The Nation Newspaper

Category: Arts & Life

  • Easter Spectacle at National Theatre

    Easter Spectacle at National Theatre

    Remember Baba Sala (Moses Olaiya Adejumo) of the Orun Mooru fame? His large-size bow tie and bogus frame eye glasses? All this stood out last Sunday when his son, Emmanuel (Boy Sala), featured in a musical folk theatre performance Spectacle, reports Assistant Editor (Arts) OZOLUA UHAKHEME 

    Call it a truly rich musical folk-theatre you are correct. But if you also describe it as total theatre that speaks to all, you are not wrong. And true to its conceptual framework, National Troupe of Nigeria’s Spectacle offered Lagosians, especially fun-seekers another refreshing theatre performance that further promote unity among Nigerians fusing different artistic elements harmoniously to pass the timely message- unity and peace. From music to songs, dance, narratives, masks, chants and drama the Sunday bouquet witnessed seem less flow from one artistic element to another, thus offering a relaxed setting for the Easter celebration. Expectedly, the 90-minute four-part production attracted mostly teenagers, children, men and women including reverend fathers and sisters from the Catholic churches in Lagos. Venue was the Cinema Hall 2, National Theatre, Iganmu Lagos penultimate Sunday.

    Despite starting one hour behind schedule, the production took off with the presentation of 20-minute folk songs drawn from the East and Southsouth regions of Nigeria. Emmanuel Adejumo led 10-man musical ensemble was not only a thriller, but a flash back to old school music and dance steps. His attire also brought back memories of his father’s dress code: giant bow tie, bogus frame eye glass and a tobacco pipe to match.

    A slice of contemporary dance performance by couple dancers sent the audience into frenzy as the dancers thrilled everyone to a breathtaking aerobic show. In between performances such as contemporary music, duets and traditional music ensemble were rib-cracking jokes by Mallam Spencer.

    But the final part- Ajodun, which was the main menu of Spectacle did not fall short of the essence- colourful celebration laced with drumming, singing and dancing. At the centre of the stage is a giant Sator drum from Badagry that serves as common instrument for the drummers.

    Apart from the harmonious blend of diverse cultural heritage, Spectacle enjoys rich costumes and smooth rendition of the different songs.

    Artistic Director National Troupe of Nigeria, Mr. Akin Adejuwon, who was reacting ostensibly to the political situation in the country, said government has no space for vacuum and that Nigeria must move forward. He noted that National Troupe of Nigeria would continually improve the content of its programme in order to serve Nigeria better. “We hope to take some iconic theater performances outside for presentation,” he added while commending the audience for their support over the years.

    Spectacle is a musical folk-theatre in four parts. The thematic thrust is a national unity. However, the conceptual framework does not lie in the exposition of lyrics paying lip service to the unity of the people, but in the unification of dissimilar artistic backgrounds and materials into harmonious art form within real-time creative space.

    The two-fold concept of the creative unity lies in the fusion of the different artistic elements in performance- the unity of the elements of the African performative stage on one hand and on the other hand, the wholesome representation of our diverse cultural heritage on the national stage through the use of music, songs, dance, narratives, masks, chants etc.

  • Want to attain greatness?…Attitude is the key

    Want to attain greatness?…Attitude is the key

    It is simply a triumph of a weary soul over adversaries! It is explosively motivational and comes handy to those willing to snap out of obscurity to prominence.

    Using himself as a case study, Augustine Igbuku, author of The Pusuit of Sterling Attitude chronicles his life from his dismal performance  at basic through to secondary school level, to becoming the best graduating student with Second Class Upper division from the University of Benin in 1980.

    The Pursuit of Sterling Attitude, presents man with the harsh reality that life is neither partial, nor has favourites; yet it leaves him with two things- adversity and opportunity, with attitude being the chief determinant of man’s choice of the two.

    Components of attitudes, according to the author comprise beliefs, feelings, values and dispositions. Man, the author argues, is though presented with a negative or positive attitude; yet the author pitches his tent with the former, because of its ability to infect others.

    “A positive attitude is contagious like common cold,” says the ten-chapter book. “It is a priceless possession for personal fulfillment and career success. Working with or near a person with positive attitude is an energising experience; they change the atmosphere, the place of work and make others feel more upbeat.”

