Category: Arts & Life

  • Call for papers

    Call for papers

    A group,  the  National Collective, will  organise a conference on The Left and The Future of Nigeria at the Obafemi Awolowo University(OAU) in Ile-Ife, Osun State.

    This is against the background of the crises that have gripped the nation in recent times. Although various forms and kinds of arguments and explanations on the nation’s challenges are being offered, the organisers say, there is a convergence in the midst of these postulations as to the backward and almost irredeemable condition of the Nigerian State, its economy and society.

    The  conference will hold in  January. They are calling for papers relevant to the theme and sub-themes. The conference sub-themes include the place and role of the Left in a democracy/tic processes, the Left and the crisis of development and nation-building, the crisis of poverty and the role of the Left, the place of workers and students in politics, The Left, good governance and popular participation and the Left, gender and the place of women in Nigerian politics.

    Interested participants should contact the organisers via email: nationalcollective@yahoo.com for more details.

     

     

  • ‘I have overcome that fear of writing and sharing’

    The United Kingdom (UK) has gone a long way to eradicate racism in the work place, but unfortunately Africans know too well, that it is still there. Your accent, the colour of your skin stand you out, and in certain cases make it hard for you to fit in. Laws cannot prevent work place cynicism and the silent slurs targeted at you for being the colour you are.  A Fly Girl is Amanda Epe’s debut book, an inspirational memoir of her days working with British Airways; travel tales through the lens of a black African woman. Epe’s well documented and interesting book is the first narrative of its kind as she is the first seminal story-teller on the narrative of being a black cabin crew with the British Airways. Amanda Epe writes articles, essays, poetry, fiction and her work has featured in publications and anthologies in the UK, the United States (US) and Nigeria. She spoke to Tundun Adeyemo. Excerpts.

    why did you write this book?

    I was obliged to write this for my spirit and I didn’t want to take this story unpublished to the grave.

    What is your favourite part of your story?

    If I had to put a bookmark in one place it would be the active, funny, bright and sunny story in Miami.

    At what time or point  did you feel the need to write the story?

    It was strongly felt in 2013, a time of writing in my serene state and being fully inspired. It was the starting point anyway, at least, I put a pen to paper and wrote the first paragraph, most of the work continued the following year.

    Racism occurs in different ways to different people, and many people talk about this every day. What more are you adding to the conversation?

    My angle has some insight into the in-depth thoughts of being black and wearing the union jack.

    Is there a place for the woman in the business community?

    During my life in the air, I worked with business savvy women and I reflect on one in particular that endeavoured to become a grand entrepreneur through trade and travel, she was an inspiration. Women are not just in business, but are on top. I admired a recent report of a black British woman, Karen Blackett, who is the first businesswoman to top the Powerlist 100, and also Folorunsho Alakija on the billionaire list, the latter an example of how times have advanced with women working and trading in oil.

    When you talk to women across the world, what is the one thing they tell you?

    We are all singing the same song, but with various tunes, in the western world equality is still sought, and across the globe we are coming out, stepping up or striving to make our mark.

    Is it a question really that black people are not well integrated into the community?

    In comparison to other western nations I feel that black communities are somewhat integrated, until we are fully empowered economically there will always be marginalisation

    You have a very British accent, is this book personal then? How can you suffer racism when you are British?

    My being British has a prefix; readers can learn more about this concept in reading some chapters in the book.

    Returning home to Nigeria… is that an option?

    To run from racism is just running, if I had run away as a new recruit, I wouldn’t be telling this story. How long must one fight is another story. In the play Pandora’s Box by playwright, Ade Solanke, this issue of returning to Nigeria was discussed, one of the characters the uncle was telling the Diaspora his niece and her friend to “stay there” (UK) and fight. The friend, who had decided to make a new life in Nigeria (the character Bev whose parents migrated to Britain from the Caribbean), argued against him speaking about England saying: “ Uncle, I’d love to contribute to my country. I’ve tried to. But do they want my contribution? Well, I refuse to be wasted!” She goes on to say that we are more than English and wanting to discover another part of her. I agree with the character, and Nigeria is certainly an option. Look at the statistics of Black British actors and entertainers who cross the pond heading to USA.

