The Nation Newspaper

Category: Arts & Life

  • When dance meets photography

    When dance meets photography

    Last Monday, a solo art exhibition, Eko Moves, featuring photographs by Ayeni Babaeko, opened at the WheatBaker Hotel, in Ikoyi, Lagos.

    It was organised in collaboration with The Society for Performing Arts of Nigeria (SPAN) that reflects dance and photography, capturing the beauty of dance, movement, time and space, within the dazzling city of Lagos.

    The show of 25 beautiful images revealed classical ballet and hip hop dancers, will run until mid-February 2015. The exhibition is ‘not just to give fun to the audience, but to speak out for the voiceless, especially youths, who have the talent of dancing but are not giving the chance to show their values, the organisers said.

    Babaeko said: “Dance needs to be seen as the heartbeat of Lagos interpreted through powerful imagery. We’ve come to understand that dance is more than performance, dance represents the spirit of the people, who despite all odds, are proud of their city and all its stands for.

    “Audience needs to see dance beyond a perfunctory glance, but see it as reality through artistic interpretation.

    In order for dance to be promoted and be brought to life in city of Lagos, Eko moves in partnership with SPAN, leave the comfort of their mirrored studios, and expertly lit stages, and dance through the markets, the bus stops, the beaches, the under-bridge spaces, the water highways and shanty towns of Lagos for the people of Eko.

    The dance, which took them to places such as the famous Obalende bus stop, the bustling Balogun Market, during sunset at sand-fill beach by having dancers silently pose in classical ballet attire, with Hip Hop speed, in other to capture both the dance and the unassuming audience gathered to watch the spectacle of performance.

    “It was amazing how the dancers’ performances on the streets were able to build bridges. During our photo-shoots, which often lasted numerous hours in a single location, we were not harassed by anyone. Instead, there was curiosity and absolute admiration,” Ayeni Babaeko said.

    She has trained young female photographers through professional workshops at the Goethe Institut, Lagos, and she has added values to them. She has also been active as a photographer with a social conscience, chronicling the life of modern Nigeria.

    She studied advertising photography at Studio Be in Greven, Germany, and returned to Nigeria to joined Ess-Ay Studio for photography programme. This experience spurred her to deepen her photographic skills by enrolling at Macromedia, a school for art and design in Osnabrueck, Germany.

    The curator, Mrs Sandra Mbanefo Obiago said: “Eko Moves is a beautiful convergence of two different art forms, photography and dance, against the ever moving backdrop of urban growth and challenges.”

    She added: “SPAN has, over the years, always been in support of promoting artists by strengthening their talents with skills and professional techniques through formal and informal classes in theatre, music dance and art management.

    “SPAN has trained hundreds of Nigerian dancers and has provided opportunities for them to work with international choreographers.

    Among the sponsors of the exhibition were Deutsche Bank, the Wheatbaker and Ruinart.

  • Living Legends’ four hours with legendary Gowon

    Living Legends’ four hours with legendary Gowon

    For nine years, Gen. Yakubu Gowon was Head of State. He was the cynosure of all eyes  penultimate  Saturday as he sat for four hours as a special ‘model’ for 10 artists in a life drawing and painting session at the Transcorp Hilton Hotel, Abuja. It was the 6th Living Legends project to mark Gen. Gowon’s 80th birthday. Assistant Editor (Arts) OZOLUA UHAKHEME was there. 

    Dressed in an all-white Agbada with a cap and a pair of brown shoes, the former Head of State, Gen. Yakubu Gowon, walked in quietly. He ruled Nigeria for nine years (1967-1975). He had no aides or security details with him. His gait did not show any sign of old age; and more entralling the octogenerian  sat for four hours to be protrayed.

    Time was 10 am that Saturday. But for the applause from the artists, his entry into the Lagos/Osun/Kogi Meeting Rooms of the Transcorp Hilton Hotel, Abuja would have gone unnoticed.

    One after the other, the retired general interacted freely with the artists while welcoming them to his birthday event organised by the Nigerian National Petroleum Corporation (NNPC) in collaboration with Olu Ajayi Studios. The Living Legends project managed by Eki Eboigbe is an initiative to preserve, document, promote and celebrate distinguished Nigerians, who have contributed positively to the nation and the world. Past legends documented are Omo N’Oba Nedo Uku Akpolokpolo, Erediauwa Oba of Benin; Prof. Yusuf Grillo; Prof. Wole Soyinka; Prof. Bruce Onobrakpeya and Prof. John Pepper Clark.

    Thirty minutes later, Gen. Gowon took his seat as special ‘model’ for a four-hour life drawing and painting session, with music at the background  by Ayo Bankole-led musical group. From the 10 artists came over 17 visual slices of their impressions of Gen. Gowon. Many were impressionistic; some were expressionistic of their subject. For the artists, it was a rare opportunity to have Gen. Gowon, who turned 80 a month ago, as a model.

