The Nation Newspaper

Category: Arts & Life

  • Oyeleye Oyediran and the struggle for democracy and good governance

    Although it had been published as far back as 2004 by Ibadan University Press, it was only recently that I came across the seminal collection of essays on diverse aspects of Nigeria’s politics, society and economy titled ‘Nigeria’s Struggle For Democracy and Good Governance’, edited by Professors Adigun Agbaje, Larry Diamond and Ebere Onwudiwe’. This 470 page festschrift in honour of the eminent Nigerian political scientist, Professor Oyeleye Oyediran, is a testament to the high esteem in which he is held by his intellectual colleagues both for his immense contributions to scholarship as well as the political development of the country at the practical level through his participation at different times of Nigeria’s constitutional and institutional re-engineering processes.

    Among the eminent scholars whose contributions constitute the 26 chapters of this book include Richard Sklar, Peter Ekeh, Ritimi Suberu, Julius Ihonvbere, Darren Kew, Ebenezer Obadare, Adewale Adebanwi, Adele Jinadu, Kayode Soremekun, Adebayo Williams, Cyril Obi, SojiAkinrinmade and Aderemi Ajibewa. Bringing to bear their deep learning and unique insights in their various spheres of specialization, these scholars ruminate in the various chapters on such issues as the foundations of federal government in Nigeria, minorities and the evolution of federalism, the politics of revenue allocation, civil society and democracy, the military and democratisation, political parties and elections, democracy and violence, governance and the development crisis, gender politics and international dimensions of politics and governance in Nigeria. In his examination of the role of ethnic minorities and the evolution of federalism in Nigeria, Professor Peter Ekeh, deplore the perpetuation of a multiplicity of 36 tiny and ineffectual states as an enduring legacy of military rule that continues to haunt the country. According to him, “This design of Nigerian governments appeared deliberately orchestrated by Nigeria’s military rulers to ensure the supremacy of Nigeria’s central government”. The discontent arising from the perceived deficiencies and injustices of this structure, he says, fuelled a resurgence of ethno-regionalism and agitations for the resuscitation of a six-regional federal structure patterned substantially after the first republic. Professor Ekeh rightly notes that the separatist sentiment has been most vehement in the Niger Delta, has felt the most alienated of the ethnic minorities because of the mindless exploitation of its oil and the extensive destruction of its environment.

    It is, however, ironical that the ascendancy to the country’s apex of political power by a Niger Delta Ijaw indigene, Dr Goodluck Jonathan, no concrete step has been taken under his leadership to either restructure the country in favour of the ethnic minorities or indeed meaningfully address the problem of the socio-economic exploitation and marginalisation of the region.  Afer an exhaustive examination of the trajectory and travails of federalism in Nigeria, Nuhu U. Yaqub in chapter four advocates the restructuring of the 36 state structure into a six state or regional structure based on the existing zones. In his words “Agreed that certain vested interests are going to be hurt by the proposed arrangement but we may be having a much more viable and a highly ideal federal structure, which, if existed in the First Republic, would have hardly warranted the creation of the current parodies called states”.

    But is a return to a regional governance structure in the image of the First Republic a realistic response to the perceived structural deformities of the Nigerian federation? Professor Richard Sklar in the very first chapter of the book does not think so. He reviews the various attempts in the practice of federalism in Nigeria “to reconcile the claim of each nationality to its place in the constitutional sun with the practical necessity of having a reasonable number of viable states as constituent units of the federation”. In his view, “The lessons of Nigerian political history teach that political regionalism is not compatible with the empowerment of a multiplicity of politicized ethnic groups. Once regions are established and endowed with political power, ethnic interests are articulated by the leaders of large ethnic groups. Smaller ethnic groups then look to the centre for protection against their overbearing neighbours within the region”. In the final analysis, therefore, the constitutional formalisation of regional governance may only end up strengthening the pull of centralisation.

    In chapter three, Professor Rotimi Suberu exhaustively examines the various stresses and challenges of revenue allocation in Nigeria particularly in this fourth republic and proposes strategies to address identified problems. Two of his innovative suggestions to strengthen Nigeria’s fiscal federalism are to enhance the prominence of Internally Generated Revenue as a criterion for revenue allocation as a way of encouraging component states to tap and develop local revenue sources as well to limit the salaries and emoluments of politicians and civil servants with the exception of teachers to the Internally Generated Revenue of the various states. Suberu also advocates making the submission of audited financial accounts of all levels of government a precondition for the release of fresh funds to them. This latter suggestion may, however, unwittingly strengthen the federal government to the detriment of the other levels of government unless Suberu’s other recommendations to enhance the autonomy of the Federation Account are implemented.

