fees and I went back to school.

     

    Remember who you are

     

    When I was preparing to leave home for the first time to the boarding school, Papa and I had the first in the many series of admonition never to forget who I am and where I am came from. “Life can never really be a happy place for anyone that forgets his root”. Again, we had this conversation when I was travelling overseas. I found this particularly profound as I discovered that man is just a number the moment he is detached from his root. There is something abouta man’s root that cannot be replaced. “You are special” Papa would say.

     

    Never look at someone else’s plate

     

    I earlier intimated how unique it was being my father’s son; this is without any chance of exaggeration. How do you bring up a child that would literarily never look at someone else’s plate? “What is in your plate is the sweetest and the best there is, what is in the other person’s plate is of no concern to you” Papa always thought us to envy no one, to be confident of who we are and be content with that which is ours.

    For a man to thoroughly enjoy life, he must love himself, be able to smile at the face in the mirror. Papa loved, he cherished the company of the man in the mirror, enjoyed life, his smile, his unhindered laughter and the acknowledgment of his self.

     

    Give

     

    Papa thrived on giving to people. “Through giving you might appear to help someone else but in fact you are helping yourself”. The joy of giving is an intrinsic pleasure that cannot be measured.

     

    Think no evil

     

    This of Papa’s teaching is rooted in his faith and believes that no evil can come his way for he wished no one evil. By extension Papa was convinced that no evil would ever befall his children since all he wish everyone was good-will.

     

    Forgive

     

    The capacity to forgive is an immeasurable strength. What it means is that you, the forgiver know something the other party is incapable of. Papa never had someone he would call an enemy. Throughout his life challenges and tribulations, he never had anyone he called his enemy. I was always surprised as a kid when people that I thought had wronged him would come back to the house to eat and drink with him.

     

    Have no fear

     

    Fear is a conscious recognition of a superior force, an unconscious acceptance of a faith and belief that might not be. As a kid growing up with Papa in an environment where witches and juju were prevalent, fear of something or certain people was the norm. But, Papa had no fear and thought us to have no fear. I know he had no fear because he thought me very early in life that the darkness at night is only the other side of the sun.

     

    Be strong

     

    If you know your place in the world, you would feel strong. Papa was strong in his spirit and as a physical specimen. As a kid I thought he was strong, as an adult I know he was immensely strong. “Food you must only eat to live but never live to eat” Papa taught me how to live and stay hungry.

     

    Conclusion

     

    Papa’s life and teaching is about the age old riddle of man and the process of his journey on earth. If you know who you are, you would have genuine faith, be strong, have confidence, imbibe the capacity to forgive your fellow being, help, give, have no fear and draw strength from being who you are.

    Thank you Papa. I know you are smiling.

    Rest in peace.

     

    •Akinsoji Adeleye, CEO, Infex HC is the eldest son of Late Pa Joseph Adeleye Obutu.

     

     

  • National Troupe for Festival of Drums in Egypt

    National Troupe for Festival of Drums in Egypt

    A delegation of  the National Troupe of Nigeria and officials of  the Ministry of Tourism, Culture and National Orientation has  for  the International Festival for Drums and Traditional Arts holding in Cairo, Egypt.  It is organised by the Arab Republic of Egypt with the theme Drums Dialogue for Peace.

    Artistic Director of the National Troupe Mr  Akin Adejuwon, who is leader of delegation, said shortly before the Troupe’s depature last weekend…. for the week long festival that the artiste would showcase a special production of drums.

    He said: ‘’I understand that this is the third edition of the festival and it is aimed at promoting peace and unity in Africa and addressing the spate of terrorism in Africa as well as showcasing the rich cultural heritage of Africa.  Luckily this is the focus of our productions for this period.

    Using the performing arts to resolve conflicts and promote peace. That is what we tried to achieve with ‘Ajoyo’ and then ‘Spectacle’ which we just staged. So we have worked on a package based on this theme which we will be showcasing at the festival’’.