    Prof Bruce Onobrakpeya, who turned 83 last August, led the artist. Dispite his age, he was  active and busy throughout as he positioned his drawing board at different points to get better views of the general. At one point, he was drawing from the floor, and at another, he placed his board on his kneels close to the model.

    Unlike Onobrakpeya, former President of Society of Nigerian Artists, Mr. Kolade Oshinowo kept his drawing board on the easel few distance away from the general.  Expectedly, he drew from one position all through and churned out more works. Other younger artists did same. They included  Olu Ajayi; Nsikak Essien; Emmanuel Ikoro; Emmanuel Irokanulo; Tunde Soyinka; Dr. Sylvester Ebipaha; Bolaji Ogunwo and Omonigho Udenta (photographer). Prof Frank Ugiomoh, a historian, from the University of Port Harcourt, Rivers  State, was an observer.

    At intervals, Gen. Gowon was intuitively responding to Ayo Bankole’s rendition of classical music by tapping his feet as he sat gazing into the audience. “Give me Bella Fonte,” he beckoned on the band with a broad smile. And behold, the music never stopped. The old school music was a soothing balm for artists and  the model at  the seemingly  tense life drawing session.

    In the audience was Prof Clark, who described the project as a brilliant concept. “It is a fresh and creative means of documenting history. In fact, the pieces of drawings and paintings from the project will in future become rare works because most of the subjects are already at the departure lounge to take the next flight,” Prof. Clark said.

    Also in the audience were some pupils and teachers from three secondary schools (Premier International School, Olumawu College, and Blooms Academy) all in Abuja,

    At the close of the life-drawing session, about 17 art works were selected for exhibition at the same venue. On ground to frame the completed art works, were workers of Art World.

    The exhibition was attended by NNPC Group Executive Director, Business Development Directorate Attahiru Yusuf, an engineer; Group Executive Director, Corporate Services Directorate Dr. Dan Efebo; Manager, Media Relations, Mr. Uche Nwakwu, who represented Group General Manager, Group Public Affairs Division Mr  Ohi Alegbe, among others.

    The initiator of Living Legends, Mr Olu Ajayi, said the project started in 2008 to “record in our time, those that we encountered and who impacted and contributed to the growth of the society and humanity”.

    According to Ajayi, for 40 years, Gen. Gowon has been generous and consistent in serving and adding value to the society, hence the honour. “Today, we are lucky to have the NNPC buying into the project in celebrating Gowon. It is a global project and we hope to extend to foreign land. What we are viewing this evening are works of academic expression, some poetic, others surreal and impressionistic,” Ajayi said.

    To the legend of the moment, Gen. Gowon, the painting session and exhibition were rewarding experiences. He thanked the NNPC for organising the platform for artists to do his portraits. “I must say that I am honestly impressed. Nigerian artists can go anywhere and stand tall. I really enjoyed the session. It was no punishment as there was music in the background.

    He recalled that the NNPC started operation during his administration to provide enough money to rebuild the nation after the Biafran Civil War. The oil industry, he said, had just become fully operational after the war.

    After a tour of the art exhibits, Gen. Gowon recalled how he won most prizes in art in junior school. “At the junior school, I won most of the prizes in arts. But pottery was my waterloo. For the young students present here, I hope they learnt something from the exercise. Let us continue to pray for Nigeria and its peace to move it forward. If we had allowed the implementation of  the 1975 development plan, we would not have been where we are today,” he noted.

    Yusuf described Gen Gowon as “our father”, who is still going on with one Nigeria. He said: “Today is a great day for NNPC. We thank Gen. Gowon for allowing us to be part of his celebration. I am extremely happy on behalf of NNPC to be part of Living Legends project. What the General has been doing is in tandem with NNPC motto.”

  • Mythic imagination and national rebirth

    Mythic imagination and national rebirth

    We have previously celebrated in this series Nigerian literary heroes such as the late Chinua Achebe, the Nobel prize winner, Wole Soyinka and other cultural vanguards, whose literary interventions constitute significant touchstones of the collective efforts at decolonisation, as well as the confrontation of our nation’s post-independence struggles. I wrote earlier that Nigeria’s political predicament was matched by several attempts at a literary depiction of our collective situation. The imperative of progress from colonial to postcolonial status was the occasion for the formation of those literary heroes and heroines whose creative energies kept the national project in constant literary ferment. While a number of options are available to these writers, their utilization of mythic resources particularly makes the effort at a literary engagement of socio-political crises very pungent. Myth occurs in the history of all human traditions and communities and it is a basic constituent of human culture. Using myth as the basis of a rethinking of collective political existence becomes a unique literary ingenuity. It is from this perspective that it can be said that Daniel Olorunfemi Fagunwa, Hubert Adedeji Ogunde and Amos Tutuola represent a unique group of mythmakers who deploy significant aspects of oral tradition not just as a flowery tribute to literary distinctiveness, but as a culminated contribution to the Nigerian literary space with both a didactic and functional signature.