    Professor Larry Diamond in another key chapter of the book dilates on how to build a system of comprehensive accountability – horizontal, vertical and external –to control corruption and promote good governance. His fundamental premise is that “the deepest root cause of development failure is not a lack of resources or international isolation. Rather, it is a lack of good governance – the inability or unwillingness to apply public resources effectively to generate public goods”. For Professor Julius Ihonvbere in his rumination on constitutionalism and the national question, the resolution of the political question is a necessary condition for the attainment of peace, progress, growth, development and democracy in Nigeria. He advocates radical political restructuring predicated on the active involvement of non-elite groups in the process of evolving a new, people-oriented and inclusive constitution to help reduce conflicts and pressures on the state, its institutions and custodians.

    It is the central contention of Professor Adebayo Williams in one of the most exhilarating contributions to the book, ‘The Radiance of the Uncaptured Scholar’ that “the signal importance of Oyediran for a democratic Nigeria does not lie in earth-shaking theories or a paradigmatic leap of insight but in his sturdy determination to evade capture by the Nigerian military state unlike many of his equally distinguished colleagues and professional peers”. He was referring to Professor Oyediran’s initial participation in Babangida’s convoluted political engineering project but resolute and risky disengagement from the project when he discovered it was an elaborate farce. And Professor Adele Jinadu offers his interrogation of various dimensions of ‘The Identity of African Political Science’ as a testimonial “to Oyeleye Oyediran’s life-long interest not only in the development of Political Science in Africa but also its relevance to democracy and development in Africa” as attested to by “his persistent advocacy on the point that the association and Nigerian political scientists must uphold the canons of scholarship, insist on standards and play a vanguardist role in advancing democracy and development in Africa”. This book is a veritable goldmine of information and refreshing interpretations of various aspects of the politics of constitutionalism, governance and development in post-colonial Nigeria.

  • Omenka hosts Power and powers

    Omenka Gallery Lagos will hold Power and Powers, an exhibition of recent photographs by leading contemporary Nigerian artist, Uche James-Iroha on Saturday. Supported by Nikon, the exhibition calls for a self-examination and invites the audience to an introspective of 54 years of epileptic power supply in Nigeria.

    According to the artist, “These are images that explore the dark and unprogressive romance between political power and electrical power distribution in Nigeria. By far the most populous nation in the continent with vast human and material resources and enormous potential, electricity is still a big issue. Marred by erratic power supply, the nation is caught in the web of deceit where political office seekers clearly use the promise of ‘light’ as the most effective bait. It is interesting to know that tons of white elephant projects which include a cashless economic system and automated rail transport, are in the works gulping mammoth budgets and will all depend on an efficient electrical supply system.”

    “The works are largely a critique of a corrupt leadership that proffers cosmetic solutions to the persistent issue of electric power supply and serve as a springboard for confronting issues that continue to face Nigerians today. Perhaps, no singular contemporary Nigerian artist has created a singular body of work that mounts a sustained challenge on such an important issue,” says curator of the exhibition and Director of Omenka Gallery, Oliver Enwonwu. The exhibition will run till 22.

  • UNILAG Creative Arts Dept hosts workshop

    The Department of Creative Arts of the University of Lagos, in collaboration with Omooba Yemisi Adedoyin Shilon Arts Foundation, has organised an entrepreneur workshop to encourage youths to sharpen their skills.

    According to the coordinator of the workshop, Akinwale Onipede, the forum should be seen as a great opportunity for participants to interact with professionals in their fields of learning.

    He said the workshop was to impact knowledge and to prepare the participant on how to be self-employed and believe in themselves that they can become employer of labour instead of looking for jobs.

    Onipede said: “At the end of this exercise, participants will be productive to the economy and will also put Nigeria on the better pedestral.

    Also, a lecturer at the Department of Creative Arts, Ogunwo Bolaji, said “the workshop is the third edition of its kind which is aimed at improving capacity of artists to enhance their in-built talent rather than waiting for white collar jobs before getting foods on their table.

    “One’s palm can never, in life deceive, one if every other thing does.”

    He further advised the participants “to be good ambassadors after the training and be ready to add value to the country with the skills acquired from the workshop. They should also make good impact on others.

