The Nation Newspaper

Category: Arts & Life

  • CBAAC holds cultural festival

    Centre for Black and African Arts and Civilisation (CBAAC), Nigeria, will host the CBAAC 2014 International Cultural

    Festival and Colloquium in Yenagoa, Bayelsa State.

    The Cultural Festival/ Colloquium with the theme: Using Culture to Drive Transformation of Africa and its Diaspora in the New Global Order will hold between November 26 and 28 at the Ijaw House, Yenagoa, Bayelsa State. CBAAC is hosting the event in collaboration with the University of Port Harcourt, Rivers State, Bayelsa State Ministry of Culture and Ijaw Affairs and the Niger-Delta University, Amasoma.

    The programme, the organisers say, is open to global Afro-centric organisations, universities, students and individuals of African descent.

    It would be declared open by President Goodluck Jonathan. It would feature performances and presentations on issues and subjects of importance to Africa and the African Diaspora with focus on the instrumentality of culture in the transformation of Africa and the Diaspora. The renowned Prof Sule Bello, Chairman Africa Research and Development Agency, Kano, Nigeria, is expected to give the keynote address. It promises to have participants from global Afro-centric organisations, the diplomatic community, universities, students and individuals of African descent in Africa, Europe, Caribbean, Asia, America, and the Americas.

    The festival would, among other things, feature colloquium; cultural parade, open theatre events; drama; dances and masquerade display; and exhibition.

  • Deluge as ‘October Rain’ falls

    Deluge as ‘October Rain’ falls

    Vast and rich, Nigeria offers abundance as October Rain showcases the country’s centenary in arts, reports Joe Agbro Jr.

    To mark centenary in many clime is a memorable thing. A century after amalgamation of Nigeria by the British government in 1914, different events have celebrated the occasion. And penultimate Saturday, ‘October Rain’, an annual exhibition organised by the Society of Nigerian Artists (SNA), Lagos State, paid tribute to Nigeria’s centenary

    At the opening at Nike Art Centre, Lagos, the ground floor of the Nike Art Centre was a plethora of colours, forms, and shapes as 70 artists under the aegis of the Society of Nigerian Artists, Lagos State exhibited 132 artworks.

    The potpourri of works – mixed media, prints, installation, sculpture, ceramics – featured different nuances of Nigeria and Nigerian life as represented by the artists. Beadworks, paintings, crafts, and photography were all on display. A look round the exhibits hints at theNigerianese of the gathering as various works in varying degrees reveal Nigeria and the Nigerian identity.

    Currently, politics is in the air and politicians are in full mode of canvassing for votes. As 2015 elections are round the corner, the doings of politicians in different grab for votes is exposed. In his painting titled Oro Sunukun (Deep Issue), SaheedAdelakun depicts two men – one offering his head in exchange for naira notes. The message is direct – you die when you sell your votes.

    And going into a peculiar form of mechanical art is kinetic artist BiodunBadmus. His work titled ‘Greetings, Not Fight’ combines mechanical designs creatively such that the three Eyo masquerades sculpted in metal can dance and jiggle to music also produced by the box, all at the flick of a switch.

    This year’s edition, the 16th in the series has as its theme, ‘The Centenary, Nigeria @ 100.’ And exhibiting alongside advanced artists like Bruce Onabrakpeya, Kolade Osinowo, and Kunle Filani were young artists who recently joined the Society. Other participating artists included Olojo Kazeem, Ofodile Okanume, UgbedeojoAtaboh, Funmi Opanubi Alasholuyi, Kunle Adeyemi, and Uche Nwosu.

    October Rain offers young artists an opportunity to exhibit alongside more and very experienced artists. Mr Hasib Moukarim, the managing director of Nigeria Gas and Steel Limited and chairman of the opening ceremony, also noted the importance of mentorship for sustenance of arts and culture.

    “Various landmark events have characterised Nigeria over the past 100 years,” said Moukarim. According to him, these “include experience in the area of independence, achievement in the area of economic development, sports, and most importantly a nation of happy people despite various challenges. Nigerian art on the other hand has become an iconic symbol for excellence, both its traditional, modern and contemporary art forms.  They have received universal acceptance.”

    Moukarim, a special guest at the event, noted that artists who made the Esie Soapstone works, Benin Bronze works, IgboUkwu arts were precursors to contemporary Nigerian art forms while praising the path blazing examples of artists such as Aina Onabolu, Rufus Ogundele, Twins Seven Seven, Bruce Onabrakpeya, Kolade Osinowo and Abayomi Barber.  He also noted the vibrancy and advancement of contemporary Nigerian artists of which he listed the likes of Abiodun Olaku, Sam Ovraiti, Uche James Iroha, Oliver Enwonwu, Peju Alatishe, Olu Ajayi, and others.

    According to him, “Established Nigerian artists have drawn a great deal of interest in not just Nigerian but African arts as a whole. And their successes can be measured by the quality of their works, the rush to acquire them, the prices they command at auctions, and of course depth of its composition and expressive colours. Today’s contemporary Nigerian artists have also continued to expand the deep and rich culture of the nation.”

    A young artist exhibiting is Tega Akpokona. However, looking at his works, one may not easily know that he is just about three years out of university. “Many people have told me that my works are advanced,” said Akpokona, a 2011 fine arts graduate from the University of Benin. He did a salon at Abuja in 2013 and based in Lagos.