    D. O. Fagunwa and Amos Tutuola are known for novels that chronicle tales of marvels and magic, while Hubert Ogunde cuts across the Nigerian cultural landscape as an actor, playwright, theatre manager and musician. In particular, encounters with the writings of Fagunwa give the impression of a writer deeply steeped in the folkloric tradition of Yoruba storytelling. Besides being a major precursor to many Nigerian writers, Fagunwa made a choice of an indigenous language as the medium for his creative outputs. This fact requires some elaboration. First, at a time the British hegemony had imposed English as the colonial language of administration in the country, it took a lot of courage for Fagunwa to insist that his works remain in Yoruba. Secondly, Fagunwa’s linguistic choice is also evocative of a cultural pride that is often missing in the modern narratives of many African countries currently being overwhelmed by the ravaging forces of globalization. Consequently, his Ogboju Ode Ninu Igbo Irunmale (1938; The Forest of a Thousand Daemons), became the first full-length novel published in the Yoruba language. His second novel, Igbo Olodumare (‘The Forest of God’) was published in 1949. He also wrote Ireke Onibudo (1949; ‘The Sugarcane of the Guardian’), Irinkerindo Ninu Igbo Elegbeje (1954; ‘Wanderings in the Forest of Elegbeje’), and Adiitu Olodumare (1961; ‘The Secret of the Almighty’); a number of short stories; and two travel books. One marked distinction of Fagunwa’s works is the vividness of language usage and a picaresque which resonate with profound moral insights. Again, this last point needs a brief explanation. In an age in which government is massively recruiting different options to combat moral anarchy, a plethora of moral gems can be found in Fagunwa. It may not be far from the truth to say that Achebe’s famous ‘writer-as-teacher’ dictum was partly inspired by how his predecessor wrote to teach morals and to bring his audience to a level of moral awareness. Fagunwa’s imagery, humour, wordplay and rhetoric, which all reveal an extensive knowledge of classical Yoruba, is not just an embellishment of literary devices. They serve thematic concerns.

    Amos Tutuola’s stories equally incorporated Yoruba myths and legends into loosely constructed prose epics that improvised on traditional themes. Unlike Fagunwa, Tutuola wrote largely in English and is also a major reference point in the canons of Nigerian Literature in English. One of Tutuola’s greatest charms was his language. He wrote in a way that made his language appear uncorrupted by western literary gimmicks. The words read quickly like some terse, simple narratives, but the impact sinks almost as original and poetic. The Nigerian professor, Morala Ogundipe-Leslie noted of Tutuola’s language: ‘He has simply and boldly (or perhaps innocently) carried across into his English prose the linguistic pattern and literary habits of his Yoruba language, using English words as counters. He is basically speaking Yoruba but using English words.’

    His works articulate a unique example of a hybridized interface between Nigeria’s pre-colonial oral folklore and literary modes of discourse. The Palm-wine Drinkard (1952) is obviously his most famous literary work, a classic quest tale that was the first Nigerian book to, in a sense, achieve critical acclaims and international fame. The story tells the mythological story of a man who follows a palm wine tapster into the land of the dead or ‘Deads’ Town.’  Here, the man encounters the familiar elements subsumed in the folktale narrative: the world of magic, ghosts, demons and supernatural beings. Some of his other works include: My Life in the Bush of Ghosts (1954), Simbi and the Satyr of the Dark Jungle (1955), The Brave African Huntress (1958), etc. The relevance of Tutuola seems obvious considering his important contributions to the preservation of the structure of the oral tale in modern Nigerian Literature

    Hubert Ogunde, often described as ‘the father of Nigerian theatre’, was a theatre doyen who, like Fagunwa and Tutuola, deployed the mythic imagination in the mobilization of literary works for the goals of national rebirth. The Ogunde Concert Party, a company which he founded in 1945, was Nigeria’s first professional theatrical company. It travelled around Nigeria, West Africa and the rest of the world performing plays such as Garden of Eden, Strike and Hunger, Herbert Macaulay, Slavery, Police Brutality and Princess Jaja (which celebrated the richness of the country’s indigenous cultures while also shedding light on the ills plaguing its government and society). Ogunde’s theatre ensemble was a committed one; it constituted an ample chance to contribute to pressing social issues and dialogues in the public domain. He passionately spoke of his theatre production as the mirror dictum of what literature should be all about. He once said, ‘I must reflect the image of the society we live in.’ Hence, his social vision was exposed through the opportunity theatrical performances afforded him in interaction with the public. So, for him, theatre goes beyond the sheer pleasure of the lights and costumes; it was a tool for social engineering and popular interaction. It was a medium to register, first, displeasures at certain social-political and economic realities, and to articulate solutions to them. This was the highest point of his theatre experiences. His theatre represented the participatory framework of the African theatrical tradition which allows for spontaneous and instantaneous feedbacks from the audiences.