    One of the participants, Folami Raski praised the organisers for making valuable impacts on the youth.

    He added that ‘’Being a partaker is a great opportunity for me to excel in my hand work and to  be more creative in my  field of learning,and inother to  impact to other peoples life.

  • Heralding new Abuja Carnival

    Heralding new Abuja Carnival

    For some time now, the tempo and fun surrounding the yearly Abuja Carnival have been low.  But in order to re-infuse life into the Carnival, the federal government has just appointed Mr. Biodun Abe, a stage design expert whose love for artistic aesthetics is never in question as the Director of the Abuja Carnival.  In this encounter with Edozie Udeze, he bares his mind on how to run a carnival that is all-encompassing where aesthetics, guerilla theatre, street jams, and decorations and more, will be involved.  Excerpts.

    In the past few years, the Abuja Carnival event had been a bit in the doldrums. Owing to the lacklustre organization and some other fundamental issues, many people, particularly Abuja residents, had come to see the event as lacking in glamour, style and colour. Abuja carnival was started about ten years ago to give the nation’s capital an opportunity to enjoy such a festival for relaxation and fun.

    A few weeks ago, the federal government announced the appointment of Mr. Biodun Abe of the National Theatre, Lagos, as the new director of the Abuja Carnival. It is part of the attempt to make the carnival come alive once again.  And Abe, a renowned stage designer and director who has produced several stage designs and plays both locally and internationally says in this encounter that he is ever ready to re-ignite the flame of the carnival and make it a must watch by both the low and the high. “It is time for us to make Abuja people and other visitors to the city to fully participate in the carnival. It is their carnival. It is a carnival to make everybody unwind, loosen up and be in the best mood for relaxation”.

    With the theme as Building an Enduring Creative Nation, he said: This is time for hard work, more work to make sure that I do not disappoint the people who reposed the confidence in me by appointing me. It is also time to work to keep the people in the industry attuned to the issues of the carnival. About the content of the carnival as it is now, I am cool with it. It is the execution, the pre-carnival events and so on that needs to be changed. For the carnival of that stature to make a lot of impact, there must be emphasis on the pre-carnival events. The people need to be sensitised. You should not turn the people that own the carnival to mere spectators. The people have to be partakers in the big event called Abuja Carnival. And when we do so, we refer to the indigenes, the people who are living in Abuja. These people must be given a sense of belonging; let them be part of it”.

    By this, however, Abe intends to engage the six satellite areas of Abuja to fully be conscious of their roles in the event. He said, ‘Yes these areas include, Nyanya, Gwagwalada, and others. From there, we will start the campaign from the grassroots. Three weeks to the event proper, we will hoist and install big balloons that hold the images of the people, showing the mood of the people to be in the carnival. The title here will be the last time you saw a carnival. With glistening light that can show at night, and then during the day, it will keep reminding the people that the carnival is here to stay. This balloon is about 18feet tall hovering over the city, with different colours of the rainbow. This will of course form a mini-carnival on its own.”

    Hoping to use this as a formidable platform to engage most of the stakeholders in the industry to be at their best for the purpose of the carnival, Abe explained thus: “Everybody will be totally involved so that they will continue to talk about it like people still talk about Festac ’77. To hoist the balloon, I intend to engage artistes that can work in a guerrilla performance; that is street theatre to also attract attention. Thus, there have to be certain scenarios that have to do with a festival. They will wear gorgeous costumes and while they are doing this, they are telling the story. This will be more noticed in those areas peopled by visitors and residents who hardly mix with others. The awareness has to be total and effusive. There will be stickers in conformity with the carnival that will also be in place. This will be distributed alongside the street performances. Both private cars, buses and passers-by will be given these stickers”.

    By also engaging transporters like the interstate big buses, the carnival planners hope to spread the awareness to more rural places. “The campaign will include Ifesinachi and the rest of them. We want to make them also show interest due to the number of people they bring into the city. I intend to hold a meeting with them next week to fine tune modalities for this. We will brand their vehicles with big posters and stickers for the carnival. Even the six local government councils of Abuja must be part of this initial preparation because the local people have also a role to play. I will have some colourful posters pasted at the council offices announcing the carnival. This has to be at the entrance of each council so that people will see it easily. This will also encourage the workers to be fully involved in the whole exercise”.