    The Troupe is expected back on Sunday April 26, but Adejuwon hinted that he would not return with the delegation as he is billed to travel to Brazil to sign a memorandum of understanding that will facilitate co-production in the area of performing arts between Nigeria and Brazil.

     

  • ‘Living Legend is no  political project’

    ‘Living Legend is no political project’

    IT  is becoming tougher getting a Nigerian to be honoured as a living legend because many do not meet the criteria, the project initiator, Mr Olu Ajayi, has said.

    “This year, we are still searching for who deserves to be honoured as a living legend. However, we are considering notable Nigerians such as former Secretary General of Commonwealth Chief Emeka Anyaoku, Emeritus Bishop of Lagos Cardinal Olubunmi Okogie; General Overseer of Redeemed Christian Church of God, Pastor Enoch Adeboye, among others,”, he said.

    Ajayi, who spoke to Arts Writers at his Onikan Studio in Lagos, said the choice is not influenced by political considerations but mainly by the positive contributions of the selected personality  to Nigeria. He said that Living Legend project does not consider any political balancing in the choice of legends to be honoured.  He stressed that the project started in 2008 to ‘record in our time, those that we encountered and who impacted and contributed to the growth of the society and humanity’.

    He noted that a coffee table-book containing all the drawings and paintings as well as contributions from art historians and scholars would be published soon. Past legends documented are Omo N’Oba Nedo Uku Akpolokpolo, Erediauwa Oba of Benin; Prof. Yusuf Grillo; Prof. Wole Soyinka; Prof. Bruce Onobrakpeya, Prof. John Pepper Clark and General Yakubu Gowon.

    According to Ajayi, his studio is working with some Nigerian artists in Diaspora for a painting workshop as part of activities to keep the artists community vibrant and productive. He, however, lamented the lack of proper museum of modern art in the country saying it is high time politicians addressed the fundamental issues challenging the culture sector. This dearth of relevant infrastructure in the sector, he said, has denied artists adequate space to showcase their works of art, which would have impacted on the tourism growth.

    “This will serve as a focal point to generate employment, enhance education opportunity for the youths and promotion of tourism destinations. Another aspect is the provision of artists with seed money to grow their creative industry. The creation of Artists District for the development of a robust sector is not out of place,” he said.

    He blamed lack of political will on the part of government not to appreciate the relevance of arts to national development. He noted that it is a misnomer for people to think art is for the elites, adding that a visit to a modern museum provides inspiration and kills boredom.

    Ajayi said the seeming low patronage of art by most people is a function of balancing up economic reality.

    Ajayi said that patronage of visual arts has improved but not yet at the level ‘we hope to reach’. “There are more private art galleries, growing army of collectors and more exhibitions. Art collection is no more diplomats’ dominated. However, art is still a luxury item to many,’’ he said.

  • 2015 elections: How women became change agents

    2015 elections: How women became change agents

    If the just-concluded 2015 elections could be likened to a dramat 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 ‘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 that drove 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 “decided”… and decided they were on who became leaders in the next dispensation. And so, to the polling centres, each and everyone marched to cast their vote. And loud on the streets was “Change”.

    The percentage of women that often register to vote in each election, according to the Gender in Nigeria (GIN) Report by British Council, is relatively small compared to the men. This year’s was no different. But some women in Ifako, a Lagos suburb, were undaunted by their number. However small, they were determined to make their votes count.

     

    Why women vote

     

    Mrs Ayeni, was part of that percentage of women, who registered and determined to make their votes count in 2015 elections. But what could have made these women leave their children at home very early on a sit-at-home holiday morning to queue up in 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 Ladipo, a businesswoman, who also did not want her first name in print, 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 scares of violence because of provocative statements by some. This trend, Mrs Badmus said, affected her business negatively. “I am happy the elections went well. Before the elections, people were also afraid because of past experiences of violence during elections. But in my area, a day before, people went about their business. However, market was dull because lots of people were uncertain and didn’t want to spend much. We pray that at the end of the day, the mandate would be given to the leaders that understand the need of the people,” she said.