    His work, ‘Sober Susurration’ captures beggars in their elements. Though not peculiar to Nigeria, begging in Nigeria can be seen virtually in every part of the country. The piece, according to the artist, is about the indigent people and the painting is just one in a series.

    “I started this documentary on their lives,” he said. “They are people that you will see and you probably won’t take a second glance at. That is the dilemma of artists. You are confined to aesthetics; you have to make it beautiful. I tried to capture them in their innate sober state. I’m trying to portray what they are thinking at that particular point in time. I can’t un-see some things. I have the talents to express what I see visually. I’m sensitive to things like that.”

    He also exhibited another painting, a landscape he titled ‘Nostalgia’, which captured the rural scenery of Auchi, a city in Edo.

    Styles also seem to be catching on and when Mufu Onifade started a painting style he dubbed Araism some years ago, many pundits agreed it was unique. However, Araism seems to be brimming in some younger Nigerian artists, one of whom is IsiavweUfouma.

    “I like Araism and I have been following it,” said Isiavwe who also teaches fine art at Neander International School, Epe. His depiction of Eyo, uses Araism but the wavy patterns synonymous with Onifade’s movement is patterned around forms of circles.

    He also exhibited a bright portrait of a young girl holding a bowl to her mouth which he titled, ‘Greatness would manifest.’

    Like a connexion, this year’s October Rain attracted more school students. Earlier, Dotun Alabi, Chairman of the Lagos SNA had sounded that this year’s October Rain would feature workshops for students. And about 15 schools including Caleb International School and Chrisland Schools turned up for that between Monday and Wednesday.

    Also members of the public would have a chance to vote on the winning works.

    “We will allow the public to participate in a voting session to choose the work of their choice,” he said, “based on their connection and appeal to the works on display with guiding elements and principles. During the Gala Night, there will be an award and prize for the outstanding work.”

    By Wednesday, Alabi said attendance was going on well.

    “We’ve sold a couple of works. And the students have made the exhibition lively with their drawings and their contributions. Most people have said it is the best October Rain that they have ever witnessed,” said the elated Chairman.

     

  • How artistic performances resolve conflicts

    How artistic performances resolve conflicts

    The first stakeholders parley by the National Troupe of Nigeria (NTN) was held in Lagos last week.  At the parley, the Artistic Director of the Troupe, Mr. Akin Adejuwon used the opportunity to unveil his plans to make the Troupe attain more heights to justify the transformation agenda of the federal government.  It was an opportunity for various interest groups and artistes and other stakeholders who have been working for the good of the Troupe to make their own contributions on how to ensure that the performative aspects of the National Troupe of Nigeria is maintained if not surpassed.

    Adejuwon stated that henceforth the primary assignment of the Troupe is to discover new talented artistes and encourage them to attain their goals in life as professionals.  With these new artistes, it is hoped that the National Troupe assignments would not only become more widespread in outlook, but is also geared towards reaching out to a greater number of people both at home and abroad.

    He said: “We intend to begin this revival project with a three state tour scheduled for this November.  We will organize two festivals.  The first, is the Domestic Festival of Performing Arts.  The other is an Abuja International Festival of Performing Arts.  The maiden edition of the first one is planned for 2015 while subsequent editions will be rotated among the states.  The second one will happen first in Abuja 2016 to make the federal capital territory feel the pulse of the Troupe in its epitome.”

    On the whole, Adejuwon intends to make Nigerian soldiers be a part of the tempo of this performative tendency of the Troupe.  In this regard, he said, “the present security situation in the country brings the import of this arm of government to the fore.  We will represent this importance through our performative expressions and then promote same.  Interestingly, we have just been invited to perform at the Nigerian Armed Forces Remembrance Day celebration 2014.  I therefore consider this performance by the Troupe a unique one.  Apart from being the first foot forward within my vision of making the Troupe current and relevant in the Nigerian scheme of things, I see the performance which is billed to take place at the Aso Rock presidential Villa Banquet hall before a select audience of the president, his family and all service chiefs as a way of deploying the performative expression in a conflict environment.”

    Adejuwon also promised to maintain most of the old programmes of the Troupe in order to continue to promote the indices of the art, “since the National Troupe is the apex of Nigeria’s rich cultural heritage.

    In his keynote speech, Professor Sunday Idodo of the University of Maiduguri and the President of the Society of Nigerian Artistes, (SONTA) highlighted the need for the Troupe to be more visible.  In his theme, the performative expressions in a conflict environment, he stated that an active National troupe should be in the forefront of making the whole people, the whole nation and indeed everybody to see, feel, watch and gain from its numerous, constant and engaging performances spread across the nation.

    He said “In the creative enterprise conflict is a constant, especially in the performative genre.  The preoccupation of any drama for instance is to generate conflicts and resolve them.  These conflicts are also derive from human experiences and engagements with his/her environment.  When conflicts are stimulated or imagined, they are also placed within plausible context of human appreciation.  The capacity of the performing arts to interrogate human condition and proffer solutions is innate to drama and the art forms of music and dance can add value and substance to the conflicts.  No one watches a theatrical piece without taking one or two lessons home apart from its entertainment values.