    Chapter Two of the book urges readers to cultivate a new mentality particularly the ones capable of breaking existing norms, and enforcing the ‘i-can-do’ spirit. Readers are equally admonishes to work against ‘victim mentality’ that is, a failed individual who keeps pointing accusing fingers to those he believes are responsible for his predicament.  The distinction between the aforementioned and the other who succeeds, the book argues, is because the latter picked up the pieces of his life from that point, determining to break the odds.

    “The game changer is the mentality that ‘there is something and somewhere better than here, let me go after it’.  The mentality is a huge part of the attitude of champions.  Even if at the end they fall short of their original objective, they are no longer the same people. They have left where they used to be, learn new things and forged new associations, all of which are very relevant in the quest for success,” the book sermonises.

    God has bestowed in man the right to determine his attitude. Man’s anger with himself for not being where he supposed to be may not get him anywhere further. All he needs do therefore is to simply take responsibility for being while who he is, make a decision to change course, and navigate to a new realm.

    Chapter Three espouses ‘hope’, describing it as the ‘important fuel’ in anyone’s ride. In addition, the book recommends a good company, saying it is instrumental to making hope function.

    Once there is hope, the individual can shop for the best team that can challenge one and give one reasons to aspire higher. …And then with hope come integrity, disciple and visualisation: three qualities to prod man on in his quest for the zenith.

    “They (integrity, discipline and visualisation) are must haves,” the author argues.” “Life, at all levels, is full of tests; tests to see what stuff you are really made of. The named dynamics are what will determine how you fare with exams life will set for you.”

    Further the author warns against fraternising with pessimists; people who are ready to burn off one’s ideas.

    Chapter four contains warning against begging which the author feels could erode one’s integrity, making one become a nuisance to the society. To stave this off, the book advises individuals to acknowledge their strength and weakness see where errors have been made and how to tackle them, build self confidence, let go off feelings of victimisation and develop a ‘thank you’ culture as a means of appreciation.

    Attaining success in life does not come on a platter of gold.

    “Life will never hand you your desire on a plate,” warns the book adding, “you will have to rise and demand what you want and that which you feel is due. Sometimes, very vigorously! Few things come to those who passively sit and wait. Save with certain exception, anything that can pass you by, will! This means that you will not only need to be alert but that you will on occasion need to fight for what you want.”

    Even when it is still at a gestation stage, optimism already makes a business idea a success, says Chapter five of the book. Originality is another, as people naturally fall in love with non-pretenders despite their flaws.

    However, in what seems a comic relief the book deviates into a rather light aspect of life. So laughter can play a significant role in man’s expedition for success? The book responds in the affirmative.

    The author explains benefits of laughter to include: relaxing the body, boosting immune system, triggering release of endorphins, insulating the heart, improving mood, aiding respiration, and increasing personal satisfaction, among others.

    Chapter six captioned: ‘Negative energy banned’ educates individuals on conquering negative thoughts and creating pleasant future. Chapter seven speaks glowingly on gratitude as a sine qua non to building goodwill among men.

    An extraordinary llfe comes with a vision, which is believable, and clearly spelt out so much that whoever comes across it easily subscribes to it.

    Every successful leader is also armed with a mandate as well as the BEST (belief, effort, strategy and testing) acronym to aid man performing at the top of his game.

    “Every remarkable leader has been someone who was in complete control of themselves,” the author posits.

    He continued: “The absence of boundaries and barriers means that anything and everything goes. There is no faster way to corruption than compromising your moral. This requires that every persons that would ever lead they make up their mind before they get started; exactly what kind of legacy they want to leave behind. “

    The proceeding chapter shows how man must not only exhibits traits like tolerance, expertise, honesty, self-discipline, forgiveness and courage, but must infect others with them. The last chapter admonishes man to make hay while the sun shines.

    For the sake of fulfillment, author recommends a tripod-education, enterprise and endlessness, saying they are constituents upon which man’s lifetime is anchored.

    The book describes education (Age 0-30) as the phase where man’s foundation is laid, and attitudes formed. The second stage-enterprise (age 30-60) sees man becoming adventurous and indulging in habits learned at the first stage (be it good or bad). The third stage (60 upwards) however perfects man’s attitude to achieve results and leave a legacy.