    Speaking to Mrs Badmus 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. In a joint agreement, the men and the INEC officials of Ward 004 on Mojisola Street in Ifako-Ijaye allowed women to be accredited and vote without having to join the long queue during the elections, it was learnt.

    Describing the gesture as “strategic”, Mrs Badmus observed: “I did not spend more than 10 minutes during my accreditation. Our men understand 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, it showed that “Nigeria is moving forward”. “The work of women, mothers, is never done. The centre made it very easy for us, women. They eased our work a lot. As I came to the centre, I was told to go to the front of the line 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,” she said.

     

    Big Show’s corner

     

    Big Show as she is 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 eating spot, Tummy’s Corner, served as relief spot for voters, who arrived early to perform their civic duties. Although that is her usual spot on other days, with a polling booth about 10 metres away, the elections gave it a renewed relevance. She is 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, they also prospered in business.

    Queuing up to vote under the scourging sun can be dehydrating and energy-sapping. Tummy’s Corner, specialising in boiled noodles, came as a relief from such hunger and thirst. 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. 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 chosen 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.

     

    Words of experts

     

    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), the report argues that “any discussion about Nigeria’s future must necessarily entail consideration of girls and women, the role they play and the barriers they face in making the future”. It suggests further that “a rethink is required with a two-pronged approach which should combine building the capacity of women candidates and reform of the general political environment (violence, corruption, registration conditions)”.

     

  • Support creative industry, artistes urge Buhari

    Support creative industry, artistes urge Buhari

    Secretary-General, Pan African Writers Association (PAWA) Prof Atukwei Okai has hailed Nigerians for the successful conduct of the elections.

    In a statement, the association said: “We congratulate Nigerians and take the opportunity to welcome the President-elect of this great African nation, Gen. Muhammadu Buhari. It is our fervent hope that the Nigerian shining example will inspire and inform Africa’s political governance, and promote the creation of peaceful conditions that would unleash upon the world the bottle-up transformative potential as well as the legendary creative genius of the African people.”

    President, Association of Nigerian Authors (ANA), Prof. Remi Raji-Oyelade, said  with  Buhari’s victory, it is ‘our belief that more focus shall be given to the development of the creative industry, particularly the official and corporate support of the literary enterprise, including the author, the book and the culture of reading.’

    Africa’s largest writers’ body congratulated the President-elect, Muhammadu Buhari, on his success at the just concluded presidential elections.

    “We hold that the civilisation of national development is only attainable with the actualisation of policies which emphasise and fund the sustenance of education, culture and the arts. As a body, we pledge to contribute in strategic ways towards the achievement of greater progress for our literature and our nation…

    “We followed the campaign trails of both major candidates – incumbent President Goodluck Jonathan and General Buhari with objective detachment, and impartial involvement and prayers for the overall survival of the Nigerian nation. The contest, the eventual victory, and the post-election engagement are clearly instructive and symbolic of a nation that has truly arrived at the junction of change,” he added.

    Former Vice President of ANA, Prof May Ifeoma Nwoye said it is hoped that the new administration would seek to promotean environment that nurtures writing, reading, publishing and promotion of Nigerian writers in particular and Africa in general.

    Mrs Nwoye, who was Bursar of the University of Benin (UNIBEN)  said: “Under this obligation, we look forward  to having a leader that can develop programmes that will boost and support writing and publishing in Nigeria, through creative writing and editorial skills development workshops, internships, conferences and mentorship programmes; organise creative writing workshops; editorial skills development workshops aimed at equipping book editors and proofreaders with practical editorial and publishing skills; online mentoring scheme; website/blog and digital writing- a platform for African writers to interact, share information and other resources on writing and other literary activities; share literary news, announcements and commission articles on book reviews.”