    The beauty of performative expression is its captivating intensity to hold spell bound an audience to a recreated world of imaginative reality that an audience can hardly dissociate itself from.  In other words, when a performative expression is well constructed and presented it does have a hold on its audience and capable of influencing and transforming them too.  It is on this account that the role the theatre can play as a change agent and as agency of mediation in conflict resolution can be understood.”  This is what we expect the National Troupe to be doing constantly.

  • When leadership matters

    When leadership matters

    Title: Resilience in Leadership
    Author: O. Olanlokun
    Year of publication: 2014
    Reviewer: Yusuph Olaniyonu

    Yusuph Olaniyonu reviews a book written on the life and times of one of the pre-independence political leaders of Nigeria, Alhaji Dauda Soroye Adegbenro, who was a dramatis personae in the Western Region crisis which eventually triggered the events that led to the collapse of the nation’s first attempt at democratic rule.

    Courage. Loyalty. Steadfastness. Devotion to a cause. Community service. Astute political leadership. Grassroots mobilization skills. These and many other attributes form the core of the repackaged biography of Alhaji Dauda Soroye Adegbenro, a political leader in the pre-independence and immediate post-independence period in Nigeria’s political history. The 196-page book written by late Dr. Olajire Olanlokun who once served as chief librarian of the University of Lagos was launched on October 16, 2014 in the hall of the Ogun State Television, Abeokuta, at a grand occasion attended by top politicians, academics, professionals, businessmen, community leaders, students and others.

    The book, first published in 2005 was recently revised with more contributions from members of the family and associates of the subject of the biography. The new effort was co-ordinated by one of the colleagues of the late author, Dr. Taofiq M. salisu.  The book is divided into 12 chapters which cover the early life, early involvement in party politics, parting of ways of Chief S.L. Akintola with his colleagues in the Action Group (AG), the war of brothers in AG, legal battle for Premiership and post-Emergency politics in Western Nigeria.

    Others issues covered by the various chapters of this major work on Nigeria’s political history, particularly the early experience of Nigerians in political party administration, the practice of parliamentary system and regionalism include first post-independence regional elections, post-election developments, Owu chieftaincy tussle, the last political activities of late Adegbenro as seen by his associates and the concluding remarks by the author.

    Like every good biography, the book goes beyond the story of a man. It is the reproduction of the history of Nigeria and the politics of an era in which Alhaji Adegbenro found himself and operated in.  The author, while writing about the early life of the subject, takes us through the history of the early settlement of the people of Owu quarters in Abeokuta and some of the villages in present day Ewekoro and Ifo local government areas in Ogun State. From the second chapter, the book takes us through the political life of late Adegbenro and it continues in that line till the end, except for chapter nine which dwells on the tussle over the Balogun of Owu and Ekerin of Egba chieftaincy titles. Even then, the chieftaincy tussle was in itself a form of local politics.

    From the second chapter, the importance of this book in correcting historical misstatements and clearing long held misrepresentations becomes obvious as it makes it clear that unlike the falsehood that was often spread on the so-called ‘cross-carpet’ story of the constitution of the 1952 Western Regional Assembly, the members including Chief Obafemi Awolowo, Alhaji Adegbenro and others were elected as independent members who later for the purpose of the election of first Premier chose whether to team up with the Action Group led by Awo or NCNC led by Dr. Nnamdi Azikiwe.

    It is also necessary to relate how this book helps to authenticate the claim that the debates in the Western Regional parliament were so enriched and with great depth so much that the quality was comparable to what obtained in Westminster, London. The copious use of quotes from contributions of the Nigerian legislators to parliamentary debate helped to demonstrate this.

    Incidentally, from chapter three of the book, the reader is taken into the details of the Western Region crisis where late Adegbenro led the pro-Awolowo forces in battling the break-away faction of the AG led by Chief S.L. Akintola. No doubt, the story on this crucial development which was to determine Nigeria’s first attempt at democratic rule after independence was written from the perspective of the political tendency to which the subject of the book belonged.

    It is interesting reading in chapter four about how Adegbenro was chosen to become the new party deputy leader over and above many top party leaders who were earlier considered in the race for who succeeded Chief Awolowo as Premier of Western Region. It was obvious that Awo, who was a good judge of men’s character and values, had seen Adegbenro as the man for the moment. The time then required a deputy leader whose virtues included loyalty, resilience, consistency, humility, piety and ability to ignore the lure of the lucre.

    However, much as one will recommend this book to students of history and political science, present and aspiring politicians as well as others who are interested in learning about Nigeria in her teething period of nationhood, there is so much work yet to be done in the area of proof-reading the text. There are so many spelling errors which sometimes are not only embarrassing but also altered the intended meaning of the author. Similarly, the author does not seem to have any respect for punctuations. And this is a major minus for the easy, free-flowing narrative style adopted in the presentation of the facts.

    Also, on page 143 is a great omission as the author claims that “Akintola’s biographer even maintains that there was no shred of truth in the official results as the election was shamefully rigged”. However, in the references listed on page 157, not only is the name of the quoted author, Osuntokun, wrongly spelt, the page being referred to, is missing. So, how does one cross-check the veracity of the claim?