    “It is at this point in your evolution that you must become a visionary and see things as they can be, rather than as they appear to be. You then give birth to something that extends beyond the boundaries of one’s lifetime. You reach within and bring out the reserves of strength, wisdom and foresight and set out to create something that will continue to grow and affect lives beyond your lifetime,” the author concludes.

  • Sweden to add gender-neutral pronoun to her dictionary

    Sweden to add gender-neutral pronoun to her dictionary

    The Swedish newest edition of the country’s official dictionary will feature a gender-neutral pronoun-hen to describe all children as alternative to the male pronoun han and the female hon. The Swedish Academy’s SAOL dictionary, which is updated every 10 years will be republished April 15 and will also include thousands of other new words, according to Washington Post.

    According to linguistic expert Sofia Malmgård, the gender-neutral term can be used in two ways. “First, if the gender is unknown or not relevant (as in: “If anyone needs to smoke, ‘hen’ may do so outside”). Second, it can be used as a pronoun for inter-gender people (as in: “Kim is neither boy or girl, ‘hen’ is inter-gender”),” she explained.

    To many Swedes, the decision of the Swedish Academy reflects how quickly their society has embraced gender-neutral language. “Over the last few years, the word ‘hen’ has more and more found its way into the Swedish language,” Malmgård told The Washington Post.

    Five years ago, barely anyone in Sweden was aware of the word. The decision to now include ‘hen’ in the authoritative SAOL dictionary is expected to facilitate an even more frequent use of it in everyday conversations. Set up in 1785, the academy was established with the aim to adapt the Swedish languages to changing cultural and societal influences – a role the institution still feels committed to.

    According to experts, the hen-revolution in Sweden has two primary origins: LGBT groups have promoted the pronoun as a way to raise awareness for their cause. However, support for the idea has also come from a more unexpected side: Nurseries, kindergartens and preschools such as Egalia increasingly argue that the pronoun’s usage allows children to grow up without feeling the impact of gender biases. “The public debate over the pronoun actually only started after the publication of the country’s first gender-neutral children’s book”, Lann Hornscheidt, a professor of Scandinavian languages and gender studies at Berlin’s Humboldt University explained.

    Gender-neutral education in Sweden goes far beyond linguistics. As the BBC already observed in 2011, toys and games in some nurseries are placed deliberately next to each other, in the hope that children will feel free to choose the items they feel most comfortable spending their time with.

    To Hornscheidt, the popularity of hen has not come as a surprise. “The introduction of a pronoun which challenges binary gender norms has been an important step, following a more thorough debate over the construction of gender within the last 10 years,” he said.

    The Berlin-based researcher nevertheless cautions that simply introducing a gender-neutral pronoun in other countries may not be sufficient to fight sexism or gender-biases. Turkey, for instance, also has a gender-neutral pronoun. Nevertheless, the country was only ranked 125th in the 2014 gender equality report of the World Economic Forum. Sweden came fourth.

    •Culled from Washington Post.

  • Children Art Club at Olumo

    Children Art Club at Olumo

    The next edition of the Children Art Club, Abeokuta Ogun State will hold on Saturday April 18 at the Cultural and Musical Heritage Centre, Olumo Rock, Ikija, Abeokuta Ogun State.

    The Children Art Club which feature art workshop for children in the state is endorsed by InSEA (www.insea.org), powered by the Teaching Visual Art. The programme is open to collaboration and partnership with other organisation to create an artistic engagement and resources to aid talent development for the Nigerian children.

  • Each Passing Day holds at Red Door Gallery

    Each Passing Day holds at Red Door Gallery

    Asolo photography exhibition tagged Each Passing Day by Akintunde Akinleye of Reuters will open on Sunday, April 19 by 6pm at the Red Door Art Gallery, 51 Bishop Oluwole Street, Victoria Island, Lagos.

    The exhibition is sponsored by Shell Petroleum Development Company of Nigeria with its joint venture partners and LagosPhoto Foundation

    Each Passing Day which will run till May 3rd is a careful selection from the hundreds of thousands of single images, extracted from different documentary projects and spot news events, which were inspired by the Nigerian space during the last decade and now. Showcasing Akintunde’s documentation of Nigeria, the exhibition brings together photographs categorised to reflect a series of unrelated events and activities in the daily lives of ordinary citizens of Nigeria.

    The pictures depict a truthful rendering of each passing day in the life of resilient Nigerians and show the political, social and physical landscape in which we exist.

