The Nation Newspaper

Category: Arts & Life

  • Discussing freedom

    Discussing freedom

    At the Freedom Park, Lagos, recently some literary eggheads met to discuss in search of freedom and what it constitutes to societies across the world. The issue of what societies do with freedom and their aftermath was the bane of contention. Edozie Udeze writes

    In every situation in all parts of the world when people agitate for freedom, what first comes to their minds is how far-fetched is this dream of obtaining freedom. There is nowhere in the world; whether in Africa or elsewhere where freedom is obtained on a platter of gold. But even then, when this freedom is finally got, what else follows; what do the people do with it to ensure that they consolidate on the gains of this freedom in order to take their society to a greater height?

    These and more were some of the issues that preoccupied the minds of Olayinka Oyegbile, Toni Kan, Derin Ajao, Kola Tunbosun, Femi Odugbemi and others during the just concluded 16th edition of the Lagos Book and Art Festival (LABAF). In the theme of the discussion which centred on freedom and its aftermath the discussants took a swipe at the works of some authors who have written variously on this theme. In search of freedom, and freedom of what? This was the rhetorical question on the lips the of discussants.

    In introducing the topic, Odugbemi opined that books have helped societies across the globe to view their situations better. From apartheid in South Africa, to the cold war years and the fall of the Berlin walls, it is important to see how some very critical books have emerged on these sensitive issues to help the world grasp the situation in such a way as to guide against reoccurrence.

    Oyegbile’s topic which was unique both in its presentation and subject-matter dwelt on the work of Alaa Al-Aswany, an Egyptian author resident in the United State of America. In his book entitled Chicago, Al-Aswany, an award-winning writer dealt with the crisis of identity for most Arabs who are torn between their own strict moral lifestyle in Egypt and the sort of freedom and loose society that pervades the United State of America. “It is the story of sex, love, freedom and identity”, Oyegbile averred.

    Yet it is the story of some Egyptians sent by the government to the USA on scholarship to return back home to Egypt to help rebuild their society. Most of them now find themselves in a confusing state; being immersed in a country where morality is loose, yet the people are making progress. “They could not understand it; yet God has blessed and will continue to bless America. Back in Egypt, the people are made to live a strict religious life, yet there is strife everywhere; there is war and peace eludes the people. Even the Jews are better placed in the world. Is it because they are friends with America, that things are better for them?” Oyebile intoned, dwelling on the deep psychological impact of the book, both on the Egyptians who are torn between the two worlds and some Americans who keep the company of these Arabs.

    It is intriguing, but mostly, Chicago exposes the trauma of a people who live amidst the deluge of an endless lie; a people who are not, as it were, allowed to be true to themselves, to their beliefs and convictions. “Based essentially on a university campus lifestyle, it chronicles these experiences in a post 20/11 Chicago and also brings to the fore the inevitable role of America as the land of freedom and diverse ideas,” Oyegbile surmised.

    In the second book which he discussed, Oyegbule equally ex-rayed the place of the News magazine and its founding editors in championing the cause of freedom from the clutches of military rule. “It was tough, yet these brave writers rose to the occasion. In devising all sorts of strategies and methods, they were able to rattle the military,” Oyegbile said. This story of the News, is the story of democracy in Nigeria today and it is incomplete to celebrate this dispensation without giving kudos to the likes of Bayo Onanuga, Seyi Kehinde, Kunle Ajibade, Dapo Olorunyomi and others for their sense of commitment and bravery that gave freedom to Nigeria.

    In his own contribution, Toni Kan dwelt on the situation in Jos, Plateau State, at the moment where fear and trepidation rule the hearts of the people. “This is a place where love ruled before; where people from all over the world converged to enjoy the bliss of the society. But today man-made strife, hatred and anarchy have taken over. What we see today is a replica of the Berlin wall. You have to be restricted to your own area in the city if you want to enjoy your life,” Kan revealed, “Jos, may not be the same again in a long time to come,” he lamented.

    There is so much fear in the city of Jos. Kan related this scenario to the early years of the Berlin walls when the two Germanys were so scared of one another. Not even social contacts were made possible. Communism and capitalism were then pools apart. The issues of the beliefs of the people along social lines were the basis for deep mistrust. So then, what do we have in Jos now? Anarchy and fear for tomorrow have taken over the entire enclave. If that is the case, what then is freedom; how does man obtain freedom in order to prosper in the world? These are the salient issues in search of freedom raised and they are issues that indeed trouble the soul of humanity.

    How can man himself work to keep the society trouble-free? Tunbosun who discussed apartheid per se, was not happy that the world did not or could not see the true ironies of this monster until years later. By then, a lot of damage, deep-rooted for that matter, had been established to keep the Blacks perpetually backwards. “And this is what the Black South Africans are suffering today. That trauma of a situation so long perpetuated in their society is still haunting them. As a matter of fact, it will take a long while for them to get out of it,’ Tunbosun argued.

    To him, the white supremacy in the enclave was perpetuated mainly to deny the Blacks of the right to vote. They were also denied the right to go to school and be exposed to the world. This worked for a long time, until people like Oliver Tambo, Nelson Mandela, Walter Sisulu and others began to challenge the white rulers of South Africa. And when the centre could not hold anymore, freedom came; came in such a way that the era of trauma cannot be easily forgotten by the people who were at the receiving end.”

    The discussants harped on the need for people to begin on time to stand for their rights. No one has the monopoly of victimization or the withholding of other people’s rights and freedom. Freedom is freely given to every man and therefore every man has the right to be respected. Why would people assume the policeman of the world or even go as far as dictating to other societies on how to order their lives? This was the main thrust of the matter and so where these rights have been knowingly or unknowingly infringed upon, people should rise to fight against it. And once this freedom is won, let there be concerted efforts to make the society better so as to justify the need for this hard won freedom.

  • Making them relevant

    Making them relevant

    TITLE: The Missing Daughters
    AUTHOR: Orubebe, G.E.
    PUBLISHER: Grace Springs Africa Publishers, Lagos
    NO. OF PAGES: 285
    REVIEWER: Chijioke Uwasomba

    The Missing Daughters is a morality tale by Orubebe Gandhi to warn men and women alike of the need to accept the will of God as it relates to the sex of their children. In order words, every child, whether male or female is important and should not be discarded. Those who out of foolishness or short-sightedness, dismiss their female child or children are bound to regret like Obi in the novel under discussion.