    Why are these legendary pioneers significant for our contemporary national project? There is only one reason: they saw in the context of folklores and mythological narratives a possibility of narrating the experiences of what we used to be and what we can recreate ourselves to be. In other words, a people can only locate themselves within the context of what they are and what they believe they can ever be. Their works point to the balance and fluidity of wholeness that can arise from a dexterous combination of varying worldviews and perspectives. Their creative energies provide us with latent possibilities that remain hidden when other national resources have become exhausted. In the magical realities they presented to us, we can hear the birds sing, the roars of the waves and the lush grasses that portend that we can still dream of what we want to be as Nigerians. By looking at the past, they present us alternative imageries of what we desire to be as Nigerians.

     

  • Davido, Olamide, Ara for Mare Festival

    Davido, Olamide, Ara for Mare Festival

    This year’s Mare Festival opening tomorrow will be unique and different from  past editions, Ondo State Commissioner for Information and Civic Orientation, Mr  Kayode Akinmade has said. He spoke at an interaction with the media at Ile Eri Igi (one of the wooden houses) at Iroko Mountain Resort Idanre.

    Beyond the regular mountain climbing, how ready is the state for the visit of UNESCO officials?

    We are expecting the UNESCO officials to come and look at what we have here as part of the process of enlisting Idanre hills into world heritage sites and with the development that is going on here we are optimistic that Idanre hills will make the list this time around”.

    What are the innovations that will make this year’s festival unique?

    What you are seeing around the resort are indications that we are ready to ensure that this year’s Mare Festival will be like no other because this year’s festival will be that of distinction, unique and there will be many side attractions. We don’t have this type of structure last year. Now, we are creating resort like never before where tourists can come, stay and connect with nature, and enjoy nature it at its best.

    Apart from the normal cultural event and dance we are also introducing sporting competitions such as  table tennis tournament  badminton competition, and other indoor games , not only that we are also creating Idanre as an experience you will treasure for life. Our athletes for the marathon race are also warming up for the events as well as the cultural events.

    “We are also using this event to expose and develop talents among the youths. We have discovered raw talents in this environment and there are many amazing talents. So, we are using the festival to develop them and showcase them to the world. These and many others are our plans to make sure Mare 2014 is a Mare of distinction and a festival like never before.

     How prepared is the state in terms of security?

    Security issue is not what you discuss on the pages of the newspaper but I can tell you we are providing adequate security, in fact, world class security because we are aware of the situation in the country and we are not leaving anything undone to ensure that live of our tourists and visitors are safe.

    For your information, dignitaries expected at the festival include the Minister of Tourism, Culture and National Orientation, Chief  Edem Duke, Director-General of the Nigerian Tourism Development Commission (NTDC)  Mrs Sally Mbanefo and her team, State Commissioners of Culture and Tourism  from across the country,  Chairman of Elizade Motor, Chief Michael Ade Ojo, who  is also collaborating with us in this project. In fact, we are expecting many people including local and foreign tourists and we are fully prepared.

     Who are the musicians for the gala night?

    Top on the list of entertainers are Davido, Olamide and Ara that will perform at the gala night. Also, prominent traditional rulers in Idanre local government are flag off the marathon race while their subjects and guests will cheer the participants.

  • Women unveil empowerment programme

    The day Urunnebo Improvement Union gathered in Lagos will linger in people’s memory. Urunnebo is in Anambra State.

    It was the day the women’s wing of its Lagos branch unveiled an empowerment programme geared towards improving the lives of its women.

    It was their day and the women  were all out to show it. The Enugwu Ukwu Hall of the Lakeview Estate in Amuwo Odofin, where the event held, was literarily painted coffee-brown as they came gaily dressed in coffee-brown attires, With headgears finely wrapped around their heads, and shoes and bags to match, right from the start of the programme to the end, the ladies bubbled with excitements.

    Tagged: Ozom Women empowerment initiative, the event also brought together families, friends and well-wishers from far and wide.

    The colourful ceremony was spiced with thrilling cultural performances. There was dance by the all women orchestra, and reading of the news in Igbo Language. The event was anchored by Nollywood actor Chuks ‘Bambino’ Anachina and MC Papa, who spoke in Igbo Language throughout.

    For the president of the association’s Women’s Wings, Mrs Ifeoma Susan Okekearu, women play key role in the development of any society. The earlier their creative potentials are tapped, according to her, would spell good fortunes for their nation. This, she said, inspired the need to establish initiative to empower the women of Urunnebo.