    For Abe who loves aestheties and uses colourful materials to improvise most often, this is the appropriate time to bring this to total fruition. “Arts, to me, thrive on aesthetics. And for me what does this mean? You cannot take away light, you cannot take away the effect of light. Two weeks to the event, I will be able to extend my scratchers in Abuja to let people know that something very special is about to happen. Two, I will have a street gallery that shows popular roads and streets in Abuja where you can get images, framed images, wrapped in beautiful colours and these will glitter from time to time. But there will be light at night too. This will be an unparalleled aesthetic appeal. All these images will have a footnote of Abuja Carnival 2014”.

    Because all aspects of the arts will be engaged in this, the plastic artists have their own roles to play. This is so in order to ensure that no one is left out. “Yes, it is one big market and therefore they have to be involved in it. The plastic artists will have the theme to explore, put people in visual form to be able to see and view the carnival on canvass. They have to create designs and pictures out of the theme. There’s going to be an artists’ village where they will converge for people to come and view what they have. This is referred to as a stationery gallery. At the end of the day the artists will sell and people will still go back there much later to buy more works”.

    Also in all these, all the film houses in and around Abuja will be engaged. Abe insists that this will help to encourage artisans to be in the show. “For sure, I will engage all the film houses, art institutions and all to be able to collate all the films running within the time to be shown from time to time. We will encourage them to announce these also in our event programme. This will help people who would like to go to cinema to watch the films to do so. This is also to make it a show of varieties. From the cinema, you can come and be part of the musical jam. This will run into the early morning, where different musicians and the rest of them are expected to perform. In addition, the Abuja Cultural Centre will have plenty of live theatre running to hold the interest of those who love such. All the days of the carnival, the live theatre of different kinds will be on stage”.

    Other usual events of the carnival like the regatta, the children carnival, the durbar and others will be in place. However, the street will be shortened in such a way that they will be heavily manned and decorated in varieties of colours. The float tolls have to change to include the usage of bicycles, motor bikes and keke napep to decorate them to suit the tastes of visitors. Abe said, “All these will help us to have different concepts. We need to move away from the old routine to give modernity and varieties to the concept of floats. While people wait at the Eagle Square, they will feel good doing so, because the variety of floats will give joy to their hearts”.

    He intends also to engage the less-privileged and the cripples whom he says will be expected to perform with their rollers. “when I get to Abuja, I will talk to them.

    You have to give them some costume that doesn’t cost much for them to come and do their stunt.  They will use this to welcome people to the Eagle Square in their own special way of doing so.  Also, I don’t feel good when you ask a taxi driver to take you to the Eagle Square and he’d ask you what are they doing there?  That is not proper; everyone within Abuja has to feel the mood of the festival and try to be part of it.  Thereafter, we will have a forum where we will analyse how we fared.  This has to happen after the carnival so that we’d know how much of what we intended to do that we achieved.”

    Then after that, the team hopes to concentrate on how to improve in the marketing aspects of the carnival so that the next edition will come out better.  In terms of security, Abe agrees that those responsible for that are also getting fully prepared to secure the venue and the people who are going to be part of it.  “I know the necessary things are being done for us to have a carnival where we will not have issues,” he said.

    For now, Abe was not sure how many foreign countries that would be participating in the carnival but was quick to add that as usual those who have been part of the show in the past editions are likely to honour the invitation once more this year.  “Now that we know that Nigeria is free and safe, I hope a bigger number of countries participating.  But as at now, I can’t categorically name names or say the exact number that will be coming.  It is the content that I am so bothered about; in that area I want to make a whole lot of difference.  I want to deliver a carnival that is unparalleled with aesthetics experience that has never been seen or witness before.  Abuja is the biggest carnival in this part of the world and what we intend to do is to make it much more bigger and appealing to the people.  And by His grace, we will have the best carnival that everybody will be proud of.

    In the area of masquerades which have over the years drawn the attention of guests to the Eagle Square, Abe said, “yes, we will make them more dynamic this time around.  Instead of mere parade, they will be made to perform, to thrill the people.  Those antics of traditional masquerades have to be displayed so that people will have value for what they’ve come to watch.  In this case, we will have to work with the handlers of the masquerades before the day of their outing in order to fine-tune all these areas.  They have to be dramatic and aesthetically involved in whatever they do.

    Abuja Carnival therefore is bound to draw people from all over the world as a vital tool for tourism.  The number of people who troop into Abuja every November to watch the carnival, to participate in it, the food sellers who come from all over the federation to hawk, to sell and make money, all add value to the carnival.  In all, we’ll ensure that this glow and tempo are raised from this edition onwards,” he proffered.