    You are campaigning for women and their issues. Is this another empowering tool?

    It is simply my writing journey although it is part of empowering. If a woman reader feels inspired in her journey by relating to my writing/storytelling, then that is a success for me.

    What is next to for you to conquer?

    The mission continues. I must follow the call to write and to work, to do the things that give me joy, the works that are creative and that can be shared.

    Why should I buy your book?

    Two words, I guarantee you’ll engage and enjoy it.

    What will our readers hear about your book that they haven’t heard elsewhere?

    This author shares her experiences and thoughts from her travels, and discusses taboo topics and issues not easily for conversation in our and the wider community.

    If you were me right now, what sort of questions should you be asking?

    O.K I would like to tell you about the euphoric feeling of delivering my debut, and that it was created for people like me, but also beyond that target group. If you ask about my readership I feel that outside of Black women in the Diaspora and at home, this book relates and can be read by an international audience of men and women.

    How long did it take you to write this book?

    About nine months flat.

    Is there a part two coming soon?

    My journey and travels continue, a travel series perhaps.

    Can you share two thoughts with our readers?

    Many people are afraid to fly, my thoughts on this analogy is to feel the fear and still take off. I have overcome that fear of writing and sharing, so please do share your stuff!

    Where can we find more about your book?

    A Fly Girl, the kindle version is now available on Amazon. A Fly Girl will be available in print from Amazon, Waterstones and all good retailers by January 2015.

  • Sorrows unlimited

    Title – Tears of Rebellion
    Author – Terhemen Andula
    Publisher – Dooshima Publication Entreprises, Abuja.
    Year of Publication – 2014
    Number of Pages – 198
    Reviewer – Awele Okwudarue

    The protagonist, Terdoo Shande, as the only son, has responsibility thrust on him when his soldier father resigns from the army. His family moved from Ikeja, Lagos to Zaki-Biam, Benue. He begins a journey of helping his parents fend for the family, after his tertiary education. After his graduation, he realises his father’s finance has dwindled, so he takes up paying his sister’s fees through trading.

    His first venture into trading was livestock, which he left after not finding job satisfaction. Terdoo later became a thrift collector, and succeeded due to his charm. He managed to draw people, mostly of low-working class to engage in business with him. Meanwhile, his father, Tyovenda Shande is in the frozen fish business with Chief Okonkwo, who encourages Tyovenda to open a branch in Zaki-Biam.

    He meets Hembadoon in Goddy’s Inn, who is her uncle. Hembadoon tells Terdoo that she is a single mother and some other things about herself. She later becomes his love interest, and a relationship blossoms between them. Terdoo later makes the acquaintance of Ngozi, who knows he has a girlfriend, but still manages to cause friction between the lovebirds.

    Hembadoon becomes unsure of Terdoo’s love for her, and is always trying to test him even with the use of seduction. He refuses her advances because he tells her they are not married. The issue of trust is prevalent, as it is a determining factor in most relationships. Abstinence among youths, which has become a rare thing, is also touched on by Andula. This is very commendable coming from Terdoo as a male, because they always do the asking.

    The age-old battle of parents choosing partners for their children can’t be ignored when Kpadoo, Terdoo’s mother is vehemently against his relationship with Hembadoon. She says Hembadoon is used, that she will find a fresh, young maiden for him. Terdoo kicks against this saying he is old enough to find a wife for himself. He is even ready to be disowned by his parents if need be.

    Things turn for worse when Denvihin ill-advises Hembadoon in using the services of a native witch-doctor to ‘secure’ Terdoo’s love and attention for her. it turns out Kpadoo was right after all. Terdoo breaks up with her, and refuses her entreaties for them to get back together.

    Terdoo’s business takes a downfall, and with the help of his parents, he gets back on his feet.

    Andula’s Tears of Rebellion touches on a few societal values, that are considered old-fashioned, but draws the reader’s attention by emphasising that these values are still to be treasured. From the prologue to the end, the book is riddled with a lot of grammatical and typographical errors that could have been avoided. A reprint of the book with corrections is highly advised.