     

    – Olaniyonu is Commissioner for Information and Strategy, Ogun State. 

     

  • Sorrows unlimited

    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.

  • ‘Don’t be a propagandist agency for govt’

    ‘Don’t be a propagandist agency for govt’

    Leading theatre practitioners gathered at the Banquet Hall of the National Theatre, Lagos to chart a new roadmap to reposition the National Troupe of Nigeria, reports Assistant Editor (Arts) OZOLUA UHAKHEME. 

    The hall was silent. All was set for the stakeholders’ forum organised by the National Troupe of Nigeria (NTN).  Venue was the Banquet Hall of the National Theatre, Lagos. The focus was how the troupe can become more proactive and productive.

    “I hope you will step up efforts at making the National Troupe of Nigeria a bigger success story,” began the Chairman of the Governing Board of the National Theatre/National Troupe of Nigeria, Chief Markus Ishaya. “And I also hope that you will not betray the confidence repose in you. You need to better the record of the immediate past Artistic Director, Mr Martins Adaji. Note that you cannot do it alone. Everybody in the troupe has a role to play, and you should take everybody as a stakeholder. Both you and General Manager of National Theatre should work together for good.”

    That counsel by Chief Ishaya to the new NTN Artistic Director, Mr Akin Adejuwon, set the tone that morning at the forum.

    Ishaya recalled that his experience in the public service has shown that inadequate stakeholders’ engagement and involvement is one of the most common reasons programmes and projects fail. “So those who want to succeed always make effort to encourage broad and active stakeholders’ engagement in the planning, monitoring and evaluation process of their programmes,” he added.

    The forum, which attracted leading theatre arts practitioners such as Prof Duro Oni, Sir Peter Badejo, Ben Tomoloju, Ali Mahmoud-Balogun, Oba Sonuga, Prof. Sunday Ododo, Prof. Gbemi Remi Adeoti, Mrs Bridget Yerima, Larry Williams, Kabir Yusuf, Efe Eboigbe and Steve James had a keynoter, Head, Department of Theatre Arts, University of Maiduguri, Prof Sunday Ododo who spoke on The Performative Expression In A Conflict Environment. The interactive forum was not all about talks as there were drama performances by Crown Troupe of Nigeria, National Troupe of Nigeria (Ajoyo) and the Footprint of Africa.

    Prof Ododo said that troupe’s performative expression for conflict resolution and transformation must address the structural injustice and structural oppression that underlie people’s misery and powerlessness in Nigeria. He observed that underlining all these issues are the nagging questions of ethical decay, social injustice, inequality and false sense of nationalism. All these questions, he said, require urgent attention if contemporary Nigeria is to be reoriented with fair sense of socio-political relationships, distribution of national resources and reward system by all levels of government in Nigeria.

    He noted that beyond the present stakeholders’ forum, NTN should bring experts in theatre for development and conflict transformation to articulate for NTN a realistic and result-oriented blueprint of action. According to Prof. Ododo, performative expression for conflict resolution is not the conventional type the artistes of NTN are used to because it has its modus operandi. He added that workshops must be organised to train the artists who will act as change agents who must be motivated too and emboldened to key into their new role as change agents.

    “For effective result, constitute inter-professional facilitator teams consisting of artists and peace activists or conflict managers. Mixed teams of artists and peace activists offer a lot of potential for generating practices which emphasise reflective, relational and practical knowledge by employing artistic means in their contribution to conflict transformation/resolution.

    Conflict transformation provides a set of modes of conduct, tools and experience based knowledge on how to intervene in a conflict system to calm tensions and create trust and safety. For such inter-professional collaboration, it might be meaningful to conceptualise conflict transformation not simply as particular skills and techniques, but more as an “art of relationship-building”, which can be inserted into the artistic group process and production,” Prof. Ododo said.

    On the expected relationship between Nigerians and the troupe, he said that NTN in all her activities should keep faith with the Nigerians and should be careful not to become a propagandist agency for government. ‘Wherever the government is doing well, tell us; wherever they are failing, tell them; if they refuse to listen and change, tell us. NTN should also be run as a laboratory of artistic experimentation that should yield something new for the Nigerian theatre and indeed the world theatre,” he stressed.

    He also urged NTN to return to mobile open auditions for the recruitment of artists in order to boost confidence in its recruitment process. “It should maintain linkages with all theatre arts departments in Nigeria; engage staff students in training workshops, internship and also put in place a reward system for deserving student participant annually. Ditto too, for practitioners. NTN should begin to develop performances in Nigerian languages and through them connect with grassroots indigenous artistes. Creative workshops for children should also be developed to competitive level involving schools across the country in order to stimulate and explode the creative potentials of our children. This way, the scope of participation outside Lagos and those who can afford to register for the workshop would have been expanded,” he said.

    Prof. Ododo who lamented the pro-government programmes of NTN noted that until the NTN begin to package productions that genuinely interrogate the socio-political system, leadership and followership, national questions and integration, denied freedom and injustice in the country, and presented to the generality of Nigerians, NTN would be failing in her mandate to ‘ensure that productions of the Troupe are geared towards national aspirations’.