    She said: “Just like the saying goes “train a woman, you have trained a nation”, we, the UIU women recognise the place of women in national and societal development. Most of our women lack the capital to start-up trades and business so as to support their husbands and children. We intend to change all that. It is hoped that through this women empowerment initiative, we would be able to raise funds in order to empower our women.”

    The event was also used honour women of Enugu-Ukwu/Urunnebo who have distinguished themselves in their professions. “We wish to utilise this opportunity to recognise daughters, wives and friends of Enugu-Ukwu/Urunnebo who have made their marks in their various fields of endeavours,” she said.

    Awards were presented to Lady Elizabeth Emoka, Mrs Ekwu Anyaenechi, Mrs Ifeoma Ugom Onisora, Mrs. Nneka Moses, Chief Benice Okeke, Mrs Chinwe Nnune and Mrs Ann Omesu, among others.

    Also at the event were Barrister Jude Ekwunife and Senator I.G. Abana, who chaired the occasion.

  • Contra-interpolations postulations in Oduduwa’s ancestry

    Contra-interpolations postulations in Oduduwa’s ancestry

    The heated controversies surrounding the ancestry of Oduduwa and the Bini-Yoruba divergent postures may have derived a realistic panacea in the fictive amassing of Jude Idada. It’s been said afterall, that what every human owes the universe is either to protect it in its pristine state or add unadulterated colourations to it. These alternatives could well describe the attempt by this young Nigerian-Canadian, to re-face a perhaps, near-defaced issue, in a bid to salvage the very important history of these proud races, using the channel of creative writing to ostracise the demons of historical distortions.

    Employing the imperialist bequest- English Language in its dialogue, the author immersed himself in shark-infested waters of tradition and historical mythology  ensuring a balance is attempted with the use of Bini and Yoruba dialects to course through the rhythmic invocations of music and somber dirges, lighting up the embers of tradition in its unalloyed form. It must be noted, that referring to Oduduwa as Ekaladerhan; Owomika as Eweka and Ogiso as Oba and a fews others should make for better appreciation as same.

    Oduduwa, King of the Edos can best be described the Microcosm of our current geopolitical entity; complete in intrigues, distrusts, treachery, foibles and scarce integrity; vices and virtue which may not elude any civilization, even if such a sphere wields the toga of civility and sanctimoniousness, it no doubt has evolved overtime from the dregs of bloodshed and ugly inhuman cultivations.

    An unforgettable savageness is the seventh century Greek theatre- where Dionysus, god of wine and fertility basked in the wanton revelry of those thespians. One from the current civilisation was the American civil war in the 17th century, characterised by ideological loggerheads and consequent decimation of fellow American rebels, as that’s what they are, having crossed the Atlantic to the Americas from the United Kingdom. A more contemporary allusion is the Umbrella Revolution in the former British colony of Hong Kong, where people clamour for what is theirs and the authorities in Beijing are dung-faced about it.

    The work opens with introduction of the treacherous and tempestuous warrior Uwafiokun, leading fellow fighters against Evian and Ogianmen, a regent of Igodomigodo and his son, whose heads eventually leave their bodies to his sword. Shameful and deserved, Uwafiokun’s retributive imbecility comes to the fore as one journeys through the work and definitely attest to fate’s punitive measure against hypocrisy and greater iniquity. A plunge from an initial exalted position, where war fought was for his pernicious intents than the preservation of the revered culture and heritage of Ogisos, and the Edo people.

    Hear him in Act One, Scene One:

    “Let the hunger of the greedy consume the usurper of the crown of the Ogisos…Ogiamen!”

    If anyone ever predicted his own end, then Uwafiokun just did. Expressing to the ears of all within earshot and impressing on the justification for beheading some usurpers. It is no doubt an auto-prophecy for the same crime he accuses Evian and Ogiamen of. He shares similarity with Odewale in Ola Rotimi’s The gods are not to Blame, who unknowing predicts his own end on the knowledge that Oba Adetusa has been killed by none other than himself.

    This opening foreshadows unveiled chains of plots by power mongers and power brokers who jostle with wisdom, practical steps and at times deviousness in order to stem the tide of what causes man to be left in delirium. This disorientation can be adduced to the overriding influence of the gods; seeming insatiable cum conflicting tendencies of man and certain inexplicable phenomena. These descriptions definitely chart its course through different levels of conflicts in the work

    Evian the beheaded regent says in Act One, Scene two:

    “Culture is silent; it needs a man of wisdom, foresight and courage to speak on its behalf….”

    Crave for wisdom, foresight and courage results in the need for an Ogiso to occupy the throne of his ancestors. How then can Igodomido have her “Ruler from the sky”? Banished, hasn’t he been? Majority of Ovbiedo believes he is long dead in the forest of Igo, following his fate occasioned by the  treacherous Queen Esagho and subsequent verdict by Ogiso Owodo- Ekaladerhan’s father. Conversely, a handful knows Oduduwa lives. The accomplices include, Ezomo- a highly respected member of the Edion’isen and Odionmwan- chief of the palace executioners- whose acts of omission eventually guarantees a royal lineage.