  • Here comes Distinction

    The dream was mooted last year by some of Nigeria’s most outstanding studio artists. Their intention was to situate visual art on the platform of distinction and excellence and to show the public that group art exhibitions should be done with some heal of expertise. This experiment gave birth to Distinction art exhibition led by Abiodun Olaku, Alex Nwokolo, Bunmi Babatunde, Duke Asidere, Edosa Ogiugo, Fidelis Odogwu and Reuben Ugbine.

    This year’s edition which began yesterday at the Terra Kulture, Victoria Island, Lagos, has an additional artist in the person of Segun Adejuwon who described the idea as the most excellent thing to happen to visual art sector in Nigeria. “You need to identify with distinction, with people who have laudable ideas to take the art to the next level”, Adejuwon decided.

    According to Olaku while addressing reporters, this year’s edition is a sequel to last year’s “because people have been asking us to re-enact what he did last year. People, indeed art collectors and patrons are in love with the sort of art we displayed last year. So, we need to move further than that to showcase what we have to the public”, he said.

    Sponsored by Kunle Tinubu of Trojan Estate, Lagos, the over forty works on display have an array of assemblage cutting across paintings, sculptures, mixed media, installation and more. The assemblage of varied works of arts which come in different dimensions and experiments juxtaposes the dream of these artists who eac,h has over twenty years of studio experience behind him. This is why the exhibition is detailed to run for one week to enable the public and visual art lovers have enough time to savour the aura of distinction.

    It is also to show how deep these artists have been in their quest to create new ideals. Olaku says “these creations help his pendulum to swing in ceaseless harmony and impulse in obedient to the rhythmic creative energies and emotions of human experience of our world”.

    On his own part, Babatunde sums up this excursion as “as a form to express beauty at its best, since I know that it is an intellectual property. Therefore, it is my desire to penetrate any global audience.”

  • Living life abroad

    TITLE : Diaspora and Imagined Nationality
    PUBLISHER: Carolina Academic Press.
    AUTHOR: Koleade Odutola
    REVIEWERS: Wale Fatade

    Nigerians love to talk and we are proud of our ability along that line. Outside the shores of our country, we are not afraid of airing our views and holding court on issues affecting the motherland. Among the hotly debated issues is whether or not Nigeria is a mere geographical expression, to use the words of a late political leader, or has emerged fully into a nation. While those living within the borders of Nigeria are engaged in debating this, those in the diaspora too are not left out.

    KoleadeOdutola’s Diaspora and Imagined Nationality: USA-Africa Dialogue and Cyberframing Nigerian Nationhood is an attempt at using the digital space to explore nationhood issues. The book is a revision of the author’s PhD dissertation, which required extensive re-work of the initial research. “The whole idea behind my PhD was to make sense of what Nigerians discuss online,” Odutola said in an online interview.

    “I discovered there are many issues and I choose how the issue of nationalism is discussed online. It is a book that can be read in part by different audiences depending on their social location and background. You can just read the exchanges without the theory and methodology sections and it will still make sense to you.”

    In his research, Dr. Odutola discovered that “Nigerians in diaspora are very passionate about Nigeria. They want a change like yesterday.” He added that the style of writing of most Nigerian scholars look toward Europe and America for authorities when it comes to complex issues like nationhood and “I thought I could locate Afrocentric ideas about nationhood but somehow I’m still searching.” Asked whether the concept of nationhood is alien to Africans then, he responded, “No, just that there are not many authorities who have articulated the concept.”

    He added, “Most of us confuse the State with the nation but Dr. Adebayo Williams expressed the idea of State-Nations for most postcolonial countries instead of Nation-States.”

    Three concepts are therefore evident: The nation; the State, and the country.  “A nation is like a dream, it exists first in the imagination of a few before it finds vent in text or in discourse. In the same way a virtual nation is normative in conceptualization. It is constructed through conversations and reflections. It speaks to how a nation structurally and functionally ought to be as opposed to how it is. The virtual narrative depends on external ideas to a great extent and on intuition in very rare cases. The purpose of a virtual concept of nationhood is to act as a parameter on which the real nation with all its imperfections and contradictions are judged. One issue the idea of virtual nationhood brings to the fore is that of legitimacy; who is qualified to discuss how a nation ought to be? Should the task be left to those who are within the malfunctioning national space? Or should the task be left to those who are located outside of the national space but depend on mediated communication and information for their knowledge?”