    The story is set in a village called Ogbabiri. From all indications and by all accounts, Ogbabiri is a village that lacks modern facilities that could make life more meaningful. The commonest source of energy in the area is firewood and no wonder the village is always enveloped by smoke. The point at issue upon which the story revolves round- the less value placed on the female child- further portrays the society of the novel as one that is primitive in every material particular.

    Egbema, who has six boys is always in the habit of boasting to his wife, Nigho that the female sex does not endear to his ancestors. He sees his family from  time immemorial as a male-breeding one. Egbema dismisses Nigho for wanting to have a female child as if she is the one who decides the sex of a child. It is with this mindset that Egbema warns his children: “Any woman you marry among all of you, if she bears a female child in the midst of your children, she would have committed an abomination in that she may have had that female issue from another man, she would have committed adultery” (29). Egbema is obsessed with this reprehensible thinking to the extent that “No female children” becomes the chant in his household.

    It is important to note that out of fear and to satisfy their father, all Egbema’s children are gripped by their father’s story about male/female which they have dubbed ” the male syndrome thing”(35). Bafukeme, the oldest son who has fallen in love with Ereseimo shows signs of fear because he does not want to hurt the sensibilities of his father. This is more so considering the fact that Ereseimo’s family is known as a female-bearing one. But in the end both Bafukeme’s wife and those of the other two siblings give birth to male children.

    Obi’s wife cannot understand the queer premium placed on male children over and above the female by the Egbema family. She sees it as amusing. Obi tells his wife: “You either give birth to male children or you are not part of our family”(55). But unfortunately to Obi his wife gives birth to a female. Of all in the household of Egbema it is only Nigho, Egbema’s wife that defends and identifies with Obi’s wife. She teases Obi: “Becky has given birth to a female child. Go and kill yourself. Since she arrived here, she has been like a woman in harem”(59). Becky gives birth to two other girls and is driven out by Obi her husband: “Go away with your female children”(62),Obi chides her.

    Nigho, a very clairvoyant mother scolds Obi for his foolish decision. Obi’s siblings and their father Egbema praise Obi to high heavens for the decision to send his wife and children away. No sooner has Obi taken this decision than he begins to regret his action, tormenting himself. Even in his place of work, Obi who is known for his exemplary industry and commitment to duties can no longer give his best. He is chided by the management: “Obi your attitude to work which used to be commendable has taken a plunge for the worse. This place is not a civil service arena rather we are a company. You had an adept hand in times past”(68). Obi is eventually sacked. He marries another girl. As if he has lost every modicum of reason, he drives the third wife away saying: “go away with your female child”(69).

    Meanwhile, Becky, Obi’s first wife who had been driven away by Obi has not lost hope in Jesus Christ in spite of all her frustrations. Her three daughters- Dora, Dolphin and Betty- who are under the custody of her parents and being taken care of, over time  become graduates with the first daughter Dora,who at this point has become a lawyer getting married to Dr. Ibeh Ogbebor,a medical doctor.

    By a twist of events the king of Ogbabiri informs his people of how the Ogbu indigenes who the Ogbabiri clan had given its land for their settlement have turned around to be killing the Ogbabiri people. All the Ogbu males are wiped out. Some of the Ogbu girls are taken captive and one of these girls, Edna is married by Obi making it the fourth wife he has married. Strangely, Obi does everything within his power including cooking and serving Edna but the latter does not show any form of appreciation. Obi’s drinking habit which he acquired when he was desperately looking for male children has increased even now that through Edna he has had three male children. His wife Edna and the three children take to alcoholic drinks like Obi leading to the death of the third son Roland.

    Edna is also rumoured to be sleeping with all sorts of men and caught in a room with a man. Because of the irresponsibility of Obi’s children and the waywardness of Edna, Obi decides to keep his money in the bank to prevent it from being stolen but is beaten mercilessly by his children in his farm. Obi is rescued by a good Samaritan, Ogbebor who takes him to his Doctor son, Dr. Ibeh Ogbebor who turns out surprisingly to be the husband of one of the three daughters of Obi (Becky’s first daughter, Dora). Obi is healed in Ogbebor’s house and is given a parcel of land to farm since he says he wants to be Ogbebor’s servant.

    The turning point in the life of Obi comes when he realises that but for Dr. Ibe Ogbebor, all the other eight children of Ogbebor are all females. Obi is at this point in his life full of regrets, more so when he notices the enviable relationship that exists between Dr. Ibeh Ogbebor and his lovely wife, Barrister Dora Ogbebor. Each time Ogbebor’s children display their love for their father with gifts, the gesture evokes thoughtful memory in Obi. He begins to regret his past actions especially the way he treated his wife Becky and children. The invitation of Becky to the Chieftaincy ceremonies for Ogbebor brings Becky and Obi together as Becky recognises Obi and holds him with joy. This leads to a reconciliation between Obi, Becky and their three daughters but with the search for the other daughters from the other women that had been sent packing by Obi in those days of his “madness”.

    As noted from the outset of this review, this is a novel that is rich in didactic disclosures harping on the need for forgiveness. At the denouement of the novel, the reader realises the futility and foolishness in dismissing the female sex as unimportant. The novel throws up a lot of issues bordering on the need for good family values, respect for women, love, the recognition of women as human beings who have the same values as their male counterparts or even better. Ironically, the male children of Obi become alcoholics and father beaters who are given to criminality. Obi’s most loved wife whom he pampers, in cahoots with her children become a thorn in the flesh of Obi.

    But for the love shown to Obi by Ogbebor after the thorough beaten given to him by his male children, he would have died. The love and fellow feeling showed to him by Ogbebor and his household, and the cohesiveness of the immediate and extended Ogbebor family prick the conscience of Obi and usher a turn-around in his entire consciousness.

  • Saro hits Lagos stage

    Saro hits Lagos stage

    The stage is set; the lights are on. Get ready… It is Saro, the Musical 2. The musical drama ran throughout the Yuletide inside the Shell Hall of MUSON Centre in Lagos. With three directors to handle music, dance and drama, the multi-million naira performance ended this season. Its three directors share their ‘behind the scene stories’ with Evelyn Osagie.