    Artistic Director, National Troupe of Nigeria, Mr Akin Adejuwon assured the gathering that his mission at the group is to reinvigorate and reposition the National Troupe for effective and efficient performing arts service delivery. “We shall intensify efforts aimed at popularising the rich cultural heritage of this great country through performances that are of high artistic standard. We are poised, even though we are often being stretched to the limits due to limited resources, to execute productions as and   when due. We are also to be theatrically responsive to pressing national and international issues and to provide a vibrant forum for citizens to brainstorm and re-generate topical issues on the performing arts.

    “To this effect, we intend to direct our products towards identifiable major clients, the Federal Government. As Ministries, Departments and Agencies), the private sector, and the general public;  an expansion of this dovetails into the key arm of the Federal Government, the Armed Forces.  The present security situation in the country brings the import of this arm of government to the fore.  We will represent this importance through our performative expressions and promote same. Interestingly, we have just been invited to perform at the Nigerian Armed Forces Remembrance Day Celebration 2014. I consider this performance by the National Troupe a unique one.

    Continuing, he said: “Apart from being the first foot forward within my vision of making the Troupe current and relevant in the Nigerian scheme of things, I see the performance which is billed to take place at the Aso Rock, Presidential Villa, Banquet Hall before a select audience of the President, his family and all the Service Chiefs, as a way of deploying “The Performative Expression in a Conflict Environment”, which instructively is the theme of the keynote speech at this stakeholders forum and the broad theme of the National Troupe’s activities for the season.

    “We will send out our performing troupes on national tours with educative and entertaining products for efficient governmental advocacy and information dissemination.  The aim is also to revive the foundational nucleus of the National Troupe, which is that of a travelling troupe. We intend to begin this revival project with a three-state tour scheduled for this month.”

    He disclosed that NTN would organise two festivals; the Domestic Festival of Performing Arts, and the Abuja International Festival of Performing Arts. The maiden edition of DOFEPA (Domestic Festival of Performing Arts), is planned for 2015 while subsequent editions will be rotated among the states. The Abuja International Festival of Performing Arts (AIFEPA) will have its first outing in Abuja in 2016. According to him, the National Troupe of Nigeria will also sustain the hosting of the Annual Public Lecture and Play Reading Series which has helped to bridge the gap between theatre practice and dialectics.

  • Mwalimu Ali Mazrui: A hero in the present tense

    Mwalimu Ali Mazrui: A hero in the present tense

    Ali Mazrui is really a huge tree that prominently occupies a huge forest of equally huge trees. When such trees are uprooted from the forest, it is a great loss beyond recompense. The Iroko isn’t just any tree; it has a definitive presence. Nelson Mandela just exited the African forest, and that absence troubled our collective conscience as a people; now we lament Mazrui just like we did when Chinua Achebe took a bow. Dare we raise a dirge? What does these departures portends for Africa? This may be a dilemma, but I call to mind a double consolation. In this regard, Henry Vaughan’s poem comes to mind:

    They are all gone into the world of light,

    And I alone sit lingering here;

    Their very memory is fair and bright,

    And my sad thoughts doth clear.

    Mazrui’s influence suffuses my intellectual and personal development as an individual. I am highly favoured to have encountered this great son of Africa, first as a student of politics, and later in discourse, not only in print but also in at least one personal correspondence. In the first place, I count him as one of my intellectual companions through the tough but enlightening maturation of my intellect. These were intellectual forebears who ensured that we didn’t travel alone through the Sisyphean struggles and existential realities of life and career. There are many others, too many to checklist. There were for me, the likes of Martin Luther of the Reformation who gave me in junior secondary the concept of reform as a tool for social reconstruction which defined as intellectual focus so early. Others would include in no particular order, Thomas More, Bertrand Russell, Albert Einstein, Karl Popper, Rudyard Kipling, T. S. Elliot, Mahatma Gandhi, John Kennedy, Abraham Lincoln, Winston Churchill, Napoleon Bonaparte, George Bernard Shaw, C. P. Snow, Nelson Mandela, Pandit Nehru, Nnamdi Azikiwe, Obafemi Awolowo, Ahmadu Bello, Thomas Paine, Cervantes, J. J. Rousseau, Francis Bacon, William Shakespeare, Wole Soyinka, Simeon Adebo, Claude Ake and so on.

    Prof Mazrui’s triple heritage thesis—as well as Peter Ekeh’s two publics – contributed immensely to my understanding of the convoluted dynamics of the postcolonial African society of which Nigeria is a critical manifestation. The severe dysfunctions of the Nigerian civil service, for instance, are a pointer to how the predicament of an unharnessed triple heritage constitutes a disservice to the progress of the Nigerian state. Thus, I am forced to keep revisiting the thesis over and over again in my position as an expert-insider. In my article ‘Ali Mazrui and the Challenge of Africa’s Triple Heritage,’ I raised fundamental questions arising from the incongruous mix of the three elements of our historical experience: First, why is it impossible for people, otherwise distinguished by ethnic, cultural and religious affiliations, to live peacefully together, in spite of the political motives that is the undercurrent of terrorism? If it is, in what sense then would that hope not be truncated by an absolute conception of faith that necessarily exclude the others from religious, and national, communion? What role does self-understanding play in our attempts to come to term with our differences and similarities? How does the knowledge of the Infinite moderate our conscience in the world where other consciences inhabit?