    Odutola equally acknowledges the eternal debate of ‘inside/outside’, which complicates the situation in that those inside may also be outside of the system and thus alienated. Immigrants, especially those in well developed countries with functional systems and coordinated structures take more than passing interests in the political affairs of their homeland and there are many examples of immigrant groups that have facilitated change sin their homelands using different information and communication technologies to connect and mobilise and organize geographically dispersed members.

    Does this then mean that Nigerians in the Diaspora engage more with nationhood issues than those in the country? “No, I can’t say that, please,” he answers. “I made a research decision to focus on Nigerians in the Diaspora because I was going to use a virtual ethnographic methods that relies more on text than on the ground observations. I know that Nigerians at home verbalize their concerns at different spots in the country. A visit to a vendor’s stand would provide enough data to do the same thing I did online.”

    Asked if he thinks Nigeria would evolve fully into a nation based on his findings, Dr. Odutola says,” Ha, that’s a very tough question for a researcher without a crystal ball but reading what Nigerians in the Diaspora express online, I think Nigerians want the nation to survive beyond that “mere geographical expression.”?Divided into five chapters, the book concludes that when identity is no longer anchored on location, home and nationhood become indistinguishable.

  • Here comes Distinction

    The dream was mooted last year by some of Nigeria’s most outstanding studio artists. Their intention was to situate visual art on the platform of distinction and excellence and to show the public that group art exhibitions should be done with some heal of expertise. This experiment gave birth to Distinction art exhibition led by Abiodun Olaku, Alex Nwokolo, Bunmi Babatunde, Duke Asidere, Edosa Ogiugo, Fidelis Odogwu and Reuben Ugbine.

    This year’s edition which began yesterday at the Terra Kulture, Victoria Island, Lagos, has an additional artist in the person of Segun Adejuwon who described the idea as the most excellent thing to happen to visual art sector in Nigeria. “You need to identify with distinction, with people who have laudable ideas to take the art to the next level”, Adejuwon decided.

    According to Olaku while addressing reporters, this year’s edition is a sequel to last year’s “because people have been asking us to re-enact what he did last year. People, indeed art collectors and patrons are in love with the sort of art we displayed last year. So, we need to move further than that to showcase what we have to the public”, he said.

    Sponsored by Kunle Tinubu of Trojan Estate, Lagos, the over forty works on display have an array of assemblage cutting across paintings, sculptures, mixed media, installation and more. The assemblage of varied works of arts which come in different dimensions and experiments juxtaposes the dream of these artists who eac,h has over twenty years of studio experience behind him. This is why the exhibition is detailed to run for one week to enable the public and visual art lovers have enough time to savour the aura of distinction.

    It is also to show how deep these artists have been in their quest to create new ideals. Olaku says “these creations help his pendulum to swing in ceaseless harmony and impulse in obedient to the rhythmic creative energies and emotions of human experience of our world”.

    On his own part, Babatunde sums up this excursion as “as a form to express beauty at its best, since I know that it is an intellectual property. Therefore, it is my desire to penetrate any global audience.”

  • Today’s bomb

    AM going down the street to pick a piece of bread The crowded street will only stall my steps  and hunger, my morning companion, has a few minutes to say goodbye. Boom, boom, I heard amidst cries Was that a bomb?  Yes, screamed a scurrying back I am in no mood for the body count Some people scampered about in fear I stood still and saw in the distance a bloodied face  and another man lifting a child limp of                 limbs in hurried alarm for a car to take the dying to the hospital If, that is, the car does not bear a hooded omen Of unexplored men and shrapnel I looked at myself, crown to toe, I am  as new as the morning dew I have nothing to worry about, and I move on To pick my piece of bread and wish the morning companion goodbye Today has had its bomb.

  • Taking theatre to the people

    Taking theatre to the people

    Encouraged by the need to revive community theatre in the tradition of the Late Hubert Ogunde and to encourage the youths to show interest in the art as a career, the Artistic Director of the National Troupe of Nigeria, Akinsola Adejuwon and his team created Ajoyo for a three-state tour. Edozie Udeze, who was on the team writes on how the Troupe was able to thrill people and really revived interest in dance-drama, music and so on in Kogi, Ekiti and Kwara States.