    Akinleye is the first Nigerian photographer to have been awarded a prize in the prestigious World Press Photo, which he won in Netherlands in 2007 with his iconic photograph of a man rinsing soot from his face at the scene of an oil pipeline explosion in Lagos, December 2006. He is an award fellow of the National Geographic Society- All Roads photo project.

  • LBHF: Bringing theatre closer to the people

    LBHF: Bringing theatre closer to the people

    festival

    This year’s Lagos Black Heritage Festival will open on April 18 at the Freedom Park, Old Broad Street Prison, Lagos Island featuring Vision of the Child— children/pupils competition and exhibition, Masquerade parade from Badagry, exhibitions – Children Art & Art fair/bazaar, Do Your own Thing – talent hunt programme for youths, drama & dance drama – six plays on showcase, poetry & music – Night of the Poets. Others events include Meet The Artiste showcase – The Stage & Screen Career of Olu Jacobs, film screenings – documentary & experimental Films, Music performances – Live from Emukay; Jimi Solanke and Eko Brass Band. This year’s festival which has as theme, drama, and dance-drama will run till April 25.

    According to a statement by the organisers of the festival, the news of an impending visit by the historic Globe Theatre in England was a major factor in the festival’s decision to prolong its break from the geography based thematic series – The Black in the Mediterranean Blue – on which the Festival embarked in 2012. The visit of a famed professional theatre seemed too good an opportunity to miss for calling attention to the yet impoverished local status of theatre. Thus, for this year’s edition, it was decided to centre activities around– drama!     The organisers also noted that they never knew that the real-life drama of the Nigerian elections would be extended by a full month, compelling the Festival’s shift of dates in turn. “Our expected collateral harvest of attention through immediacy is somewhat diminished. Nonetheless, we still hope that the passage of these professionals, will linger as the Festival picks up the gauntlet, even a month later. It should at least invigorate interest in the theatrical arts, underlining the practical challenges with which the home-grown version has to contend in virtually every aspect of dramatic presentation,” it added.

    This year’s excursion into drama as central theme does however offer a special contribution to the artistic trail blazed by these visitors. Its format was inspired by an increasing awareness of the need to bring theatre closer to the people, not merely confine it to predictable, albeit efficiently structured venues. Directors were selected, then encouraged to scout for optional spaces that they find most appropriate to their choice of plays – bare spaces, night clubs, open pavilions etc. – thus weaning drama of domination by ‘congenial confinement.’ Freedom Park will therefore constitute only one of this year’s drama venues, though without abandoning its role as the hub of the Festival.

    Other activities include the pilot edition of the mentor/protégé project. Experienced hands in the sub-disciplines of the dramatic arts – playwriting, acting, directing, technical theatre, dance-drama etc. – have been invited to mentor one aspiring theatre practitioner each, in a learning collaboration lasting six weeks. At the end of this period, protégés will showcase their projects. “This, we hope, will become a regular feature, not only in drama but in other Arts disciplines. Interested audiences will be permitted to observe some of this aspect of “passing the baton”, a condensed exercise in what is also known as apprenticeship, or passing on skills – in short, a mission is to preserve a continuity of experience in specialised skills,” the statement added.

    This year also, the Festival will pay homage to one of the Nigerian theatre veterans with a wide experience of the stage both abroad and in Nigeria, and who has been a source of inspiration to a whole generation of theatre artistes. If even a small measure of professional discipline has succeeded in penetrating the glut of video drama in what is now known as ‘Nollywood’, it is only thanks to this artiste who will be our guest in the Meet The ArtistE series.

    And then – a different kind of preservation – starring the veteran of veterans, the late Hubert Ogunde who will be the subject of an exhibition. New generation enthusiasts and those who simply wish to stroll down memory lane can look forward to browsing through the memorabilia of the indisputable pioneer of Nigerian theatre.

    The other partnering pillars that uphold the heritage week continue to surpass expectations. The Boat Regatta waits yet again to light up the lagoon that gave name to the City of Waters, while the Street Carnival constantly re-invents itself in the capacity to dazzle and inebriate with its cocktail of extravagant Costuming, Music and Design through the streets of Lagos. Not to be missed of course, is the now ritual opening – the Masquerade Parade. This year, we give pride of place to Masquerades exclusively from the partnering City — Badagry.