    From high life to afro beat, afro pop, afro fusion, to the inspirational and traditional music, Saro, the Musical 2 returned to the Lagos stage, bringing influences and instruments from many ethnic groups to bear on the audience.

    Lagosians had a thrilling theatre experience this Yuletide as Saro’s 100-man cast hit the stage inside the Shell Hall of Muson Centre in Onikan, Lagos.

    The musical-play, the story of four young, but frustrated performers who embarked on a journey in search of their destiny, is a unique blend of music, drama and dance drew dignitaries from across the state. They included All Progressive Congress (APC) presidential candidate, Gen. Muhammadu Buhari, Rivers State Governor Rotimi Amaechi, Kaduna State APC standard bearer, Mallam Nasir El -Rufai and Senator Olorunnimbe Mamora.

    Like many in the audience, “freedom” is what they sought; and Lagos was the city – that held a promise of escape from the jaws of poverty for the emerging artists – the four young men in Saro chose. Will they realise their dream?

    Weaving together the trials, misfortunes, love, and destinies of the quartet into a 14-act masterpiece, the producers of Saro tell the unforgettable and inspiring story of the journey to success in a city filled with broken promises, as we see Lagos personified by its  colourful and unforgettable characters, frenetic pace of living, and endless drama.

    Fun lovers joined the “Four” on the exciting journey – through different stages of their lives – to the land of discoveries and dreams.

    Beginning with two shows from last Tuesday, the play, which ran till  Sunday, was produced by Mrs Bolanle Austen-Peters and Mok Art & Media Production. It was supported by Terra Kulture, Access Bank, Etisalat and Africa Magic.

    The production, which cost about N50 million, featured outstanding Nigerian artistes and performers, such as Bimbo Manuel; Dolapo Oni; Gideon Okeke; Ade Laoye; Patrick Diabua; William Benson; Adesua Etomi; Dolapo Ogunwale; Paul Alumona and Paolo Sisiano.

    Three directors handled music, dance and drama. The play was directed by Ayo Ajayi (music), Gbenga Yusuf (dance) and Kenneth Uphopho (drama). They shared their directing experiences below.

    With a 100-man cast and short period to prepare, how was the preparation  for this year’s outing?

    Saro Music Director, Ayo Ajayi: So far it’s been a trying journey, but then it’s been worth the while. We didn’t just want to repeat what we offered last year, but to refine and produce the best performance so far in Lagos and Nigeria. A lot of hard work has gone into it, and we’re determined to get the result we want. What we had last year was good; this year we were determined to take the play through the necessary process, through fire, through the forge to make it the best performance ever.

    Dance Director, Gbenga Yusuf: Preparations were very hectic; we wanted to beat last year’s production. And since we didn’t want to give our audience the same thing, it was challenging. Saro 2 is definitely better than the first. And indeed, we took the audiences unawares from start to finish. The dances were spectacular. We had more indigenous, cultural dances infused with modern dances.

    Drama Director, Kenneth Uphopho: The journey has been great. With a tremendous effect in its scripting, Saro 2 had more elements to play with. We wanted to make the characters stronger, distinct because we wanted to carry the audience along, which we eventually did. What we’re selling to people is a lifestyle. The theme of Saro is liberty – liberty to achieve, to excel and achieve what you hope to achieve! That is what we wanted people to buy into. It’s the story of four young boys, who wanted to achieve something for themselves, musically. Fate takes them to Don Ceeto; and Lagos City influences them and impacts their lives. At the end, they come out triumphant. There’s also a love story, as sub-plot which goes to show that a thin line exists between dream and love.

     

    What was new with Saro?

    Ajayi: Last year, it was a great show, but this year was greater because we infused many things into it to make a great product. We refined the three departments – drama, dance and music and the effect on the audience was whao! In musical aspect, so many original songs were incorporated to meet the demands of popular hiphop artistes and listeners. The standard of music we had in this edition was higher than what currently exists in the Nigerian hiphop scene.

    In 2013 edition, we only had Magba gbe mi, this year’s we had so many other original songs. All the audience needed was to sit tight and get blown away. For me, “the audience must have goose pimples from the effect of music or else, just scrap it!”

    We’re trying to set the pace. Since last year’s edition, several musical productions have sprung up. We are also a turn around in Nigeria. Nigerian music at the moment doesn’t seem to have focus, just rhythm, bad sound and silly language. On the contrary, the music is attractive, different in language and music content. Hiphop artistes in Nigeria will learn how to make good music after listening to Saro 2. There was so much musical content for the play than we have on the streets today because we are schooled and professionals in what we do. And the songs make sense unlike most of the music we have on the streets.

    The performance of the four young men, which didn’t happen last year, was also grand. Don Ceeto’s musical project is also a new addition. “Don Ceeto” is the man who discovered the four men and gave their music career a lift. In this edition, his musical project stood out on its own. The five tracks of his project incorporated in the production were made up of different genres and styles – jazz, soul and Nigerian music. Three of the tracks have already been recorded.

    Yusuf: It is that creative infusion of indigenous and modern dances that gives Saro 2 its magic. Saro envisages the future of music and that was expressed through different dance steps – from indigenous African, Nigerian dance styles to modern styles. It was innovative because we sought to bring something new, original and spectacular into this edition.

    Last year, there was no circus, acrobatic displays, no skaters or chopper landing on stage. In this year’s, dance was wide in form and style. It had all those spectacular elements and more. There was also the use of props and things to give it that whaoh effect. Imagine Bata drumming being infused in Jazz and a ballerina. In fact, Saro’s message came out clearer this year. The music, the dance and the interesting acts contributed in giving the audience a clearer picture of the story-line. They were able to follow the story of the four boys from the village to the city and to Don Ceeto’s house. We took the audience through the nooks and crannies of the state to which the audience can relate to as their own Lagos.

    Uphopho: Lagosians and Nigerians should look out for Saro 2 in 2015 because what they had during the Yuletide was only the beginning. In fact, this is bigger than elections; elections leave us hungrier and frustrated. Saro will bring joy and smiles to Nigerians. It will provide a beautiful escape from all the election hardships and excesses of our governments.

    What is your job in Saro?

    Ajayi: My job, essentially, is that of the music arranger and composer. As MUSON School of Music alumni president, I’ve tried to influence a few young artistes in the music scene. We take music to schools to try and influence those coming up.