    The dances and songs were more solemn and evocative than the audiences across the states where the performances took place actually expected. To them, the golden years of Hubert Ogunde are here again. The era when travel theatre; when communities across the nation were given the opportunity to watch the National Troupe of Nigeria (NTN) perform and thrill the people.

    Today, Mr. Akinsola Adejuwon the new Artistic Director of the National Troupe of Nigeria has elected once more to take theatre back to people, to the nook and crannies of the states where the presence of the Troupe are needed through performances, using dance, drama, music and more to reach out to the youths and remind them that there are plenty of aura and openings in the dance sector.

    To achieve this aim, Adejuwon and his team created Ajoyo, meaning celebration, a collection of dances, infused with the stories of the different Nigerian societies to tour three states of Kogi, Ekiti and Kwara. It was to showcase the beauty of the art to the people and bring them back into the rhythm. It is a celebration deeply embedded in folk-dramas of all kinds. The show which is an embodiment of all elements of the art into one fold is to let the world see how the interrelationship of the different performing arts can be condensed into stage. In the end, the Troupe was able to dazzle the different audiences where they performed. “Ours is to show the people across the 36 states of the federation that art is life and life is art”, was how Adejuwon described the whole experience.

    And so, from Kogi State where the first performance took place to the University of Ilorin where the grand finale for the first lap of the 36 states tour was held, the overall clamour by the people is that truly, art is life. At Lokoja, the Kogi State capital where the people are known to celebrate life with the art, the people were more enthusiastic to embrace the idea of the restoration of the guerilla theatre. There, the artistes showcased the synchronisation of dance and music, embellishing them with props, crafts, designs, decorations and more. As they moved into the stage with slow, steady movements of the stage light in conformity with the solemn, songs of dirges and sorrows, love and celebrations, the audience immediately became spellbound. The silence in the hall soon became a sign that the Troupe was on course; that the dancers in their best energetic elements were ready to prove that they were prepared to take the people along in their systematic stage mesmerisation.

    After the second performance at the Arts Council of the state the folowing morning, the Troupe headed to Kabba, another culturally enthusiastic town in the state. In Kabba, a new approach was adopted. The artistes opted to take to the streets to announce their presence. With plenty of music, drummings, and invocations, the people were woken from their slow, easy-going native lifestyle into the boisterous welcoming arms of the theatre. At the communty hall, the show took place outside, where the residents trooped out in their numbers to embrace the profundity of total theatre. Before the displays came to an end, it was free dances, and open shows for all. The people equally responded with their own level of artistic demonstrations, charging on with the idea that it is indeed pertinent to take live theatre to where the people would appreciate and welcome it more by being fully involved.

    It is pertinent to point out that the Kabba show beame a leeway for the usefulness of the whole experiment. Adejuwon told them to hook up to the National Troupe in order to enjoy the opportunities offered by drama, music, dance, painting, decorations and more. “This concept is for all the youths of the country. It is for you people to see how the arts can be used to offer employment to you all. It is not only football or oil, arts is alive to engage as many people as can show interest in it,” he profferred.

    When the show moved to Ado, the Ekiti State capital, the total approach changed. At the palace of the Ewi of Ekiti, Oba Rufus Adejugba, the people quickly formed the largest assemblage of crowd ever. Performed at the Oja-oba market square, the crowd was peopled by both the rich and the peasants. There, the audience was evocative; the open space was quite in line with a typical street theatre concept. And so, as the performances went on, the crowd cheered, jeered, clapped and sniggered. The ecstasy was too much and they clamoured that the performances be extended to more places so that more people would be in the position to experience the euphoria of this era of new dance concepts to expand the frontiers of community theatre.

    Addressing the people, Yomi Longe, the director of Ekiti State Arts Council commended the Troupe and told the crowd that now they can enlist to be trained to be better artistes. He said, “theatre cannot die. The Troupe is here to ensure that the idea of live theatre does not die. Is it possible for live theatre to die?”, he enthused and the crowd responded in total unison that that cannot happen. “So let us carry on with itinerant theatre. As you people know, Ekiti people truly love theatre; we live as dancers, as performers whose interests in all aspects of the art cannot be taken for granted.”