    This year’s carnival is expected to begin on November 24th and end on 28th at the Eagle Square, Abuja.

  • Making them relevant

    Making them relevant

    Title: The Missing Daughters
    Author: Orubebe, G.E.
    Publisher: Grace Springs Africa Publishers, Lagos
    No of Pages: 285
    Reviewer: Chijioke Uwasomba

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

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

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

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

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

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

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

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

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

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

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

     

     

  • Owo celebrates Igogo festival

    Owo celebrates Igogo festival

    The annual Igogo Festival was celebrated in a low key due to the Ebola disease, Taiwo Abiodun was there 

    It was a royal dance by the Owo monarch, Oba David Folagbade Olateru Olagbegi. Yet, there was no drumming except the clanging of iron metals. Decked in full traditional attire – customised beaded ewu okun woven cloth atop a big skirt – with four white feathers (urere okin,) attached to his hair, Oba Olagbegi stepped out elegantly  from his palace with a smile and danced to Oja Oba Market.

    The monarch was accompanied by the retinue of chiefs  and well wishers, who showered praises and panegyrics on him.When the monarch would lead a song  his followers would go into frenzy and sing in chorus. All the  chiefs   would hail him,  saying ‘Ologho Baba o! Orisa ma dimi s’Ologho,  tu wa pe ghin waaa!.’ (Long live our monarch! ) .

    The event was the annual Igogo Festival held recently at Owo, Ondo State.

    This year’s festival was celebrated in a low key following the outbreak of Ebola disease.   While some of the chiefs celebrated the festival at home and exchanged pleasantries and gifts others danced round the town.

    The annual Igogo festival which showcased the culture and tradition of Owo means different things to different people. Some call it  festival of love, others  call it the Queen’s festival, while a few others call it festival of unity. It is a only unifying festival that brings men and women together irrespective of their differences and political affiliations. it is over 500 years old.

    Owo was agog as old and young, males and females set aside their political differences to dance round the town exchanging greetings and gifts with one another. Children, youths and elders were all ‘armed’ with long sticks painted in different colours. The sticks were used to replace leather drums as they were hitting them on the ground to produce sound in replacement of drums (drumming is forbidden during this period) and singing all kinds of songs.

    The male chiefs who were also participants could  be mistaken for women because of the false breasts padded with foams and the earrings dangling from their ears. As part of the festival, they are compelled to dress like women, wearing blouses, skirts, earrings, necklaces and brassieres. Not only that, they either plait their hair or braid them or wear wigs on their bald heads!

    The festival which started over 500 years ago during the reign of Oba Rengenjen, who unknowingly married a beautiful woman, Oronsen, who  possessed supernatural power. According to history, the monarch fell in love with the strange woman and kept her in the palace. He was so much in love with her that other wives became jealous of their love. However, Oronsen , was said to have made the monarch wealthy by using her supernatural power.

    This brought prosperity and popularity to the town . Later, out of envy, other wives, however, became more jealous and were in search of how to cause disaffection between the two lovebirds. Her taboo was that okra should never be mixed in her presence, nor firewood be thrown, and no water should be splashed before her. All these taboos were kept under wraps by the monarch while he warned his household never to try any of these.

    The story went on that, until one day when one of the wives got the husband drunk and was made to divulge the secret. One day, the monarch went out on an for hunting expedition while the other wives conspired against the wife and broke the taboos: they splashed water on the ground, threw firewood and mixed okra in her presence. The woman, sensing danger, and having discovered their conspiracy, fled the palace and ran for cover in a thick forest!

    But when the monarch returned and was briefed about what had happened  in his absence, he  grew annoyed. He made frantic effort to bring her back and therefore, instructed the palace guards known as the Iloros, Ayoyos to trace her out. Alas, it was only her headgear  that was discovered along the Ulaja groove. This material was brought back home with long canes to discipline the other wives who perpetrated this ignoble act.

    Several efforts were made to locate her but all to no avail. But her voice was always heard weeping for losing such a lovely husband. Her crying was heard but she was never seen. In return for her love, she instructed the monarch to be celebrating her every year to get the town to progress.

    During the Igogo Festival, there should be no booming of guns, men and women must not wear caps and headgears, while no drums should be beaten. Wooden sticks and iron metal gongs are used in place of drums, while different songs are sung during this occasion.