    Ever mindful of the entitlement of the upcoming generation, and to remind the adult world of the brimful of talent that ensures artistic continuity and innovation, as well as imparting early understanding of Art as an expression of life itself with all its joys, anguish, triumphs and challenges  –  LBHF continues its quest of The Vision of the Child.  This year, there is a small innovation. Instead of just one medium, painting, the Festival has invited the expression of that vision in a duo-fold encounter – Word, and – Image. Seeking to enhance the powers of observation and representation, children are being encouraged to express themselves annually on a chosen theme – drawn from the entire gamut of life and surrounding phenomena. For this year, the selected theme is:  The Road to Sambisa – Wole Soyinka, Festival Consultant.

  • Overcoming challenges

    Overcoming challenges

    Mountain means so many things to many people. Understanding and the definition assigned to mountain by individual determines the perception they have towards it. Mountain in this sense is not the geographical feature as found in Kilimanjaro or Idanre, but rather a figurative expression that connotes life challenges.

    In this short 60 pages book, Mr. Ayodeji Ayopo, takes a cursory look at challenges of life and how one can turn them to testimony.

    Each chapter of the book is launched with a relevant scriptural reference that tallies with issue being addressed therein. Through this strategy, the author wants readers to draw inspiration from the person in the reference. Beyond readers drawing personal inspiration, the author equally went extra mile to give his own interpretation of what the lessons readers should take away. He closes each chapter with prayer points for readers to take to the throne of grace in order to secure heavenly relief. One cannot but conclude that the author is not interested in academic exercise but fruitful spiritual endeavour that would make readers to appropriate prophetic messages of the chapter through prayers.

    The book is divided into short 30 chapters.  If subjected to critical analysis, it appears that some chapters were dedicated to what I term transformational prophetic declarations such as from ‘pain to joy’, ‘bondage to freedom’, ‘deformity to wholeness’ etc. While there are other chapters that focus on direct proclamation as in ‘weep no more’, ‘be hopeful’, ‘you will be fruitful’, ‘God will locate you’. Both sides of the divides carry messages of comfort and hope, which if apply with the accompanying prayer points, would turn around the fortune of anybody.

    The author’s penchant for prophetic declaration has to be seen in the light of call of God upon his life to expose believers to prophetic insights on how to live as God ordained people.

    Written is simple sentences devoid of ambiguity and rhetoric, it will make a good reading for those who have come to situation of asking question such as ‘why me’, ‘I can’t understand’ due to complex issues surrounding their lives. The compact nature of the book makes it easy to read, particularly for those who are scared of volume. Its arrangement and choice of font in typesetting is catchy and eye friendly.

    Through this small but powerful book, Ayodeji Ayopo, has provided enough arsenal for anyone who choose to really confront his or her mountain without much ado.

  • Kumuyi charges leaders to imbibe love

    Kumuyi charges leaders to imbibe love

    Celebration

    General Superintendent of the Deeper Life Bible Church, Pastor William Kumuyi has called on Nigerians to imbibe the virtue of love, care, patience as demonstrated by principal stakeholders in last presidential elections in the country. He spoke at the just concluded National Easter Retreat of the church held at Deeper Life Conference Centre, Km 42, on Lagos-Ibadan Expressway, Lagos.
    He said Jesus is the essence of Easter because ‘He paid the prize and sacrifice so that mankind would experience salvation which comes with peace in the heart. He noted that as the nation celebrates the Easter in one part ‘we have seen the coincidence that Easter brings as we are enjoying peace as against the reign of violence as anticipated in some quarters after the election in Nigeria.’
    Kumuyi, who was represented by the Church Secretary, Pastor Jerry Asemota said:  ”We can experience peace internally, and in our nation when we embrace the sacrifice that Christ has made and key into the requirements of salvation, which include confessing our sin, forsaking them and asking God for grace to live for him”.