    It was therefore a huge surprise to me when I got an unexpected call from the sturdy Iroko himself to commend my little effort at making sense of our collective trouble. Who would have thought that Mwalimu Mazrui, of all people, would notice a Lilliputian me, of all people! I was totally dumbfounded by the admission that he had been following with interest my several narratives on the contributions of intellectual compatriots in Nigeria.

    Africa’s future is inextricably tied to its triple historical heritage. Our modern experience must take off from that fundamental core of diversity. For Africa, diversity isn’t just a slogan; it is a critical reality in terms of cultures, languages, and even colonial experiences. For that diversity to spice up our progressive development as a continent, for us to truly rise beyond our predicament, we urgently need to concoct our otherwise virulent diversity into a serious and aromatic recipe. This is essentially what Prof Mazrui dedicated his entire life and prodigious intellect to doing. Now, that definitive presence on the African and global political science and cultural studies firmament has departed. He fought a good fight of the intellect—he came, he saw and he thought. Prof Ali Al’amin Mazrui – professor, global intellectual, political analyst, and Africana scholar—didn’t just die; he lived!

    Our consolation over these mighty iconic figures is that we are permitted to continue speaking about them in the present tense. They still have a lot to say to Africa’s present predicament in death as much as they did in life. Nwalimu Mazrui was a prodigious scholar with an equally seminal intellect. And he dedicated everything to Africa; he dedicated everything to an understanding of how Africa can successfully convert its negative inheritance of socio-political and economic anomie to a positive capital of genuine liberation and development. In recent times, there has been a widespread and triumphal exaltation of Africa Rising, especially in terms of economic manifestations which, for the economists, translates into several positive macroeconomic signifiers which supposedly spell a better future for Africa. I wonder what Prof. Mazrui would have thought of ‘Africa Rising.’ I suspect, however, that he would have, on the one hand, been gratified that Africa is coming into reckoning after ages of subjugation and negative global press. But on the other hand, he would have rejected any form of superficial theorising that doesn’t see the wood for the trees. Thabo Mbeki once said that the twenty-first century is Africa’s century; Mazrui disagrees. Why isn’t this our best century in spite of growing and glowing macroeconomic achievements? A simple answer would be that we are still far off from a serious exploitation of Africa’s heritage. Africa has not yet transformed its triple heritage into a platform for continental distinctiveness. All our supposed achievements as a continent has been happening to us rather than as a result of our collective resolve.

    A starting point for a genuine liberation of Africa, from Mazrui’s perspective, would be a critical understanding of how this triple heritage past can speak to a modern African future free of ethnic jingoism, gender chauvinism, religious fundamentalism and economic subservience. Mazrui will definitely agree with the US writer, Gayatri Spivak, that ‘If only enlightenment is granted, freedom is almost sure to follow.’ Enlightenment in this context comes from an understanding of our triple heritage but more importantly, how that heritage can fashion an enlarged modern consciousness that could inform Africa’s postcolonial recovery and partnership.

    I know what Mazrui is talking about. Like him, I can equally be regarded as a ‘walking triple heritage.’ I grew up at a cultural juncture where the three critical elements of Euro-Christian, Islamic and indigenous cultural influences converged. The indigenous cultural space was a moderating influence garnered from its several values that encouraged love and hospitality.

    What is the significance of Mazrui in the present tense? We have an entire body of Mazruiana collections that essentially are a legacy to how Africans can begin to redefine themselves in a contemporary world of neoliberal globalisation when they have adequately liberated themselves from colonial and postcolonial mental blocks. Marcus Garvey once proclaimed that all emancipation is from within. Prof Mazrui has left us a legacy that insists that we look deep into our historical reality for the clues to our own liberation.

     

    •Dr Olaopa is a Permanent Secretary with the Federal Ministry of Communication Technology Abuja. Nigeria

     

  • Festival of talents, photos

    Festival of talents, photos

    Lovers of the arts trooped in numbers at the Escalator entrance, Eko Hotel and Suites, Lagos to view photography that explored historical and contemporary issues. The month-long celebration of African creativity and photography, LagosPhoto, featured artists and outdoor installations from around the continent. This year marks the fifth anniversary of the Lagos photography festival.

    With the theme, Staging Reality, Documenting Fiction, the festival was aimed to develop contemporary photography in Africa through mentorships and cross-cultural collaborations. It featured 40 photographers from 21 countries.

    It also featured contemporary photographers working in Africa, who negotiates the boundaries and relationships between photography, beliefs, and truths. Incorporating conceptual strategies that expand traditional photographic practice, many contemporary artists working on the continent move beyond the confines of the photojournalistic gaze.

    This year’s festival was a combination of perspectives and voices to celebrate and stimulate art debates on social issues. “As a photographer, every weekend, I am privileged to take photographs of weddings and they are most of the pictures that I am exhibiting. I am also trying to correct the perspective that Nigerians are poor. In one of the pictures, one could see a man who rented a Limousine and military personnel to protect him when he is not rich just to show off on his wedding day,” according to Jide Odukoya, whose collection was entitled Turn it up.

    On his part, Ilan Godfrey (South Africa), one of the winners of POPCAP 2014, an international competition for contemporary African photographers, was overwhelmed by the level of creativity that was on display from various artists across Africa. “Every work here stands out in its own individual way. That’s what the festival is all about,” he said.