    Uphopho: I’ve done musicals before, such as Cinderela, Shakespeare’s As You Like It, Rubiewe, an African adaptation of Beauty and the Beast and then Beauty and the Beast proper. But Saro was more challenging; it has bigger cast and crew. Luckily, I was part of the script development process. I can only say it’s been tough all through, but absolutely enjoyable! The hardest part is the rehearsal; 100-man cast and crew is not a joke. Managing the emotions of people takes a lot. We tried to micro-manage everything. The cast has been amazing and supportive. There’s no laid back approach; everyone is ever ready to play his part.

    We looked forward to a good show. The three directors worked six hours a day to ensure that everything worked out well. It’s a combination of all efforts. Saro is child-friendly with simple language. It was a fantastic way to celebrate Christmas with one’s entire family.

    Yusuf: The team I worked with this year was unique; and that was why you saw wonderful performances. We used certain dance forms we didn’t use last year. There was the use of circus and props. The Saro boys not only sang, but danced and acted.

  • A unique music heritage

    A unique music heritage

    The crowd at the Obokungbusi Town Hall of the Owa Obokun Palace in Ilesa, Osun State,  might have looked ordinary last Friday evening. But the spirit behind the gathering was uncommon. It was unique because it attracted leading Adamo music exponents, a traditional Ijesa genre of music, seasoned and up and coming performing musicians from Ijesaland only. Their mission was to inaugurate the first Adamo Music Festival as a prelude to the  yearly Iwude Ijesa Festival, which climaxed on Saturday at the same venue.

    Adamo Music Festival was initiated by Embrace Osun and supported by social groups such as Friends of Rauf Aregbesola (FORA), People Friendly Governance Initiative (PFGI) and Ijesa All Stars.

    For about six hours, the Owa Obokun Palace premises was agog with musical performances by no fewer than eleven musicians of different genres, ranging from Adamo to Fuji, Hip-hop, Rap, Juju, Gospel and Highlife. Among the artistes that performed were the ageless Pa Ige Adubi; Baba Adedara Aruna; Niyi Ajetomobi; Rawlings; Boblad; Olatunde Abiodun aka (Baba Ewe); Ayuba Aliu and Adewale Kadoka (Ijaya).

    Others were Young Ade; Wewe Mighty; Gbenga Falope, Osogbo-based fuji act; Oluomo (Oyeniyi Ismail) and Small Doctor, who is popular with his song; I dey kill mosquito well well.

    Adewale Kadoka took the first shot at thrilling the crowd that has waited patiently for about 4 hours for the start of the concert. He was followed by Wewe Mighty, a talented juju musician. His performance lasted within the stipulated 10minutes allocated to each artiste.

    But by 7pm, there was a brief shift to rap music and hip-hop as a stop-gap for the young at heart in the audience. That break lightened the crowd with the rendition of Dorobucci by Mavin Crew led by Don Jazzy.

    Oluomo’s performance though the shortest, stood out among the lots. In fact, it was a mix grill of scintillating drumming and narratives of Yoruba ‘orikis, yabis and faboos’ that characterised fuji music. The self-taught 12-man band leader, Ismail, who has been into music since 2007, said he loves fuji because it provides the finest platform for creative expression.

    The tempo of the festival got to a crescendo when Pa Ige Adubi went prayerful with his song Baba wa ti mbe lorun, a rendition the crowd could not resist. Like Adubi, Pa Adedara kept the crowd on their toes for longer time. His sterling performance attracted other younger Adamo musicians, who joined him on stage for a ‘collabo’ that lasted several minutes.

    Young Ade mounted the stage after Gbenga Falope, who spiced his juju music with effective use of saxophone. By 9.30 pm, Falope’s rendition of Oriki Ijesa was what the entire crowd needed to join in the sing-along chorus that echoed into the dark night.

    Young Ade’s performance was a mirror-image of King Sunny Ade’s stage craft and singing ability. In fact, Young Ade was the big masquerade that danced last as his presentation drew the curtain for the festival.

    Chairman, Iwude Ijesa Planning Committee, Chief Olu Falomo, said the rebranding of Iwude Ijesa Festival- a convergence of culture, tradition and communion, was informed by the need to forge unity among the Ijesa people. The festival featured motorised floats and parades of clubs, societies and communities. The high point of the celebration was the public appearance of the Owa Obokun Adimula, Oba Aromolaran, to Yeyerise’s compound, Obanla, Sawe, Lejoka and Salotun’s courtyards.

    Development Consultant and Festival Director, Aremo Tope Babayemi, said Adamo Music Festival is the brainchild of Embrace Osun, a group that identifies and nurtures different talents in Osun State, especially in the socio-economic and cultural sphere. According to him, the idea is to follow up with the promotion and presentation of such talents as these artistes for the developed markets. Babayemi disclosed that the festival would be an annual outing.

    Governor-General, PMAN (Osun State Chapter) Mr. Mutiu Aiyeloja, described the festival as a new dawn for musicians in the state, especially the platform it created for expression of creativity. He was optimistic that next year’s edition would be better and bigger despite low funding this year.

    State PMAN Treasurer, Alhaji Abdulazeez Ibrahim, stressed the need to promote and sustain the Adamo brand of music, which is why PMAN has identified with the initiative. “We are government voice and we spread the good works of government everywhere. And we are happy with what Ogbeni Rauf Aregbesola is doing in our industry. He provides the platform for artistes to showcase their talents to the world. He has been able to show to the world that we have stars in Ijesaland,” he said.

    Despite the absence of colour that often characterise many big festivals such as Ojude Oba Festival and Osun Osogbo Festival, Adamo Music Festival has succeeded in laying a solid foundation for the growth of subsequent editions. Organisers of the festival have assured that early preparation and sensitisation of the people would be given top priority for a successful outing next year.

  • ‘No cultural revolution, no national resolution’

    ‘No cultural revolution, no national resolution’

    Former Deputy Editor, ‘The Guardian’, Mr Ben Tomoloju, who has just turned 6o, recalls how his alma mater, Christ’s School, Ado-Ekiti, shaped him. Chinasa Ekekwe reports

    Friends, relations and colleagues of Ben Tomoloju, playwright, journalist, culture communicator, activist and director gathered at the Afe Babalola Hall of the University of Lagos, in honour for his 60th birthday celebration. There was a lecture and presentation of Tomoloju’s three books.  One of Tomoloju’s  mentors, Prof Niyi Osundare chaired the lecture. Prof Tony Afejuku delivered the lecture titled: Thoughts on the Nigerian media in a deadly season. Tomoloju’s is former Deputy Editor of The Guardian.