    Of all the places visited by the Troupe, the encounter at Iyin Ekiti, a town, a few kilometers west of Ado Ekiti was applauded as the best organized and well received by the people. Iyin people trooped out in their thousands as the community hall suddenly became too small to accommodate the audience. The traditional ruler of the town promptly sent his high chiefs to stand in for him. Both the old and the young, market women and peasant farmers abandoned their works to grace the occasion. Before too long, questions were being asked as to how this dream of making dance a lucrative business can be achieved.

    Ekiti people generally were at home with the idea. Most of them did not only dance by the side to prove their deep interest in the show, they decided also to introduce their local professional artistes to be fully involved in the dance drama and to also entertain the people .The Iyin people were able to prove that the idea of community theatre is a germane one. They showed that art should not be removed from the people. Art shouldn’t be made an elitist and utopian profession. In as much as it is for the people to demonstrate their own heritage, it is equally for them to find professional fulfillment. Some of their elders recounted the days of Ojo Ladipo when street theatre gave so much employment and hope for the people. It was an era when it was poignant and prestigious to be an artiste and live on it and make investments.

    From there, the train moved to Ilorin, Kwara State. The venue was the Auditorium of the University of Ilorin. Here, it was a different experience entirely. The students who were to commence their exams the following day, along with their vice-chancellor, Professor AbdulGaniyu Ambali stormed the venue in their droves. It was here that the Troupe actually encountered the first modern stage throughout the tour. The electricity and chemistry of the stage craft and movements now became more charged. The idea of the introduction of durbar and palace dances, elitist in all its epitome, was to enlist the interest of the sophisticated audience. And truly this played off well. The VC was so enthralled that his speech afterwards was filled with hyperbolic and expressive sentiments for the Troupe. “This is wonderful. The women are lovely; they are the most wonderful dancers I have ever seen. While the women danced like men, the men danced like supermen. What a beauty! What a wonderful outing!” Ambali decided, charging the Performing Arts students of the institution to be proud of their profession. “Any university in the world that does not have a proper department of Performing Arts is incomplete,” Ambali told the audience comprising all his principal officers and a beehive of the student populace cutting across all disciplines and departments.

    Although this is the first stage of the nation- wide tour of the Troupe, the issue of embracing a more proper costume to suit the communality of the concept is yet to be incorporated. Adejuwon and his team have to note that costumes of a street theatre have to be in conformity with the principles of performances. The Troupe has shown that it can deliver. Even when there is no money to do so, the artistes have proved that dancing and singing and acting are their primary role in the society, yet they should begin now to imbibe the total idea of community outlook in their concept, approach and presentation. This is an orientation that needs to be looked into and addressed with maximum urgency. It also shows that Adejuwon, whose background is in the visual arts can fuse into performance arts all these elements to give theatre its total groove; its completeness to recapture the society and tell the story of love, togetherness and peace.

  • Minister condemns recent Kano blast

    Minister condemns recent Kano blast

    The Minister of Culture, Tourism and National Orientation, Chief Edem Duke has condemned the recent bomb blast in Kano, saying the act is against the culture of peace which our culture preaches about.

    Chief Duke a made the statement at a gathering of who-is-who in the creative industry hosted by the president at the prestigious Eko Hotel Suites, Lagos, recently.

    Speaking at the event tagged:”An Evening with the President”, the Minister said security and insurgency are two challenges upper most in the president’s heart.

    He said: “Tonight  the peace of our nation was shattered. People went out to Kano to pray but so many of them never returned home. Let us observe a minute silence to the life that was shattered.”

    He called on members of the creative industry to use their works to advocate peace, saying they possess the tool to influence minds.

  • Beyond alcohol,  benefits of drinking beer

    Beyond alcohol, benefits of drinking beer

    Let me commence this contribution to this historical conference on Beer and the Healthy Lifestyle by expressing my gratitude to organisers of this symposium, for the invitation to chair and speak at this occasion. I am particularly gratified that that at last the Nigerian beer drinkard (as the Nigerian writer would have put it) is being served by a Nigerian conference. Beer has been an important component of a healthy life style in human history for over four thousand years. It continues to be.