    Also at the festival were three projects that explore vernacular photography in Africa, an exhibition of Nollywood/Bollywood images, the Out of Africa project which juxtaposes historical photographs from different eras, and the Studio Cameroon film screening and exhibition that examines the history of the popular photography studio, Photo Jeunesse. They were put together by LagosPhoto with the Archive of Modern Conflict, an independent publisher based in London.

    Molue Mobile Museum of Contemporary Art (MMMoCA), in partnership with Goethe-Institute, presented The Molue Mobile Museum of Contemporary Art developed by Emeka Udemba, which aimed at making contemporary art more accessible to the mainstream public through a moveable and transitory exhibition platform.

    The participating photographers were, Ade Adekola (Nigeria), Laurence Aëgerter (France), Leonce Raphael Agbodjelou (Benin), Genevieve Aken (Nigeria), Seun Akisanmi (Nigeria), Aisha Augie-Kuta (Nigeria), Ricardo Cases (Spain), Edson Chagas (Angola), Kudzanai Chiurai (Zimbabwe), Pierre-Christophe Gam (France/Cameroon), Angélica Dass (Brazil), Cristina de Middel (Spain), Delphine Fawundu (Sierra Leone/USA), Glenna Gordon (USA), Hassan Hajjaj (Morocco), Jacqueline Hassink (The Netherlands), Nicolas Henry (France), Jan Hoek (The Netherlands), Sam Hopkins (UK/Kenya), Namsa Leuba (Switzerland/Guinea) and Lowe Cape Town (South Africa).

  • How LIMCAF lifted mother of two

    How LIMCAF lifted mother of two

    MRS Omeje Ngozi Appolonsa  would not forget this year’s Life In My City Art Festival (LIMCAF) in a hurry. She was the last female contestant standing and winner of N500,000 cash prize.

    Throughout the final day of LIMCAF, which held at the Nike Lake Resort, Enugu, her eyes were fixed on the screen, watching which work would emerge winner. And suddenly, Placenta, her installation piece, came on screen, emerging the best overall work at the competition.

    The mother of two, who is also an art teacher at Nsukka, Enugu State, was full of thanks to God for the award. “God is faithful. I emerged runner up in 2011 and here I am the overall best winner. This year’s feat was the result of the constant push from my husband. The work was inspired by what I experienced during scanning while I was pregnant. What I saw in the scan was the beginning of my conception of the art work,” she recalled with ecstasy.

    Filled with joy, Omeje added: “They are doing good job because I am happy today and I think someone else will work hard so that he/she will win next time.” Her husband and the two children who were in the hall were not left out in the celebration as they rushed to the podium to hug the winner who was all in smile.

    The other winners included Brenda Emmanuel Chinonso (Best Painting/Mixed Media/drawing), Mgbeahuru Chiemela Peter (Best Photography/Multimedia/Video), Okonkwo Onyedika Peter (Best Graphics/Textile) who got 250,000 naira each.

    The grand finale of the festival attracted frontline arts patrons such as Nnaemeka Achebe, Agbogidi, the Obi of Onitsha and representative of Diamond Bank PLc, Monsieur Jacques Montourcy, representative of the French Ambassador to Nigeria, former Chairman, Union Bank Plc, Elder Kalu Uke Kalu and wife, founder of LIMCAF, Chief Robert Orji among others.

    Chairman of the occasion, Nnaemeka Achebe said it is heart- warming that the festival which debuted eight years ago is getting better every year and that it has extended to eleven states of the federation including Lagos. He noted that the foresight of the initiator is paying off adding that in contemporary time, Nigerian arts is asserting itself in the globe. “Particularly, in visual art, Nigeria is growing well with notable Nigerian artists as curators of world biennales. Basel biennale has George Edozie on its list and the theme is on Africa. We have a duty to appreciate what young artists and LIMCAF are doing. In 2000 years from now, people will remember that there was LIMCAF,” he added.

    Elder Kalu said that the festival has remained consistent till date since eight years ago means that the labour of ‘our sponsors and supporters these past years have not been in vain.’

    Nmazili said Diamond Bank is pleased to associate with the festival and Nigerian arts. “With proper supports, the artists can measure up with their peers in other parts of the globe,” she added.

    Leader of the five-man jury, Dr Kunle Filani stated that LIMCAF has become the most consistent, the most encompassing and perhaps the most expressive art organisation in Nigeria. “LIMCAF promotes artistic creativity and professionalism among young and burgeoning Nigerian artists. It develops conceptual articulation of the contestants and sensitizes them to generate artistic images that resonates the physical, social and political ambience of their environment. The legacy of LIMCAF Board of Trustees, the organising committee and the various committed sponsors is forever immeasurable,” he noted.  Other members of the jury were Dr. George Odoh, Dr Helen Uhunmwagho, Jacques Montourcy and Dr Ken Okoli.

    The jury’s time-tested assessment criteria include formal qualities, thematic interpretation, conceptual depth and material/ technical proficiency. According to the jury, it is quite rewarding to observe the good quality and high standard of the selected 113 artworks ranging from drawings, paintings, ceramics, graphics, sculptures, textiles, mixed media, photography and new-media such as video.