    The three-day birthday celebration, which started penultimate Friday also featured dance drama presentation, Art forum and poetry performances at the Freedom Park, Lagos.

    Interestingly, the Sunday feast at Freedom Park, Lagos was full of nostalgia and reminiscences for the celebrator, whose plays such as Jankariwo and Flowers’ introspect were put on stage. During the Art Forum session, Tomoloju observed that one great advantages of designers of the nation’s educational polices was the liberalism that was entrenched into such policies. He said it created room for diversification of skills and very profound and deep moral thrust.

    “‘Christ School, Ado-Ekiti (my alma mater) has a romantic appeal even till now because it is located on the hill. From the main gate to the theatre, there is an ascending of a gradual slope surrounded by mango trees by the left and right hand sides. Right at the tip of the hill, there is an ark made of concrete with a garden of shrubs. There is also the art gallery shielding the theatre designed like the roman theatre.

    “Then, students like Niyi Osundare and Moyo Ogundipe were my seniors, but the interesting thing in the school was that the age grade was similar in every class. Admission was not just for anybody. For example, if admission was for 12 and 13 years old, the school will stick to it. Like when Osundare was in Upper Six, I was in form one. All these inspired me. It was so much that Osundare won the first prize of the senior category for the Western States poetry contest in 1968 while I came second in the junior category for the poster designing,” Tomoloju recalled his  Christ School days.

    Prof. Osundare, according to Tomoloju, was the ‘head of table’ in the dining hall. “In fact, he taught me how to use the cutlery,” he added.

    He continued: “Also, back then we just pick a piece of paper and scribble something down and the house will present them during the inter-house drama competition. The works were more like test by our teachers to see if we could do it like our masters. And so you would not know that you have written something that would be preserved in the history books.

    “The first play I wrote was The Son of a Witch and Sweet Poison in 1971 followed by The Walnut. Interestingly, The Walnut was the kind of total theatre. It predicted the Flowers Introspect. I believe in the ideology that informs a statement which also sometimes influenced the kind of style you adopt.

    “In those days, we spend 50k per day for food and you will eat to satisfaction. The younger generation needs to know this so as to analyse how bad things have gone in the country.”

    Monuments and art structures, he noted, have been abused and destroyed, describing such act as charlatanism in high places. According to him, ‘intellectualism is of the highest value in social development and “so we have to train the younger generation so that we can hand over the industry to them”.

    He noted that having produced skilled and talented artists, it is important for the government to create an enabling environment such as neighbourhood theatres for them to practice.

    “Take for instance, the late reggae legend, Bob Marley and the late Afrobeat legend, Fela. They were revolutionary artists of the highest possible political dimension. Their songs were the most popular all over the world in their time and so the artists should be able to accept the politics practised in his time. I tried twice to be in the House of Representatives. Some artists should be involved in politics for the centrality of culture to the cause of nationhood. Artists should go there and transform the nation culturally with authority. If we know how to get it right, there will be a change, but without cultural revolution there cannot be a national resolution.

    There is a disconnect between intellectualism and popularism. But, I believe that there is so much complacency within the academia and theories are being propounded without trying them. In Nigeria, we never had articulate proletariat and a revolution will not happen in Nigeria. We had a test case in the ‘Ali Must Go’ campaign in the 70s. Unfortunately, we have been reaping anarchy because rather than produce vanguards, we produced vandals.

    “I knew right from time that Marxism theory cannot work in Nigeria. The old Soviet Union were highly educated and would discuss philosophers from Aristotle to Karl Marx. So, revolution cannot work in Nigeria except the minds of the masses are cultivated, without it, anarchy will be the order of the day,” he said.

    Oba Gbenga Sonuga described Tomoloju as a complete cultural communicator. “Before Ben Tomoloju, one could hardly find articles about culture in the newspapers. Now, one of the most outstanding things I remembered that he did was going to the National Theatre to see a play, Ori and writing a superb and insightful article ‘clearing the ritual thoughts on it,” he noted.

  • Group promotes Yoruba heritage in Europe

    Group promotes Yoruba heritage in Europe

    To take Yoruba culture and identities worldwide, Oodua Peoples’ Congress (OPC) National Coordiantor Otunba Gani Adams has inaugurated three chapters of the Oodua Progressive Union (OPU) in France, Sweden and Cyprus. With the inauguration, the list of countries where OPU is has risen to 52. In Sweden, the inauguration was held at Gothenburg, attended by over 2,500 Yoruba and their friends.

    The inauguration of the France Chapter  was held at Boulevard De Liberation, St Denis, Paris. Nigeria’s Ambassador to France, His Excellency Hakeem Olawale, was represented by the Head of Chancery, Olumide Olowo.

    Otunba Adams, who was represented by a delegation led by the Zaki of Arigidi Akoko in Ondo State, Oba Yisa Olanipekun said: “It is imperative on us, as true sons of Oduduwa to rise up and quash the scientific and systematic obliteration of the pristine Yoruba cultural heritage and value, particularly among the new generation of the Yoruba in the Diaspora.”

    Also in the delegation were Captain Abiodun Adesina, Chairman, Freelance Broadcasters Association of Nigeria (FIBAN) Lagos Chapter, Mr Abiodun Abayomi Mate and two other journalists.

    He noted that it is a task, which if ‘we fail to do, will bring upon the present generation generational curses and denouncement by the next generation and generations yet unborn.’

    In a speech by Captain Adesina, Otunba Adams said any race which out of sheer carelessness, irresponsible despondency and unbridled complacency allows cultural imperialism, vogue, modernisation and social indoctrination to wash away its intrinsic cultural heritage, traditional values, norms and mores, will heap on itself irremediable generational curse and odium from generations yet unborn.’

    “And I cannot be part of this generation and allow this omen to come to fruition; hence, I have taken this burden of Yoruba cultural rejuvenation, sustainability and enhancement upon myself in alliance with you all.

    “Some of you may be complacent and careless about your children embracing other people’s cultures without having a grasp of your own. It may be expedient now, but very soon, the children will have cause to blame and even curse you by the time they failed to culturally identify themselves, which may subject them to being ridiculed and embarrassed as children of no culture, no tradition, no value and identity,” he added.