    My particular interest in beer and other beverages such as palm wine and grape wine began long ago, as a boy sent by my grandfather to harvest the juice of the palm tree which had been cut down and laid horizontal for easy collection. Later travels and further immersion in lifestyles led to particular passion for the ultimate relationship between alcohol and beer.

    Each area of human manipulation and invention contains an abiding puzzle. With car making it is always to invent a car that would, like the horse that inspired the automobile, move itself without a rider. The invention of automatic transmission brought that day forward. Today self-driving cars are being tested and we might have soon self-driving cars competing with life horses on the race course!

    In the field of aeroplanes, it would be the one that would fly without a pilot. Today, drones fly past birds to do what they need to do. What then is the abiding puzzle in the case of beer brewing? Before I go into this I want to quote some of the major ways that Beer and Beer Brewing has enriched the languages and cultures of the world.

    “It was the accepted practice in ancient Babylonia 4000 years ago that for a month after the wedding, the bride’s father would supply his son-in-law with all the mead he could drink. Mead is a honey beer, and because their calendar was lunar based, the period was called the ‘honey moon’ – or what we know today as the honey moon.”

    “Before thermometers were invented, brewers would dip a thump or finger into the mix to find the right temperature for adding yeast. Too cold, and the yeast would not grow. Too hot, and the yeast would die. This thumb in the beer is where we get the phrase ‘rule of thumb’.”

    “In English pubs, ale is ordered by pints and quarts. So, in Old England, when customers got unruly, the bartender would yell at them to mind their own pints and quarts and settled down. It’s where we get the phrase mind your p’s and q’s!”

    “Beer, we are told, was the reason the Pilgrims landed at Plymouth Rock. It’s clear from the Mayflower’s log that the crew did not want to waste beer looking for a better site. The log goes on to state that the passengers were hasted ashore and made to drink water so that the seamen might have the more beer.”

    “After consuming a bucket or even two of a vibrant brew they called ‘aul’ or ‘ale’, the Vikings would head fearlessly into battle often without armour or even shirts. In fact, the term ‘berserk’ means ‘bare shirt’ in Norse, and eventually took on the meaning of their wild battles.”

    “In 1740 Admiral Vernon of the British fleet decided to water-down the navy’s rum. Needless to say, the sailors were not too pleased and called Admiral Vernon Old Grog, after the stiff wool grogram coats he wore. The term ‘grog’ soon began to mean watered down drink itself. When you were drunk on this grog, you were ‘groggy’, a word still in use today.”

    I remember that one particular brand of beer Becks had been so domesticated that when my Uncle called for his Abeke I knew where to go and bring her!

    Now to go back to that abiding puzzle mentioned in the case of the automobile and aeroplane industries, which is still to be resolved in the industry of brewing of beer. What is the correct alcoholic content to make beer the best beer can be? Whoever can discover that formula would have done in beer brewing what the automobile and aeroplane industries have done for the pleasure car and the aircraft? Brewers have reduced the alcohol content drastically to create Beer Lite. At other times brewers have increased the alcohol content to hasten intake and effective inebriation! And there has been non-alcoholic beer as well.

    In the rest of this presentation I wish to look at the health benefits of each one of these versions of beer: the non-alcoholic, the lite and the high alcoholic content. But let me sound a note of warning. All cultures preach one particular central virtue over and above every other virtue. In the Yoruba culture it is possible to state categorically that moderation, iwotunwosi, the washing of the left hand and of the right hand, is the singular pillar of existence as contained in the Ifa Divination poems “highly valued by the Yoruba as the guardian of Yoruba culture, the wisdom of the ages and the teachings of the ancestors and the divinities.”

    In terms of drink, “to drink moderately is to drink within the limits set by your health, the society in which you live and your obligations towards your family and friends: this means 1 – 3 drinks a day for most men. Women are more sensitive to alcohols, so they are advised to drink less than men: 1 – 2 drinks a day.” This amounts to a quarter litre glass having between 4 and 5 per cent alcohol 10g by volume. This approximates to beer lite.