    “The creativity of the younger generation of Nigerian artists has been tested, and again, they have demonstrated they are capable of robust conceptualisation, novel material transmutation and unique and modern stylistic tendencies.

    Difficult as it was to finally select the overall winner due to the numerous outstanding works presented by the artists, a consensus was however reached by the jurors. This was based on the formal virtuosity, conceptual superiority and the possession of consummate skills by the artist who produced the masterly piece.

    “In the hands of this artist, ordinary materials were succinctly and technically manipulated to conjure images of memorable visage. Thematic articulation coupled with formal supremacy of the artist generates infinite illusions in the eyes of the viewers. The art piece is delicate but has a compelling inclusiveness of the audience. The jury is convinced that the artist is indeed outstanding. The winners of other prizes equally displayed in depth creative possibilities with their entries,” the jury said.

    Coordinator of the CLAM workshop and France-based Nigerian artist, Mr Andy Amadi Okoroafor said he decided to be part of the festival because it was time to give back to his roots as he has been working around the globe for long.  “I have done so much outside. If I change one person at home, I will be fulfilled. The workshop is top share knowledge, inspire and create platform for LIMCAF to expand its scope. And part of my duties will include to create an on-line magazine for the festival as well as to make impact in Enugu in area of arts.” Okoroafor said.

    The grand finale was not all about speeches and awards as African Voices led by Vincent Odo, Sopolu and his guitar thrilled the guests to exciting performances. The festival also featured CLAM workshop/exhibition, Photo Africa exhibition held at the Alliance Franciase and National Gallery of Art, Enugu.

    Others winners were Ezennia Onyinye M. (Justice Aniagolu Prize for Originality), Afegbua Ibrahim (CCA Lagos Prize for Best Lagos Entry), Essang Etim Effiong (Mfon Usoro Prize for the Best Entry Uyo/Calabar Entry), Candidus Onyishi (Enugu State Council for Art and Culture Prize) got one hundred thousand naira each while Onadipe Olumide Luke (Art Is Everywhere Prize) and Ideyi Nzubechi (Vin Martin Ilo Prize for the Best Enugu Entry) won fifty thousand naira each. Fifteen others were given consolation prizes of twenty thousand naira each.

  • ‘Acting is my dream’

    ‘Acting is my dream’

    Temitayo Fadunsin’s name may not ring a bell among top Nollywood movie stars. But, she is a regular face among the Yoruba actors, having acted alongside artistes such as Iya Rainbow, Sola Sobowale, Ayo Badmus and Lere Paimo. The actress, producer and make-up artist is working on her new movie, Asabi Alakada, due for release soon. She speaks with Assistant Editor (Arts) OZOLUA UHAKHEME on her passion for acting, her love for stage drama and challenges of producing her new movie, among other issues. 

    TWELVE years ago, Temitayo Fadunsin encountered Ayo Badmus, a renowned Yoruba actor. That encounter became the turning point in her acting career. Until that encounter in 2002, young Fadunsin had featured in many drama performances at school and at the Methodist Church, Odi-Olowo, in Lagos. She grew up as a little girl with strong passion for drama, which was also influenced by her love for one of Nigeria’s renowned actresses, Idowu Philips aka Iya Rainbow. Apart from acting, she is also into make-up, head gear tying, among others.

    Fadunsin, who studied Business Administration at the Lagos State Polytechnic, Lagos, cut her teeth in acting career during her stint with Amao Ajiboye (Big Abbas) where she learnt the rudiments of acting and make-up.  Recalling her journey into the acting world, she said: “In fact, Ayo Badmus brought me into acting in 2002. I have a strong passion for acting and it is my dream. So, meeting Ayo Badmus was like a dream come true. And when I told him I have interest in acting, he handed me over to Alaran another notable Yoruba actor. I later went to Big Abbas where I learnt acting and make-up. That was in 2008. Muftau Oladokun (Alaran) taught me acting for 4 years and during which I featured in Eleko Orun Npolowo by……” she said.

    Despite her interest in movie, Fadunsin’s heart is on the stage because professionally, ‘the stage real platform where acting is rooted and nurtured.’ According to her, the big plus for movie (Nollywood) is that it gives the artistes a window to be known and become popular because of the mass audience appeal.

    She also acted in Sisi Nurse produced by Queen Aford, and Abegbepe produced by Olufunmilayo Omiyinka, Peju Ijaya produced by Bola…..

    In 2003, Fadunsin produced her first movie Okunrin O jebi marketed by Alleluya Ventures. The movie featured known stars such as Lere Paimo, Sola Sobowale, Yemi Solade, Iya Rainbow, Ogun Majek (Mr. Lecturer), Ayo Badmus among others.

    Her new movie, Asabi Alakada, is about a young girl who has nothing but pretends to be a big girl. She is not only arrogant but a liar and she ended up having nothing to show for all the fake life. Among lead actors are Liad Bakare, Funjke Eti, Ayo Badmus, Tayo Durojaiye, Fausat Balogun, and Saheed Osupa, the fuji musician.

    On the challenges faced while producing the new movie, she said: “I experienced lots of challenges producing the new movie unlike the first one. Location choice and supports were among the challenges I faced. But thank God all that have passed and the movie will be ready for release soon.”