     
    Kumuyi who commended the courage displayed by President Goodluck Jonathan for conceding defeat to President-elect General Muhammadu Buhari said that the pronouncement of  President Jonathan to concede defeat is significant and would be written in the book of records not just in Nigeria but in the whole world.
    He said “Nigeria has gone through election that makes so many apprehensions and many relocated because of what they felt would be the outcome of the election but the sacrifice of one man paved the way for peace which should be emulated by all of us”.
    He appealed to the incoming President to continue to display the values of love, sacrifice and selfless leadership which are key elements for any leaders who hope to succeed in our world today.
    Kumuyi challenged the President-elect to brace up to the challenges ahead as he would be given time ‘though success will not come overnight but we will pray and be patience and we will see results.’
    He however asserted that President Jonathan has come to fulfill the assignment God has given to him which we believe he has fulfilled. Kumuyi said: “Nigeria is plagued by so many problems and we believe as express by the seriousness of the President-elect that he would tackle them headlong”.
    He pledged the continuous support of the church in praying for the needed wisdom for the President-elect to handle the task ahead urging him to roll up his sleeves and be ready to work and God will help him.

  • Nigerian artists exhibit in London

    Nigerian artists exhibit in London

    Beginning from the 19th of this month, some Nigerian contemporary artists would be showcasing their works at the famous Lacey Contemporary Art Gallery in London.  Speaking to the Nation on the processes leading to the event, the president of Guild of Professional Fine Artists of Nigeria (PFA) Abraham Uyovbisere, explained that even though this is the third edition of the show, the whole essence of the outing is meant to use the Nigerian contemporary art to reach out to the world.

    With the theme of the exhibition as Transcending Boundaries 2015, the idea is to let the artists use the platform to square it out with their contemporaries in other parts of the world.  Uyovbisere said: “As you know, every year, the guild puts up an exhibition in London.  It is usually packaged and curated by our dealer in England.  What we are doing is to dwell extensively on professionalism in order to give the best we have to the world.”

    This is why the likes of Dr. Bruce Onobrakpeya, Kolade Osinowo, Bunmi Babatunde, Fidelis Odogwu and such other great Nigerian artists are involved in this great show.  With over 34 works of different genres of the visual art, it is expected that the two week event would afford both the older and younger Nigerian artists the opportunity to appreciate the whole beauty and importance of the exhibition.

    In this regard, Uyovbisere said: “It is to use this medium to increase the level of awareness concerning most of our contemporary art works.  It is an opportunity for us to venture out, looking at the global stage.  People who truly appreciate the work of art would view the works, then key in, because as you know, the world is a global village.  So, whatever other artists are doing should not be cut off from what we are also doing.”

    The president of the guild re-emphasised that the reason behind the formation of the artists guild in Nigeria is to afford professional studio artists the opportunity to speak with one voice.  “This is purely for studio artists with not less than seven years of practice.  We made it so in order to ensure that members are truly committed to the ideals of studio practice and tenets.  So, by the time we use the exhibition to extend the aesthetics of our art to Europe, America and beyond, we will be much more appreciated.  In this way, both our local and international collectors will be involved” he said.

    By the time the exhibition would be winding up on May 11, it is expected that most of the paintings, sculptures and other installations would have created the necessary impact in the minds of art lovers and collectors.

     

  • ‘Traditional songs good for relaxation’

    ‘Traditional songs good for relaxation’

    With the assemblage of series of songs and stage dramas anchored basically on folklores and traditions of the people, the National Troupe of Nigeria has shown that truly tradition can never die.  The idea of folk and traditional theatre as espoused by Akin Adejuwon, the director of the Troupe is to bring back the people’s heritage and present songs that appeal for national unity and cohesion.  Edozie Udeze reports

    Traditional theatre is gradually recreating its impact in the theatre scene in the society.  For too long, the society, especially those who created stories and enacted issues that gave vent to stage drama seemed to have relegated the importance of folklores in Nigeria to the background.  Due to this, many of the stories that made up the issues of theatre truly lacked in the areas of conveying the sentiments of the people and what they stand for and why they enjoyed listening to their traditional songs.

    However, one man who has chosen to toe this new part and bring back to the basics the issue of folk-theatre is Akin Adejuwon, the Artistic Director of the National Troupe of Nigeria, (NTN).  In all the Easter stage songs and dramas presented to the public last weekend, Adejuwon went deep into the heritage of the people, dwelling so much on those moon-light stories that shaped the history of the different localities in Nigeria.  With these, he was able to produce one of the most outstanding and spectacular performances by the National Troupe of Nigeria.