    Alcohol and the natural raw materials from which beer is brewed are good to drink and are also good for the health. They are not health risks when taken moderately. Foods and drinks consumed by human beings contain both bad fat and good fat. When alcohol is consumed there is an increase of good fat. This is the fat that the body can easily convert to energy. Bad fat has a habit of sitting at the neck or at the guts or anywhere else that would give it space. Alcohol does not contain this bad type of fat.

    There is also medical evidence that alcohol consumption has a blood thinning effect and this leads to the reduction of the tendency of blood to form clots. As we know now blood clots prevent the flow of blood to the heart and the brain thus causing massive heart attacks. It is also true that moderate alcohol consumption reduces the inflammation of the inner linings of the nerves as well as a lower level of insulin resistance. Any alcohol, whether sourced from beer or wine or any other beverage, protects the heart. How much and how often must be governed by the rules of moderation spelt out earlier. The consumption of beer with a meal is considered a better way rather than drinking on an empty stomach.

    Specifically, there are some illnesses and diseases which can be prevented, minimised or completely prevented by the consumption of alcohol. Some of these are Diabetes Mellitus, weakening of the bones (osteoporosis) as a result of the increase in blood of oestrogen associated with alcohol consumption in women. Others are Dementias which is the decline of cognitive ability with the advance of age. Parkinson’s disease, Gallstones and Kidney stones are other illnesses.

    These illnesses and diseases are helped by the presence of flaveroid and silicon, minerals present in beer. Moderate consumption of alcohol creates a feeling of well-being, reducing stress and tension.

     

    Moderate consumption of beer for health effects:

    Beer drinking can make a positive contribution to a healthy diet because of its wholesome raw materials used in brewing beer. These natural raw materials are cereals, hops, yeast and water. There are soluble fibres derivable from the cell walls of barley which are good for human health. All these natural materials contain antioxidants, vitamins especially of the B variation, silicon and fibre. Beer generally on the average is 93 per cent water. As a result beer is a thirst quencher of the first order with low alcohol. Research on alcohol-free beer has shown that these benefits are also present as well. This would mean that it is not only beer that has alcohol content that gives these benefits. So, beyond alcohol, the potential beneficial effects of the natural ingredients of beer are likely to apply to non-alcoholic beer.

    Going further on barley’s soluble fibre, two glasses of beer contains in average 10% of the recommended daily intake of soluble fibre. Some beers can provide up to 30% of this food item. Fibre slows down digestion and absorption of food and reduces cholesterol levels. Cholesterol as we all know or should know helps the risks of heart disease.

    People who drink beer have protection from bacterium helicobacter pylori, a bacterium known to cause the majority of stomach ulcers and may be a risk of stomach cancer.

    Depending on style and process of brewing antioxidants present in beer from malt (barley) and hops as ingredients can be high or low. It is generally believed that antioxidants may play a role in the protection against cancer through their action against free radicals. Antioxidants also inhibit blood clotting.

     

    Vitamins and Minerals:

    Present in beer and various forms of vitamin B: macin, riboflavin (vitamin B2) pyroduxine (vitamin B6) folate (vitamin B9) and cabolamin (vitamin B12).

    Some of the minerals present in beer are high potassium, low sodium, low calcium and rich magnesium which protects against gall stones and kidney stones formation. Silicon intake is associated with healthy bones.

     

    Hops:

    Small quantities of the flower from hops are used to preserve beer as well as to flavour it. Beer is the only dietary source of hops and flavonoids found in hops helps to fight cancer.

    Beer does not contain fat or cholesterol and it is low in free sugar. Any calories which beer contain, comes from the alcohol content. And as mentioned earlier research into non-alcoholic beer shows that the benefits derivable from beer with alcohol are also found in beer without alcohol.

    I would like to bring these comments to a close by quoting a poem that should be familiar to all of us. It is the sum total of what I have been saying in the last so many minutes:

    “I am not scared of goblins or ghouls and things that go bump in the night

    Werewolves and bats and witches and such do not give me much of a fright.

    But there is this one thing that scares me to death and only this one thing I fear.

    And that’s to open my fridge at night and find that I’m all out of beer!”

     

    •Prof. Omotosho is a Professor of Drama at the Department of Drama, University of Stellenbosch, Cape Town, South Africa