    Former chairman Society of Nigerian Artists (Lagos State Chapter) Mr Olu Ajayi urged the incoming administration to as a matter of urgency address the culture sector especially in the areas of facilities, seed grant for artists and creation of Artists’ District to boost creativity.

    Chairman/CEO, Literamed Publications (Nig) Ltd, Olayinka Lawal-Solarin,  observed that the incoming government has plenty to do to correct the ills, especially the fall in standard of education, noting that past administrations, whether military or civilian didn’t pay enough attention to education.

    “There is a National Book Policy that nobody is paying attention to. I have written a lot about it and nobody is listening. I said “if we don’t get things right this time as we have not done in the last 40 years, we may continue to grope in the dark and breed more illiterates,” she added.

    Founder Thespian Family Theatre (TFT) Productions, Mrs Ayodele Jaiyesimi said Nigeria is blessed with many resources, noting that it is painful to see such a blessed country living in poverty and corruption.

    According to her lots of people are not even expecting; they are just living everyday as they come.

    “We hope to see a leader who understands what leadership is all about, leaders who are purpose-driven, selfless and have a burning passion to take Nigeria to where we ought to be as a nation such that our educational system and industries can work again; unemployment can be reduced,” she added.

  • Insurgency Impasse

    The plangent vociferation

    Of the Northeasterner torments my soul.

    My sleep has taken flight

    For the anguish of Boko Haram victims.

    My nights have been consumed by the distant wailings

    Of orphans living with strange families

    My humanity has been violated by the slaughtered innocence

    Of hapless girls dispersed asunder by brainwashed ragtag terrorists.

    My heart bleeds for youths running errands in Sambisa Forest For the abductors of their future.

    My days are pensive with unanswered queries

    About who is in charge in my country.

    I have grown weary of fanciful peroration

    Of government officials: ‘we’ll soon end insurgency’.

    The taste of lies must be sweet

    In the ears of the conscienceless.

    Who is enjoying the perfidious oration

    Of the godless politician dancing Azonto

    On the graves of his people?

  • Artist mentors students

    Last year’s winner of the National Art Competition Mr Erasmus Onyishi has urged  fine art students of the University of Lagos (UNILAG),  to remain steadfast and  focused as challenges are inevitable in the art field.

    He urged them to start producing works while in school as the money they make will take some burdens off their parents. shoulders. He also encouraged them to create artworks even if the works are not bought because “The time will come when someone will discover you.”

    Onyishi spoke during a mentorship programme organised by the African Artists’ Foundation (AAF) during its second edition of Meet the Artist. The event took place at the Creative Art Department of UNILAG.

    He told the students that producing outstanding works and discovering their strength are some of the ingredients that will make them standout as the art industry is very competitive. “If there are 100 artists in Nigeria, only 20 are practicing, others do other jobs. It is only the dogged ones that succeed.”

    Sharing how he was able to succeed in school without depending on his parents, he said: “Art was perceived as luxury, and in order to foot my university education, I produced art objects within the understanding and patronage of the common man. I predominantly made carved wall clocks, mirrors, stools and chair at this stage.” Onyishi called this era of his career, “From Hand to Mouth-surviving the challenges of being independent.

    Onyishi is known for his use of waste to create beautiful artworks. Line, Patches and Pathos according to him explore the ironies between facts and representations, like the refuse (plastic waste) that now in use (work of art). “Plastic waste is my principle medium. Plastic wastes are the refugees, the used and abused useless ones, the victims of violence-induced displacement, which I recover and entrust with a visual eloquence to enjoy the freedom of speech. Just like the irony of harmful beauty in the images of diseases viewed from a microscope, the killer is beautiful. Thus beauty is relative and could have ugliness as its vapour trial.

    “My earliest works were functional and utilitarian. Such is still silent in my practice till date.  He fell in love with art when he came in contact with “Uche” and he left his first love, Law, for Fine Art. “Uche read sculpture and teaches the same at his almameta, The University of Nigeria, Nusukka (UNN). I assisted in different levels of his practice during his undergraduate days. This must have triggered my artistic traits,’ he told the students. “I willingly joined in doing what I love. I gave up my ambition to read Law and took to art.”