    High Chief Ola Osenenpen, who also dressed in woman’s clothes  said: “Nobody should miss the festival, it is a sign of showing love and honouring the king who is the chief celebrator at the festival. I am about 71years old  and since I became a chief 27years ago, I have never missed the festival”. On the costs implication, Osenenpen said it cost him much, “I bought drinks and food for my visitors. In fact, I spent money  with full happiness. This is our own festival.”

    Chief Christianah   Fehintola  Famuagun,93 the Obanuwa of Owo described the festival as a huge success despite the fact that she is too old and cannot go out again. She said that because of her  old age  coupled with Ebola warning she could not go out to join the dance but observed it from her home. The septuagenarian in spite of her inability to walk, dressed in her own regalia decorated with beads. According to her, she has never missed the festival  for the past 50 years   since her enthronement.

    She said: “Both the celebrators and well wishers from outside the town were  not many , they said it was because of Ebola , I observed my Igogo at home.The festival is important  and has to be observed, this is my 53 years I have been celebrating  it and I have vowed that it must be done. I am among the oldest chiefs  that partake in this festival”

    During an interview, contrary to rumours the monarch denied ever trying to abolish the festival saying ‘Igogo  Festival is part of our culture and it is our festival’ he added and that there is thechief priest, Chief Adelanke Ajana who oversees the rites and rituals.

    He continued “The federal and state governments through the chiefs of staff  advised us that we should be careful  in bringing  in foreigners because of the Ebola disease. So, they advised  us to restrain from bringing outsiders    so as  not to cause any problem. What that means is that if the festival has to take place it has to be  low key  and people cooperated. We kept to the advise, people did not troop out  enmase”.

    On the rituals and rites, the monarch said: “We did everything we were supposed to do for the festival. You can ask the  town’s chief priest, Chief Adelanke Ajana who is in charge. I don’t perform rites it’s the chief priests that will do it , but I have to be there when they are praying”

    Senator Remi Okunrinboye described the festival as  a celebration of love and womanhood. “You can see  the coming together of  sons and daughters of Owo. It has been there over hundreds of years , we are happy to celebrate it.”

  • Charting new path for Nigeria at 100

    Charting new path for Nigeria at 100

    This year’s edition of the Port Harcourt Book Festival focused on the youth as a vehicle of possibilities for Nigeria. It was a festival of books that sparked up debates over the role of the government, society and youths in building a Nigeria of possibilities at 100. Senior Correspondent EVELYN OSAGIE reports.

    What bothered most of the participants at the seventh edition of the Port Harcourt Book Festival, was how to harness the rare potential of Nigeria after its 100 years of existence.

    The week-long event held at a time when there were lots of political activities going on, which attracted thousands across the state. While some governorship aspirants were kick-starting their campaigns, Governor Rotimi Chibuike Amaechi was marking the seventh anniversary of the Supreme Court judgment that brought him to power. Interestingly, whatever the occasion, youths formed the largest population of the army of supporters – they were often seen chanting diverse songs and screaming their hearts out.

    The role and participation of the young ones at such events and the need for a reorientation formed the major part of the discourses at the book festival. The constant conscription of unemployed youths by politicians for such “campaigns” also raised fears in some quarters about the future of the youth and the nation, if such trends were not checked.

    Stakeholders at the annual fiesta, therefore, looked beyond the current economic and security challenges bedevilling the country, and called for courage and hope for a better Nigeria through the empowerment of the youth.

    Held at the Hotel Presidential, Port Harcourt, the gathering of intellectuals, government officials, literary enthusiasts, captains of industries and students turned out to be a haven of Possibilities for Nigeria at 100, justifying the theme of the week-long festival.

    The organisers, Rainbow Book Club (RBC), in collaboration with the Rivers State government, must have achieved their goal of using books to unite the world, especially at a time when Port Harcourt was adjudged by the United Nations Educational, Scientific and Cultural Organisation (UNESCO), as the 2014 World Book Capital.

    The programme, which began on Monday, October 20 through Saturday, October 25, was full of activities in which the youth were given the opportunity to express their minds on how they feel the world could be best-managed.

    Addressing the guests, including writers from various parts of the world, the Festival Director, Koko Kalango, who was also one of the recipients of the recent national honours from President Goodluck Jonathan, said the festival formed a crucial part in the move to build a new and better Nigeria. Her organisation, Kalango noted, has also established 200 reading clubs across the state to promote the reading culture among the young, which, she said, has the power to change thoughts and character of the young.