    In Ola Rotimi’s The gods are not Blame, King Adetusa’s and Queen Ojuola’s joy become shortlived, when it gets predicted that their source of fulfillment-Odewale- will become their eventual failings. It is in similar vein that Oduduwa is sentenced to die, so as to make way for other sons to be sired from the loins of Ogiso Owodo. Situating both works side by side, one finds the gods’ intervention in man’s affairs, with an instruction to tow a line so as to address an immediate concern or avert an impending doom. While Ekaladerhan was not killed by Odionmwan, Odewale was himself spared by Gbonka, leading up to the fates of these core personas, who at best are reflections of an artist impression.

    A contrast however surfaces. It is gullibility, cowardice cum stupid verdict from Ogiso Owodo, who prefers to cast out the strength of his youth-Ekaladerhan- as that appeared to placate his inability to bear more sons. It however happens to be a bull’s eyes prophecy in Ola Rotimi’s work, where the prophecy comes to pass, but also enabled by man’s inability to adhere to instructions-Gbonka.

    An important precedent in the work is that, only blue bloods who are eldest males become Ogisos, so the revelation about Oduduwa bearing rule over Yorubas in Ile Ife is received with mixed emotions. Ezomo reveals the veracity of Ekaladerhan’s existence, but since patience is alien to Uwafiokun and treachery pitches a concrete tent at his domain, such stories are best left as myths from Europe’s dark ages.

    Hear him again in Act One, Scene Two:

    “I stand here ready to go to war with anyone who tries to use guile and flowery words to usurp the throne”

    Uwafiokun appears to breathe on war. His every existence is in making another life go down lifeless, should any situation not find an immediate comprehension in his cerebrum. He even refuses to make peace with his fellow chiefs because to him, war alone resolves knotty issues. Power indeed has its stuporous tendencies.

    Priority for the Edo is seeing Ekaladerhan return to his homeland, so that an unoccupied throne will be ascended. Oliha, a member of the Edion’isen carries this burden of destiny. His childhood fondness and friendship with Oduduwa is leveraged to accomplish this daunting task of salvaging the throne. This quest however has its thorny sides, because a trap set is often forgotten, but he who gets entrapped and wrenches out with bruises never forgets. This dialogue between Oliha and Oduduwa in Act Two , Scene Three spells it aptly.

    ODUDUWA: “The Edos are not my people”

    OLIHA: “The land of the Edos has wronged you. Your father, Ogiso Owodo, dictated your death, believing at the time that it was the will of the gods and in silence, we supported him”.

    Faith is a virtue of survival but fate is its parallel which charts its own course. This expression best describes the departure of Oduduwa to Ile Ife. He met a people with open arms and with exceptional dexterity, strengthened the land which affords him love and life; together with them becoming the Oba of an economically viable and militarily structured land. Love has never been attained or enjoyed in isolation. Oduduwa adds value to the land that embraced him with peace and plenty, even when his land almost snuffed Olodumare’s life out of him. He shows qualities and powers only gods wield, warming his way through their hearts and enjoying the delightful bossom of a wise daughter of the Ile Ife – Okanbi, the mother of his son, Oranmiyan.  It was recorded in the book titled Ekaladerhan by Ovbia Edu Akenzua that His Royal Highness Omo N’Oba N’Edo Uku Akpolokpolo Erediauwa I said to His Imperial Majesty Alayeluwa Oba Okunade Sijuade Olubuse II Ooni of Ife

    “if the Ooni  calls the Oba his son

    and the Oba of Benin calls the Ooni

    of Ife his son, they are both right”

    It is evident that the author sharpens his horns with research, so as to engage in this realistic rumble with those who would not rather enjoy fiction than pick holes in sealed planes.  I dare say he may well have rested the heated claims and counter claims over whose progenitor charted the course of life ahead of the other or for the other.

    Jude Idada adventured through themes of  culture, ancestry, authority, power, politics, providence, indiscretion, wisdom, patience, endurance, death, treachery,  love, women and procreation. He employed the core elements of drama in dialogue, songs and dance;  creating very apt character interactions with copious and rich use of proverbs, befitting moulds of characters and relaying the essential pleasures between man and woman in most subtle, honest yet modest bravado.

    It is impossible to avoid one’s common inheritance as the heritage of the Edos and Yoruba is one.

  • Saro: The Musical returns with 100-man cast

    Saro: The Musical returns with 100-man cast

    As Saro: The Musical returns to the stage this month, Lagos is set for the biggest thrill.

    Lagosians are in for a treat as Saro’s cast will be delivering 10  performances in six days at the prestigious Shell Hall of the Muson Centre, Onikan, Lagos.