    Onyishi studied sculpture at the University of Nigeria. He has participated in more than thirty exhibitions both locally and internationally. He is one of the earliest exponents of Video Art in Nigeria. He has also won many awards including the National University Commission (NUC) for Research and Development in the Humanities. He is currently teaching Sculpture at the Federal University of Lafia, Nasarawa State.

     

  • ‘Why I follow in my father’s footsteps’

    ‘Why I follow in my father’s footsteps’

    Emmanuel Adejumo who goes by the stage name Boy Salah is the son of renowned artiste and comedian, Moses Adejumo, alias Baba Salah.  In this chat with Edozie Udeze, he explains why he has chosen to continue from where his father stopped and more 

    He comes from a family of artistes, a family where dance, acting, singing and even the playing of drums have consistently become a way of life.  Emmanuel Adejumo, who goes by the stage name Boy Salah is the son of the legendary stage artiste and comedian, Moses Adejumo, alias Baba Salah.  The peculiar thing about Boy Salah is that he does not need to wear himself out too much to resemble his old man on stage.

    He is a natural artiste in terms of the way he carries himself in and out of stage.  His striking resemblance of his father captures and defines his whole artistic essences.  His power of elocution as well as his mannerisms point to the fact that Baba Salah truly sired him.  Emmanuel is indeed at home with the principles of theatre.

    At the National Troupe of Nigeria (NTN) where he has operated in different categories as an artiste, Emmanuel is a well-known figure.  Most often when he is expected to do a solo on stage, he does so, wearing that same type of make-up and costume for which his father was known.  Adorned in an oversized spectacle and a huge smoking pipe he often captures the picture of the man he sets out to imitate.  Emmanuel is simply maverick and quintessential, once he is set to entertain the audience.

    At the moment, he is with the department of Music of the National Troupe, where, only last weekend, he conducted the Easter Musical Festival put together by the Troupe.  While he did so, he was just in character, naturally doing what he said, “I love to do this all the time.  Today, I sang one of the tracks in my musical album.  That shows too that I am both a singer, a performer and a drummer,” he said.

    He went on to say that the name Baba Salah has been opening so many doors for him.  “Oh, yes, it is a well-known name among the artistes community and it has been helping me so far to do my act.  The concept of Boy Salah is for me to dress like my father and do my bit on stage.  Even as a singer, this make-up helps to attract attention to myself,” he said.

    A multi-talented artiste, he was first employed as a dancer, later he became proficient as a keyboardist.  Today he has been posted to the music department where he is expected to be more useful and relevant to rebuild the place for NTN.  “Apart from all these, I love to dance all the time.  Even though acting has formed the greater part of my life, dancing gives me much joy,” he enthused.

    Some of his brothers who are artistes include Lanre Adejumo, Muyiwa Adejumo and Smart Adejumo.  “All of them are good comedians like our dad.  One good thing about us is that we do our acting naturally and people really get to see the effect of our dad’s profession in us.”

    Professionally, Emmanuel has been into acting for close to thirty years.  They were years when he said he was truly involved to make people relax and enjoy total theatre.  “I am quite happy now because National Troupe of Nigeria is where an artiste is given the opportunity to exhibit his talent.  The current director is so good at it.  He wants every artiste to excel in his area of interest.  To me, this is one of the best ways to encourage all of us to develop and be who we want to be.”

    Talent, to Emmanuel, is what is inherent in everybody.  “All we do at the NTN is to allow these talent to build in such a way that we can become big artistes tomorrow.” This is how the management of the National Troupe has indeed produced so many artistes over the years.  Today, the current director, Akin Adejuwon has also taken up the onerous task of developing and nurturing more artistes who can become their own masters in the years to come.