    She said: “The youths are key in this conversation hence our festival this year is aimed at the youth. Using the book as a focal point for discussion, we would look at the key pillars of national life and how we may, through them, work at transforming the society. As we journey from one century to another, in our national life, we have an opportunity to reflect on our past and explore the opportunities before us that can enable us build the Nigeria of our dreams.”

    In his keynote entitled: Possibilities for Nigeria at 100: Youths as Underdogs and Misfits, the Bishop of Catholic Diocese of Sokoto, Matthew Hassan Kukah, charged Nigerian youths to be more articulate with strong will to become an agent of change, at least for the coming century. Kukah said Nigeria has been wracked by internal wars and that the society needs to find a way to wean its youths from the agony and consequences of the war, advising that they focus on other areas of educational pursuit as opposed to seeking  monetary gains in their endeavours. While lamenting that Nigerian youths appear not to be ready to take the leadership role, having allowed   money bags to corrupt her natural edifice, the cleric, therefore, charged the youths not to stand and look but to get busy.

    “Confronting the Goliath of corruption and inefficiency and gross mismanagement of resources that has rendered our country what it is today should be our battle. The problems may look like a mountain and of course, it is tempting to say that we cannot do anything…Are you looking for weapon called money or power? Look no further. David had only a stone. He did not wait for the politicians and the men and women of power of his time to save his people. The time to act for a better tomorrow is now and the generation to ensure a greater tomorrow is here. If we are to change tomorrow, we must slay the Goliath of injustice and corruption that has held us down.”

    He also lamented on the sad penetration of fraud in the domestic vocabulary of Nigeria, blaming the nation for laying a legacy of corruptible values and disdained educational policies for her youths, saying: “Sadly, with no strict regulations over conduct by teachers in our secondary schools and universities, young female students have been reduced to victims to be preyed upon.”

    “Youths are prepared to form gangs, become thugs as they angle for positions of advantage and access. Youths can only access politics by way of patronage and through the institutional process of transaction. They serve as consorts to the high and mighty, they are conference materials shipped around cities and foreign capitals; they are trafficked and rented for parties and so on,” he said.

    The seasoned author implored the youth to be more involved in legitimate business and activities of governance from the grassroots, advising the youth to challenge the corrupt leaders so as to win back the glory of the country through needful protest, saying there is value in protest and in saying no.

    “Jesus was angry with the money changers in the temple and he flogged them and overtuned their table. It is one of the rarest expressions of violence by our Lord.  Anger is not necessarily a negative outlet if it energises us to moral revulsion. Why are the youth no longer angry in Nigeria? The American youth were angry about Vietnam. They took to the streets in revolt. The youth in China were angry in their society and they took over Tiananmen Square. Do we not remember the picture of the young man facing the armoured tanks in Tiananmen Square? We are young only once, but it must be a matter of great concern that the youth of Nigeria have, at an early age become caught up in consuming the position of corruption and greed that their parents never tasted at their own age,” he said.

    The cleric condemned the mutual relationship between today’s student union leaders and those in government, an act he considered as betrayal to the constitutional content of their services to establish the gospel of truth and justice. He called for the need to channel youth frustration into a more productive means of engaging government across the board.

    He noted that the universities in Nigeria have been tribalised to the extent that community fights against the appointment of vice chancellor that is not from their tribe.

    “It is little wonder that we now only have NANS’ marches in solidarity with the government as opposed to marches against the oppression of students, joblessness, social conditions or even Boko Haram. The students are looking for a politician to adopt them as thugs or to use the expression, Youth Leader.”

    The cleric queried the rationale behind the extinction of history in today’s secondary school curricular, saying Nigeria is preparing to face the risk of losing its cherished monument if care is not taken.

    He also affirmed that most Nigerian children cannot trace their origin, the issue, he stressed, could jeopardise the hope of communal relationship in the nearest future.

    He observed that an average Nigerian abroad has perhaps lost the totality of knowledge of her culture and values, a scenario he also described as national embarrassment to every citizen. He said significant percent of Nigerians cannot speak their mother tongue because of the craze for globalisation, while decrying the outcome of this endangered social malady in another 50 years of existence of Nigeria nation.

  • ‘I will raise the bar for the council’

    This year’s National Festival of Arts and Culture (NAFEST) ended in Abakaliki, Ebonyi State, last Sunday. It recorded many firsts. Aside having the Vice President, Namadi Sambo, as special guest of honour (first time the Presidency will be so represented),the festival was led by a woman Director-General, Mrs. Dayo Keshi. Also, the host state, Ebonyi, won the giant gong as the overall best state, despite being a first time host. Nineteen of the 36 states attended the festival, reports Assistant Editor (Arts) OZOLUA UHAKHEME, who was at Abakaliki.