    Otunba Adams, however, warned that if Africans in the Diaspora fail to aggressively address the deliberate cultural imperialism being launched in a systematic destructive process by the western world in the name of vogue and modernism, the continent will wake up one day to find out that its culture and values have been obliterated from the socio- cultural map of the world.

    Continuing, he said: “This is why we have inaugurated the Oodua Progressive Union (OPU) in 52 countries of the world and we will not rest until OPU is launched any where under the firmament where the scion of Oduduwa lives and recreates.

    “On my own, I have decided to defend the cultural integrity and heritage of the Oduduwa race without entertaining any fear or favour.

    “The task of revamping, resuscitating and rejuvenating of the cultural identity, norms and moral traditional values which distinguish the Yoruba race from the others is necessary accomplished mission. It is in this line that I urge all of us to see the intrinsic necessity in teaching our children our culture, tradition, values and mores. These are what make and distinguish us from others.”

    The event witnessed colourful presentation of Yoruba cultural dance, poems, display of Yoruba cuisines, cutting of the cake by OPU members in Sweden spiced by rib-cracking jokes from Mate, aka, Ifa-nkalelluyah.

    The Nigeria Ambassador to Sweden, His Excellency, Benedict Onochie-Amobi, who was represented by Mrs Jane Ndem described Otunba Adams as the standard light bearer of Nigerian cultural asset in the global forum.

    The ambassador noted that without any point of equivocation and bias, Otunba Adams is the only Nigerian, who has strongly stoked the embers of Nigeria’s cultural revival on the international scene and in particular among Nigerians in the Diaspora.

    The Ambassador said the embassy was not only proud of the vision and activities of Otunba Adams in the area of cultural rejuvenation and resuscitation, but happy that a Nigerian is going all over Europe showcasing the cultural heritage of his race.

    “This singular move of Otunba Adams at showcasing the cultural heritage of the Yoruba race in Europe is setting in motion cultural revivalism among other Nigerian ethnic groups in the Diaspora.

    “We are happy about this development, which is calling the attention of our people to the   predicament, which our pristine culture, norms, values and traditional orientation are in, and ringing a wake up bell for all to hear and act. This is a new dimension to cultural nationalism and patriotism which is commendable.”

    Onochie-Amobi assured Otunba Adams of the fullest support of the embassy, saying: “I am happy that the objective of OPU tallies perfectly with cross–cultural relation one of the reasons why Nigeria maintains an Embassy here.

    “Your association apart from reviving and sustaining the Yoruba culture is also showcasing and selling Nigeria as a country of very rich diverse culture for tourism purposes.”

    Coordinator, OPU, Sweden Chapter, Mr Victor Mobolaji Adewale called on his members to remain focussed in the pursuit of the objectives of the union.

    He commended Otunba Adams for rising stoutly in defence of the cultural integrity and protecting the heritage of Oduduwa children from being consigned to the dust bin of forgetfulness and ocean of irremediable damage by invoking a cultural revolution, which has spread through 52 countries of the world.

  • When directors came for dinner

    When directors came for dinner

    It was a night of glamour and honour at the Eko Hotel & Suites, on Victoria Island, Lagos as the Institute of Directors (IoD) Nigeria had its yearly Directors Dinner . The event lived up to its expectations as members  from different waaalks of life  thronged the hall.

    For the directors and the host, Chief Eniola Fadayomi, the President/ Chairman in council, it was a befitting celebration and time to appreciate the support of members. The institute has done well for itself in actualising its goal of becoming the premier institute in the corporate sector.

    Mrs. Fadayomi said the appointment of a  Director- General/CEO and Heads of Department between May and June, was part of the restructuring of the Institute’s secretariat to boost  its service delivery. She reiterated the high demand of the Company’s Direction Course 1, as the most favoured among directors for corporate governance and directors development, the introduction of company’s direction Course 2 for continuous professional development, and stated that the launch of the IoD Nigeria Advanced Company Direction Programme( ACDP) in London marked another major milestone in the history of the Institute.

    Mrs Fadayomi expressed satisfaction at the creation of the IoD Register of Independent Directors by the IoD Nigeria Governing Council, which will enable the Institute to establish a comprehensive database of directors who possess effective business leadership skills, sound boardroom experience and have a high regard for corporate governance. Also, the Institute upped its ante when it partnered with Pricewater House Coopers (PwC) to establish the Nigerian Corporate Governance Network in July 2014 to improve its service delivery on contemporary governance issues. This was  after IoD Nigeria joined the African Corporate Governance Network ( ACGN), an umbrella body of all Institute of Directors in Africa. Also, within the year, the Institute had positively impacted in the business community via two successful conferences tagged Women Directors Conferences- Women as Leaders; Discovering the Authentic Leadership and the 2014 annual Directors conferences themed- Imperatives of Good Governance in promoting Investment Opportunities.

    Beyond the achievements of the institute, however, the dinner was an opportunity to honour members who have distinguished themselves in the corporate world and have become a reference point. For Mr Tony Elumelu, Mr Felix Ohiwerei, Chief Lugard Aimiuwu and Mrs Ifueko Omoigui- Okauru, the night was a fitting commendation for their achievements, which were recognised via nominations and recommendations from members of the institute and endorsed by the Governing Council Committee.  They have accorded themselves the status of a living legend through their pedigree and proven track record and have created a positive paradigm shift in the business community earning them commendations from far and near. Each of the four awardees were awarded in four different categories which are:  Mr Felix Ohiwerei was awarded IoD Anofi Guobadia Award for Leadership and Excellence, Chief Lugard Aimiuwu was awarded the Director Development Award, Mrs Ifueko Omoigui- Okauru the award for Good Governance and Mr Tony Elumelu, the Entrepreneurial Award.

    On behalf of the awardees, Mr Tony Elumelu, gave appreciation of the awards. He called on other successful directors and CEO’S to invest in grooming Africa’s next set of entrepreneurs, stating that this is the gateway to wealth creation and improved security in the country.