    The young Adejumo said he began to nurse the ambition of being a professional artiste right from his childhood days.  “Around 1986/87, we began then to mimic our daddy.  We would tie our wrapper on our neck and cut cartons of star beer and made bold ties out of it.  We’d also put pillow on our tummy.  Me and my immediate brother used to do this a lot.  That would represent big tummy and we’d go about in the house pretending to be Baba Salah himself”.

    From that moment, not only Emmanuel himself but others around him who began to suspect that he’d take after his father.  “Yes, each time daddy travelled abroad he would buy toys for us his children.  He would give them out to us according to how he felt.  He did not make choices: he’d only wrap them with gift wraps and put them together.  He would then ask us to pick them one by one.  Whatever you picked was your own luck.  However, most times I’d pick either a piano or a guitar.  Little did I know then that mother luck was preparing me to be an instrumentalist.”

    That was how his interest in music started.  Just like his father who is equally a pianist and a guitarist, Emmanuel, quickly began to attune his mind in that direction.  Today he is not just a pianist, he also plays drums, guitar and saxophone.  This was the moment the old man began to nurture him by singling him out for proper indoctrination.  “Yes, my father was happy to see one of his many sons showing interest not only in the art but in his own style of acting and comedy.  He’d then take me to places for rehearsals, for shows, for entertainment.  That was indeed how the exposure and training began for me way back in Ibadan where we grew up.”

    Baba Salah who used to be a musician, was in love with the piano.  “He began to teach me how to play the piano.  He played the keyboard very well.  So, after our morning prayer everyday, he would call me as he sang and played the keyboard.  Often I would sing along as I watched him on the keyboard.  At other times too, he would play the guitar or the saxophone not just to entertain the household but to keep my interest in the art aglow.”

    Even though his mother and some of his father’s wives did not want him or his other siblings to follow in their father’s footsteps, they could not utter their objectivion openly.  “They didn’t want us to be artistes.  But in the end our father’s wish prevailed.  Our mothers were afraid we might end up marrying many wives just like our father did.  Anyway, my own mother could not stop me, for indeed my love for the art was deep and convincing,” he said.

    In his school days, Emmanuel used to be a prominent member of the cultural and dramatic societies.  This was just for him to actualize his dream of being an artiste.  “In those days, I was very popular in school.  In the Igbo dance troupe then, I was the only non-Igbo who could dance Igbo dances with my Igbo brothers and sisters in school.  Jide Alaje who is now a medical doctor was my closest colleague.  Together we would do interesting Yoruba cultural dances to the delight of our colleagues.  This was at Odona High School, Ring Road, Ibadan.  By the time I got to form 4, we began to take other students out for cultural displays and competitions.  That was how it all began for me.  Even my teachers knew I’d end up being where I am today.  It has been a long journey so far but I am glad I have come thus far to represent what my old man has always stood for as an entertainer.”

    In all this, the young Adejumo said he is not ready to be a polygamist.  “Oh, no,” he exclaimed, waving away the idea, “I cannot marry more than one wife.  Daddy warned us not to do that.  He explained to us that he married many women to help him in his career and other business interests.  He said to us: I want you to like everything in me, but not in the area of women.  Do not emulate me in women o.  I married many women because of my work.  You know in their own time, no parents would allow his children to follow an artiste.  So he began to woo and entice them with money.  Each one that came eventually ended up his woman.  That was how it all started and daddy needed to protect and provide for them.  So we all grew up without discrimination, for we all saw ourselves as one indivisible family,” he explained with profuse smiles.

    Emmanuel who has his own dance troupe which he formed in 1994 at Abeokuta, Ogun State, has since relocated it to Lagos.  With the troupe he makes tremendous waves by dancing and performing at social functions and all.

  • Chronicles of truth at Mydrim

    Chronicles of truth at Mydrim

    Chronicles of truth, an art exhibition of paintings and mixed media by two Port Harcourt based artists, Chinedu Ogakwu and Godwin Arikp, provides a comprehensive record of events, focusing essentially on the history of mankind.