    From December 23 to 28, the ambitious Broadway-style musical showpiece that took the stage by storm last year, will be treating its audiences once again to an even bigger show of dazzling performances in lovely and colourful costumes.

    The audience should also expect  enigmatic and well-choreographed dance steps, an exquisite fusion of jazz, afro-beat, hip-hop, highlife, juju, apala,  such other contemporary Nigerian music genres from the cast.

    The Bolanle Austen-Peters, Mok Art & Media Production, supported by Terra Kulture, is returning with a 100-man cast that traces and pays homage to Nigeria’s rich musical history by beautifully rendering some greatest hits over the years along with its own ingeniously composed original music.

    Saro is the story of four young people, who in an age-old search for greener pasture, migrate to Lagos with little else, but an abundance of hopes and dreams, where they are duly reoriented by the people and experiences they encounter on their journey of self-realisation.

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

    According to Austen-Peters, the elegant combination of drama, music with the impeccably choreographed dance routines and unforgettably charged performances delivered by an attractive cast, is what sets Saro apart from others.

    “Saro is a theatrical joy that gallops swiftly through its 14 acts to tell the story of Lagos settlers; immigrants who come from all over the country and indeed, the world to create a new and hopefully successful life in this bustling and exciting melting-pot,” she said.

    This year’s performance, which is directed by Kenneth Uphopho, Gbenga Yussuf and Ayo Ajayi, will be featuring outstanding Nigerian artistes and performers, including Bimbo Manuel; Dolapo Oni; Gideon Okeke; Ade Laoye; Patrick Diabua; William Benson; Adesua Etomi; Dolapo Ogunwale; Paul Alumona and Paolo Sisiano.

    This year’s production, which worths about N50 million, is powered by Access Bank and supported by Etisalat and AfricanMagic.

    It would be recalled that last year Saro’s successful showing at the grand ballroom of the Oriental Hotel, drew dignitaries from within and outside the arts sector, such as former Lagos State Governor, Bola Tinubu; Minister of Tourism, Arts and Culture, Chief Edem Duke; Director-General Security and Exchange Commission (SEC), Arunma Otteh; Prof Wole Soyinka; Odia Ofeimun; Disu Holloway; Olu Jacobs; Joke Sylva; Taiwo Ajai-Lycett; Tunde Kelani; Femi Odugbemi; Teju Babyface and Steve Onuh aka Yaw.

    With high praise showered on last year’s production, many expressed hope that the show would tour the country and eventually be showcased across the world. This year, Austen-Peters said, Saro is returning to fulfil the demands of Nigerians, who have clamoured for its return. Tickets are available at Terra Kulture, Victoria Island, Lagos.

  • Writers hold convention

    From tomorrow, Ibadan,  the Oyo State capital, will host writers at the Association of Nigerian Authors (ANA)  33rd Convention.

    Although there are fears that the short notice may affect the turnout for this year’s edition, ANA president Remi Raji is optimistic that it would not.  Prof J.O.J Nwachukwu Agbada is expected to give the keynote address.

    At the event, which will run till Saturday, the eventual winners of this year’s literary prizes would be announced at the convention’s award dinner. The shortlist of the prizes include: Bottom of Another tale by Su’eddie Vershima Agema, Habiba by Razinat T. Mohammed and Under Bridge by Immanuel James were shortlisted for the ANA Prose Prize; the ANA/Chevron Prose Prize On Environment has on its shortlist Oil Cemetery by May Ifeoma Nwoye, Among the Survivors by Million John and The Fall of Silence by Inyang E. Ekwo; on the ANA Poetry Prize are Sunbeams and Shadows by Saddiq Dzukogi, Home Equal Holes: Tales of an Exile by Su’eddie Vershima Agema, Silent Whispers by C. P. Christopher, Sound of a Metal Gong by Damian Terkaa Jam and The Fourth Masquerade by Ebi Yeibo; the ANA Drama Prize has Soji Cole’s Maybe Tomorrow, Dul Johnson’s Melancholia, Sweet Taste of Shame by Elaigwu Ameh, The sacrifice by Tunji Ajibade and Phillip Begho’s Trafficked.

    Other shortlisted works are Erimma by Ikechukwu E. Asika, Makwada by Sanamo David Lagwampa, and Soji Cole’s Maybe Tomorrow for ANA/Esiaba Irobi Prize For Playwriting category. Nma Hassan Mohammed’s The Empty Cage, Jide Ogunlana’s Three Strange Stories for Children and Johnny Just Come by Phillip Begho would be given honourable mention only for ANA /Lantern Prize for Children’s Fiction category. The judges are Prof Nelson Fashina, Assoc. Prof Emmanuel Sule Egya, Dr Salihu Bappa and Mrs Joan Orji.

  • Leveraging divine grace in business

    Leveraging divine grace in business

    Iyke Kanu is an ardent believer is the wonder-working grace of the divine.