  • ‘With Arts Journalism, we created value’ (II)

    ‘With Arts Journalism, we created value’ (II)

    Former Deputy Editor of The Guardian Mr. Ben Tomoloju is a man of many parts. He is a theatre artist, writer, musician and cultural activist, who has dedicated his life to the promotion of arts and culture. He was with The Guardian between 1985 and 1993. Askari, Aminatu, Jankariwo and Flowers’ Introspect are some of his published plays and books. Penultimate Thursday, he turned 60. In this interview with Arts reporters, Tomoloju reflects on his career, activism, politics and art journalism. Arts Editor Ozolua Uhakheme was there.

    Is there a distinction between culture, art and entertainment journalism?

    I did a paper on this; there are differences. These are departments of a body of disciplines which can still be complementary of one another. Culture is wider; it goes as far as the sciences, the intellectual culture, the spiritual materials and economics, but these various aspects of culture have been so self-defining in certain areas that you do not need the culture journalist to go into the details of them but to appropriate as a culture of context as a way of life of the people. That is where the person who reports arts connects self-expression with the way of life because to show your way of life you must express yourself and that connects the arts journalist and culture journalist and the more knowledgeable in culture the arts journalist is the better a culture journalist he can be. Arts appears to be the satellite culture, it approximates everything about the people’s way of life, there is astrological fusion; the art as a mirror of life captures all the components of life, the arts mirrors culture. There is a symbiosis which makes it inevitable that the arts writer is definitely connected with culture writing. Then the entertainment writer appears to be a misnomer if it is connected to arts; if there is an entertainment side of an art, then it is reported as entertainment, football is entertainment but then it is sports and so what entertainment are entertainment writers writing; they are reducing entertainment by qualification to music and movie which are arts in the first place. A movie director is an artist; he is a professional in the art, so I believe that there is a misnomer, if they are keeping entertainment as art, it is fogy just like I have always said two decades ago.

    What went through your mind when you decided to go into politics?

    The waters of politics are not mucky; it is the human beings in politics that are mucky. There is a song in Yoruba that says, ‘the world is not tough, it is the human beings that are complex. I was a member of the students’ representative council and a frontline elder statesman in my final year and I took part in one of the most momentous national protests embarked upon by students in history. So, politics has been in my blood. My father was a student leader, so if at a point in my life I decided to go into politics, I am driven by a sense of mission that was why I went into full time politics in 1999. We were part of Abacha’s problems as artists; he banned Soyinka’s plays at the theatre, he sent SSS to our artists’ camp and we disrobed the man and sent him back. So, since 1999, one has been in politics because one felt that there was something we could do to move either an aspect of this country forward or the whole of the country forward, but what is mucky is the caritas there. But I felt that we shouldn’t just leave this country in the hands of the opportunist machinery politicians, we have been complaining, and if we complain without doing anything about it, they would ask why you are sitting on the fence. I know some solid political and culture activist who have attempted to get into politics that couldn’t make it; I couldn’t make it and I am not ashamed to say so. Twice, I attempted to get into the House of Representatives, and intra-party intricacies played out and I couldn’t compromise; you cannot compromise cheating, lying, subverting the will of the people or imposition all because  you want to be in a position. People want to be seen as Lords, they want to steal as much money to buy as much cars they want and you can see the pedestranisation of the Nigerian masses and they become low brow entities that run after 10 naria. We are not for this in Nigeria, you have to set standards for the people in Nigeria and our children in the future. We have to tell Nigerians that all those people who are creating entanglements for the future generation are the people who at this particular moment in the history of Nigeria are diluting the true democratization process in this country – opportunist politicians. I will not support any unholy attitude from an aspirant.

    Do you support journalists who want to go into politics?

    Yes, of course, that was why I did it. When we were going into politics, some people were skeptical, somebody said I should concentrate on the songs I do on television. Now, we have a whole lot of entertainers going into politics, but I have gone to ask them, what mission are you bringing into politics?

    How were you able to manage the home front with trailer load of engagements outside?

    Let me first appreciate my parents, late Chief Samuel Tomoloju and my mother Funmilayo  Tomoloju, she is alive and kicking; they made me a breed, a noble kind and they always tutored me on the significance of the name Tomoloju. I am married to Adama Abose Tomoloju, an indigene of Auchi, born and bred in Lagos. I appreciate her, because she has the melo-temperament to accommodate the fiery nature of an artist and I think she is a stabilizing force in my life, I am so lucky that all the sides of me that I turned to my wife, she has faith in me, she keeps a safe distance from my place of work; we go to social parties together. Sometimes if I am attending an art event, it is only when it’s so necessary that she comes with me, she has a diploma in mass communication, a business woman and the mother of my three children: Tolulope, a graduate of English, Olamide, a mass communication graduate, and Damilola the only girl a graduate of Botany currently serving.  Some of them are creatively inclined, but they don’t come to me unlike outsiders. I acknowledge that they have been able to create a very conducive environment for me to blend creativity with domesticity.

    You pioneered art culture journalism, what made you leave and move on shortly thereafter?

    After my departure from the newsroom, I didn’t leave journalism. If you have four generations of editors working under you, why should I sit on their future? l wouldn’t allow them to come up and concerning myself, what I would have wanted at the stage I left in 1993 was to be given other assignments above the level of being a deputy editor. The structure in the newsroom should have accommodated the flourishing of new ideas developing the minds of experts in the editorial department, but instead of these it was as if I should be a jobber; I want to do a job that will make me add value to the society and it has been wonderful since I left.

    What next for you at 60

    What next is stock taking, I think with the support of my friends across generations, the stock taking has begun. I am not saying goodbye. One should be conscious because when you are getting older, you are closer to the grave, you do the right thing; create legacies that people will remember you for. We will take stock of what we have done, and probably a bit more writing of greater dimension to encapsulate all the values that we have spent a life time building, there will be bigger values.

    Why did you decide not to follow the gown aspect of your profession, at least with your artistic output, you should have bagged professorship by now?

    Other societies outside Nigeria allow for a certain category of professorship but Nigeria does not; I am not a professor, I am a free thinker and so I move in all directions and I tap from all areas where knowledge is breathing and I don’t claim to be omniscient to be equipped to capture all the bodies of knowledge. I am a free thinker who independently writes in a studied way with a degree of authoritativeness. I thank God for a lot of scholars that have acknowledged my output, particularly in Nigeria like Soyinka; those who are winning the laurels are the most unassuming members of the literary muse and the most self-working. You should work for it and earn it but don’t turn it into an exhibitionist fact in life. That can easily diminish the value of the status.