    The show seized upon various ideas of ‘Truth’ in suggestively rich and provocative in many ways. The memorable histories and wonderful revelation of truth exhibited by man, both past and present is what Chronicles of Truth portrays, according to the artists. “The truth is appropriate everywhere, in every aspect of our lives, work family and more,” said the artists in a released statement, and this compiled the artists to focus on the chronicle of truth.

    The exhibition opened yesterday, April 18 and will run until May 4, at Mydrim Gallery, Ikoyi, Lagos. The artists said they will use the power of written words to spread ideas, the urgent beauty of handmade textured grounds and new media for this exhibition.

    To them the truth is always relevant, and should be included. “Truth is the product of the recognition (identification) of the facts of reality. Man identifies and integrates the facts of reality by means of concepts. He retains concepts in his mind by means of definitions. Though everyone thinks they know The Truth, nobody actually knows the truth except you, and me. We are ‘Truth’ and our engagement within the realm of time is the greatest expression of our truthfulness to life’s purpose,” the artists said.

     Speaking about his works, Ogakwu said: “My art is a celebration of our roots as Africans, the simplicity of our culture, the beauty of our land, the values that we still practice, the wealth of our people, that which makes us who we are. As an African Ambassador, art is my language and as you appreciate the work of my hands, you become a part of it. Elation, contentment and ultimate satisfaction are the feelings I experience when reaching the completion of one of my pieces, thus, granting me the drive and ambition to begin creating a new body of work. I like to define my artistic style as abstract in nature coupled with an expressionist quality.

    “I believe that art always succeeds when alternate forms of utterance fall short. Form and colours are the language, and everyone on the planet has access to this purest type of communication. When I am unable to speak my feelings through blunt words or predictable actions, I take my brush to recreate my innermost self on a majestic camouflaged canvas using different media and techniques, forms and themes thus compelling myself to create feelings that scratch the walls of my being in an attempt to escape into the world.

    Ogakwu’s different styles are as a result of his years of exposure to art and “my love for Africa. It is this diversity that brings my ideas to life,” said this full time studio artist. He specialised in mixed media painting and uses nets, ropes, sand, wood extract; glue etc to add some elements of sculpture to his works.  “One great pleasure I derive from my art is the wide variety of emotions I inspire. I strive that every person viewing my art will find something that speaks to them whether I am physically present to hear the response or not, the viewer can still experience a connection to me and a deep sense that we belong.” Ogakwu obtained Higher National Diploma in Painting at the Institute of Management and Technology Enugu.

    He is presently the chairman of a humble art group “THE MESSENGERS” and member of several other art groups; Society of Nigerian Artists, Pan African Circle of Artists, etc. He is currently working on a project of archival-coloured paintings, titled STONE AGE( as old as man ).His works are mostly historical and conveys strong message as relates to the primitive life of an African man. Ogakwu’s vision as an artist is to really remind Africans and the world at large of their cultural heritage which should not be left to fade away.

    While Goodwin Arikpo is an exposed of diffused and highly intense creative energy, a multidisciplinary experimental artist, creative designer, illustrator and painter with content driven methodology. His highly perceptible mixed media art is a metrical synthesis of Drawing, painting graphics, mixture, assemblage, and sculpture composed to mutually create new veracity with a more easy-to-read, figurative arrangement. Arikpo’s extensive patois and innovative use of alternate materials and tactic surpasses routine technique, crafting a vigorous pictorial phrase that is not only multi-dimensional but also multi- sensual. These he expresses by fussing beads, fabrics, ropes, papers etc, into his works. He incorporates traditional symbols into his works to authenticate his quest for history, his imagery is instinctive, Subjective, contemporary and simple. He graduated from the University of Port Harcourt.

    Arikpo’s works are a journey of contemporary life and he backs them up with history. This also includes his ties to his fatherland, theology, community, and social values.