    For him, along with salvation, a Christian is presented with the grace to succeed in all things, such as in business and career.

    He is not one to take the grace of God for granted: he emphasises on the need for the Christian to put his/her purpose-driven faith in action. He posits that believers can succeed in any from business to career if they leverage on the grace of the divine.

    In his book, Harnessing God’s Grace For Business Success, Kanu focus is on how business-oriented folks can draw from the power of success embedded in God’s grace.

    “You can harness God’s grace only through personal development. Unlike in the real world where you are asked to concentrate on your areas of strength, in the spiritual world it is the opposite. Apart from being born-again, you have to identify your personal strengths and weaknesses. You have to work on your areas of weaknesses to improve yourself spiritually…to achieve great success in business you have to be very close to God,” he says.

    The 116-page book contains nuggets on how to utilise God’s grace and put faith in action to bring about success in business. Although his nuggets are not new, using biblical and real-to-life examples, Kanu creatively elaborates his points in an engaging manner that the reader is able to understand and follow. Alongside a healthy spiritual relationship with God, Harnessing God’s Grace For Business Success is also canvassing proactive business principles.

    The book is divided into two parts with each side having four chapters each. The first deals with all that is needed to start and sustain a successful business, while the second touches on the spiritual side of the matter.

    However, the author has classified his nuggets to a success business through God’s grace into under seven chapters, with an additional chapter that bears a conclusion of his postulations.

    Kanu begins with a background on his voyage into writing the book. According to him, the idea first came up in 2012 when he was asked to deliver a speech at the Men’s Convention of The Christ Royal Family Church. “After the convention, I was overwhelmed by the burden to share my experience as a businessman…The reason for the topic was because ordinarily, I consider myself to be a product of God’s grace,” he says.

    After defining the concept of each word in book’s title, Kanu, in Chapter One, begins with the need for one to “Overcome initial fears of starting a business”, saying “one must be strong-willed”; “identify a business one is passionate about; undergo apprenticeship and personal development”; “cultivate the habit of saving”; “start small, grow big”.

    After Overcoming initial fears of starting a business, in Chapter Two, the author canvasses on the importance of starting one’s own business; and goes on explain how one can manage ones business in Chapter Three. He says a prospective entrepreneur should start by “registering his/her business”; “choose a good location; “write a business plan”; “employ qualified and competent hands”, among others.

    And when one has started, to young entrepreneur, the author has this shocker on Page 48, Chapter Four, “Many of the successful businessmen or businesses that exist today have failed at different points in their histories but bounced back”, adding that “Statistics have shown that only 20 per cent of business is common, bouncing back from failure is also a common thing”.

    To check such phenomenon, Kanu calls for financial discipline, integrity, preparation for the unforeseen, etc.

    In the second half of the book, he touches on how managerial principles and wealth multiplication,

    He concludes thus: “Grace is not automatic; it does not just fall on people’s lap. Success is a prize with a price tag. Being a believer in business is therefore about “using the skills and God-given gifts; working hard; conducting business with honour and strong consideration with others; praying

  • ‘How to sell Nigeria’

    ‘How to sell Nigeria’

    WITH the fallen oil price, tourism experts have urged the government to look inwards and harness the enormous wealth in the sector. They called for infrastructural development and funding that would boost the sector’s growth.

    This, they said, could be done by showcasing Nigeria’s potentials to the world through organising international tourism summits and proactive projects that would draw tourists from across the world.

    According to the Chief Executive Officer of the De Tourism World Inter-National, Mr Uwakwe Solomon, who called for public/private partnership, Nigeria is blessed with alot of mineral resources.

    He said: “Nigeria is blessed with a lot of mineral resources it is high time the government focus more resources to develop the tourism sector. We have lots of sites that can become a major revenue earner for the country if they are renovated, put in good shape and managed well. This would require the cooperation between the government and private sector.”

    To lead by example, Mr Solomon said De Tourism World Inter-National is determined on selling Nigeria’s rich tourist sites and tourism potentials to the world through several projects. For over three years, he said, his organisation has been gathering materials and documenting sites scattered across the country which would soon be featured on TV stations. The organisation’s projects would be unveiled at its tourism expo billed for next year in Abuja.

    “We want to sell Nigeria’s rich tourism potential to the world. The research projects would further showcases the hospitality, travel and tourism industries with special focus on the documentaries of Nigerian wonderful tourist sites and attractions put at par with those found overseas through both the print and audio-visual means. These are coming in an entertaining manner as a TV programme with the primary objective of encouraging and promoting sustainable tourism and general infrastructural development. To further promote the sector’s prospects, we are organising the international tourism expo that would hold next year at the prestigious Transcorp Hilton Hotel, Abuja. Dr Tee Mac Omatshola Iseli (MFR) is the expo’s celebrity ambassador,” Mr Solomon, also known as M.C Pa-Solo, said.