    Two of your works were turned into movies, were you satisfied with the output?

    I was quite satisfied with ‘Askari’. Before it was aired, one of the artists, who acted in the movie said, this film was shot in 1997 and he appraised it that it has outlived some of the movies that were shot and I am satisfied. ‘Aminatu’ is work in progress, in fact, it is supposed to be an epic dimension, it is not released because the format is not fully intact and so we may have to relay it into series, which happens when you have production impatience and I don’t want it to come out wrongly. As a critic, I want things down right.

    Message for Nigerians at 60

    My message for Nigeria is that we should exercise modesty, charity and altruism in everything that we do. We should not forget that this life is short and the value lies in the quality of legacy handed over to the next generation. Let everybody know that even tomorrow has every right today.

    What is your take on the line-up of activities to mark your 60th birthday?

    The committee of friends is fully in-charge in terms of artistic, cultural and academic aspects of the celebration and I can only appreciate them. I did not contribute one kobo, they only take me around and ask me to sit in a place to record, I can only say that God will reward them. Whatever comes from the celebration, I carry it with a sense of humility, and I will carry it like an instrument of God for humanity. In the morning of December 18, we will have family breakfast, then thanksgiving in church and then rush to Freedom Park. But on Friday and Saturday is full blown mystification of whatever phenomenon they want to unleash on the public in my honour and let it go inspiring and blessing for everybody. I love it that I keep this company and I pray that God will continue to bless them.

    The critical and status conferral dimension to journalism should be based on fundamental principles and there should be no patronisation of anybody, the more patronising you are, the more important they feel. Like Bayo Onanuga said about his political journalism career, that he wants his own brand of journalism that will make political leaders feel uncomfortable, which will make them sit up. They will respect you more as an art journalist if you are sound in criticism, creative in reporting, friendly in appreciation, but not patronising.

  • Celebrating ‘Xmas with the needy

    They were made to dance from their chairs, with which they moved about. The dance portrayed them as fooling around when they were  having fun and enjoying the best of the moment. It was their own way of expressing the joy of the season. Their predicament was not enough to stop their joyful mood. They were the down-trodden from nine charity homes and members of the Spinal Cord Injuries Association of Nigeria.

    Others watched from the sideline as they were offered items  ranging from cooked and raw food to canned foods, clothes, shoes, mosquito nets and bags. With them were widows, the less-privileged and needy in the area.

    It was a Christmas party, organised by the Rotary Club of Festac Town and Central in conjunction with the Society of St Vincent De Paul of the Church of Our Lady of Perpetual Help Catholic Church, Amuwo Odofin, Lagos.

    The distribution of items, which was done in the church premises, catered for more than a thousand women and children. Not only that, everyone went home with a sum of N500. It was all encompassing and each group’s input made the event juicer for attendees.

    While the Rotary Club of Festac Town distributed 850 pieces of mosquito nets to the women, 200 to the chaplain of the prisons, and 50 desks and chairs to So-Said Home for the Handicap in Okota, Lagos; the St Vincent De Paul distributed clothes, foot wears and packages to the children as take-home gifts. Also, rice, beans, oil, tubers of yam and tomatoes were given out.

    Their baby club, Central, supported by screening people for blood sugar and pressure, and distributing gifts items such as packs of Vitamin C tablets and pens.

    Rotary Club President, Mr Gabriel Onyema said the celebration was in line with the Rotary Day, to celebrate humanitarian services and showcase themselves to the world. He gave the cost of the mosquito nets as 1.7 million naira and expressed satisfaction that despite the distribution, every charity home goes back with two bags of rice and beans.

    “It is our duty to feed the hungry and poor every year. All in all, we are living out the spirit of Christmas and touching two of the 6 core areas of focus of Rotary: poverty and literacy.”

    He said such gestures would make Nigerians realise the meaning of Christmas and touch lives just like Jesus Christ did.

    Chaplain of Prisons Services, Fr. Jacob Adeyemi, who received the nets, said the gesture would go a long way in helping the inmates, many of who sleep on the bare floor and are exposed to the dangers of the night due to congestion. He said love such as this would make them realise that by the time they come out; they will never go back to crime again because they know that the society cares for them in their hard times.

  • ‘Nigeria is crying for justice’

    The 9th edition of The Experience Lagos held at the Tafawa Balewa Square (TBS), will linger in the memories of those in attendance. Described as the largest music concert in Africa, with the theme: 1 God 1 Voice featured artistes, such as, Donnie McClurkin; Israel Houghton; Chevelle Franklin; Micah Stampley; Midnight Crew; Freke Umoh and Frank Edwards. Others were Sinach, Nathaniel Bassey, Angella Christie, Onos Ariyo and Chioma Jesus.

    The Lagos Metropolitan Gospel Community Choir opened the event alongside Sammie Okposo, followed by ministrations from Freke Umoh, Onos Ariyo and Midnight Crew. Prayers were said for the   nation by  Pastor Taiwo Odukoya of the Fountain of Life Church, Rev Sam Adeyemi of  Daystar Christian Centre, Bishop Mike Okonkwo and his wife Peace, of the The Redeemed Evangelical Mission (TREM) Church, among others .

    A remarkable moment was Nathaniel Bassey’s sterling performance. Micah Stampley also surprised the delighted audience when he joined the trumpet playing artiste on stage for a rendition of his popular song, Imela. Not long after, Grammy award winning singer, Donnie McClurkin, joined the duo into what became an awesome trio as the Americans belted out Imela like it was sang in their native language

    Speaking on the theme of the event, founder of House on The Rock Church, Pastor Adefarasin, said: ‘’In the course of nine years from inception, the Experience Lagos has become arguably the largest gospel concert in Africa and indeed, one of the largest gospel music concerts in the world with a recorded significant infusion into the Lagos State Economy. This year our theme resonates with our prayers as members of the body of Christ for unity in our great nation, Nigeria.”

    On the reasons for the theme, Adefarasin said Nigeria is crying for justice and peace coupled, especially as the 2015 election is around the corner. He added that the event will serve as a time where people all over the globe will cry out one true God with one voice in petition. Distinguished Nigerians who attended  Experience 2014 included Jimi Agbaje, First Lady of Lagos State, Dame Abimbola Fashola, former Minister of Aviation, Femi Fani Kayode, Lady Maiden Ibru, various banks chief executives and more.