    Titled musical folk-theatre performance and which lasted for over two hours, the songs reminded the audience that history is made up of what the people have lived in the past.  With these stories, the artistes presented series of electrifying dance-dramas, deeply imbued with colourful costumes to sooth the nerves of thespians.  Adejuwon said: “Yes I thought we needed to go back into the culture of the people.  We felt we needed to revisit the many rich cultural and folk stories of our people to be able to produce dances and songs that would satisfy the audience.  It is an experiment in progress but I feel from what I saw today, how the people reacted, and how the artistes carried themselves on stage, we have succeeded in proving a point.”

    In his reaction to the question of what gave him the idea to go more traditional in his latest stage offerings, Adejuwon, a painter and visual artist of no mean stature retorted: “The issue is that I want to throw back the question to you.  What do you feel?  How do you see or assess the Troupe?  All we have done is to produce and present what we feel can catch the fancy of the Nigerian audience.  The stories are the stories of our people and what they believe in.  I have done the work; I have put it out, so please do the critique,” he said.

    He reiterated that his position is that of trust in the interest of the people.  “The Troupe is for the people.  What I have been able to do, goes far back to the interactions I have had with the people over the years.  Those interactions have helped to infuse ideas into me, into what I have been able to present to the people.  And of course, this is a collective responsibility.  The artistes are also involved in those creations.  But the most important thing is that we are on the threshold of history whereby we need to do more in the areas of our traditional values for more and better stories and stage dramatizations of those stories.”

    Some of the stories on stage were those used for the three-state tour embarked upon by the Troupe last year.  Although the name has been changed from Ajoyo (celebration) to Ajodun (festival), basically the contents remain the same.  They all encompass contemporary music, solo performances and so on, embedded in the cultures of different ethnic groups in Nigeria.  Adejuwon explained that the introduction of the new costumes was to embellish the stories and give them proper stage colouration.  “As it turned out,” he said, “the presentation became more relevant to the ideals of the moment and what the songs and dances stand for.  In all, the thematic thrust is the national unity, cohesion and oneness of the Nigerian society.”

    What this shows is that with theatre, one can safely showcase the Nigerian folkloric songs, bringing into focus the profundity of their performances, in different ways.  What impressed people more was that Adejuwon and his team spent only three weeks to package these stimulating stories into theatre.  To him, it wouldn’t have been pleasant to celebrate Easter without the input of the Troupe even if there was no fund to do it.  He said “I believe in my wonderful team and I was quite sure we would be able to do it even at the shortest time possible.  This was why of all genres of theatre, I chose music for this celebration.  For me music is the height of theatre in the entertainment industry.  Today music is giving, Nigeria a great mileage, so I felt we should continue in that tradition.”

    For many years, the music department of the National Troupe was dormant and ineffectual. So with the infusion of new life into it, the Director decided to use the department to give the Nigerian theatre audience a hilarious musical ensemble for the season.  “Although we have created this, we will still take it out to places like Abuja and so on to make the scenes more penetrating to the people.  We will also go to Ghana to showcase these songs and also feel the pulse of the people.”

    He went on, “I have looked closely at the production in the past.  I have also listened to some new Nigerian singers and musicians.  What do you think make most of them tick or why are they so popular?  Many of them have gone back to the stories of their people.  They have discovered that this is what people want to listen to; people want to identify your songs with what goes on around them.  This is basically what I have decided to do also.”

    Adejuwon stressed the need for people, especially artistes to first of all think in their traditional ways.  “This is what Professors Wole Soyinka and Chinua Achebe do and that is why they are great artistes today.  They prefer their African background; they eulogise their African traditions and use them to write stories.  This is why we see wonderful folklores in their presentations.  If they are very great literary icons today, why wouldn’t we and others go back to those issues that pertain to the people to give them the kind of songs that appeal to their senses?  So, this is why I will continue to go into our traditional African art and produce what people want.”

    At the moment, with the array of musical presentation and the dance-dramas that go with it, Adejuwon and his team still hope to go on a second-leg of a nation-wide tour.  Apart from his avowed commitment to use theatre to cement love in Nigeria, he also hopes to use it to reach out to war-torn zones not only in Nigeria but elsewhere to preach love and togetherness and peace.  “We still hope to embark on such tours to let the people know the whole essence and beauty of theatre.  Theatre, to me, is a good vehicle to douse anger, recreate the mind and forge unity.  And we are committed to it,” he said.