    Like at the opening, cheers from the crowd at the closing of this year’s National Festival of Arts and Culture (NAFEST) at the Abakaliki Stadium, captured the mood and great expectation of the art community.

    With an early morning rain providing a soothing weather, states delegation filed out in colourful attires as the curtain was drawn on this year’s festival. For states that won laurels, especially the host, Ebonyi, it was dancing and jubilation galore.

    It was the first time in the history of the 44-year-old festival, that the Presidency would be represented by Vice President Namadi Sambo, who declared the festival open last Tuesday. Expectedly, the host state justified its 18 years’ wait with adequate preparations for this year’s festival described by many as successful, despite seeming low attendance by states. Absenteeism and lateness of states to the festival may have threatened the objectives of the festival.

    Observers blamed this on the delay in release of funds to the state art councils as well as the increasing political campaigns. “It has become a recurring decimal that any NAFEST held a year preceding the general elections always suffers setbacks as most governors are more concerned about how to retain or capture power at the polls. Unfortunately, such shift by the governors is always at the expense of the spirit of the festival,” according to an observer. For instance, from the Southwest zone, only Oyo State was in attendance, while Edo, Akwa-Ibom and Bayelsa were the states from Southsouth zone that attended the festival. Delta State came in the morning of the closing day.

    Worried by this trend, the newly appointed Director-General of National Council for Arts and Culture (NCAC) organisers of the yearly festival, Mrs Dayo Keshi, said the council would as a matter of priority look into the many challenges of the states including lateness to festival, late release of funds, inadequate preparations among others.

    “Over two third of the states attended this year’s festival. But, we will be looking at these challenges of the states. We will connect with the governors on the need for full participation of the states. The few states that come early often emerge as winners. NAFEST belongs to us; it gives us the platform to showcase the rich culture of the people and should be nurtured by all. In fact, I will adopt advocacy as part of methods to spread the message,” she said.

    Notwithstanding, Keshi described this year’s festival as very successful because the host governor, Chief Martins Elechi showed special enthusiasm and support for the festival, including provision of facilities and security for all.

    She observed that the country’s cultural industry is yet to take its rightful position though music, movie and fashion have made significant impacts on the nation’s economy. She stressed that the success of these genres has proven that if the sector is well structured and funded it would contribute meaningfully to the nation’s economy.

    “Every local government area has something special and peculiar that can be made economically viable. I am hoping that we would be able to put in place some structures to that effect. Again, we hope to create a market for art and crafts that will attract tourists. But for it to thrive, it needs government support and the creative industry will consequently stem the influx of unemployed youths to the cities,” she added.

    On whether she will stick to the existing  programmes of the council, she said: “There are always rooms for improvement. Art and Craft Expo and NAFEST are two major programmes of the council. But, I will raise the bar of the programmes. I am quite happy with the concept of NAFEST and AFAC, and I will look at the aspects that will make it economically viable.”

    Although the new chief executive appreciates continuity, but she is not lacking in new ideas that would raise the bar. She  is considering how to package the different components of the festival as marketing platform to the public all through the year. According to her, having such cultural events that will attract corporate sponsors will be an added opportunity for the growth of art and crafts.

    “It will be a private-public partnership (PPP) at different levels while we still seek sponsorship. The idea of running the different components is to enhance packaging. Once packaging is done right, sponsors will come after us,” she added.

    The former director, Culture Industry and Heritage at the Ministry of Tourism, Culture and National Orientation said she was excited at her new appointment and that it was good someone from the sector was appointed to continue the job. She noted that having worked on the policy formulation side for over three decades, it is exciting to be on the other side to  contribute to the growth of the sector.

    Asked what she would be remembered for, she said: “I hope that at the end of my tenure, culture sector would have empowered the artists, raised the bar and every part of Nigeria would see culture as most efficient way to show Nigeria to  the world. Then culture would be one of the sectors that will not be looked down upon.”

    Director, Human Resource Management, NCAC, Mallam Ado Mohammed Yahuza said the festival events were packaged in tandem with the theme of the festival-Celebrating Nigeria @ 100: The role of culture as a vehicle for national unity. He noted that the emphasis on youths at the festival events underscores that the future belongs to the youths using culture to foster unity of the country. ”.

    According to him, Ebonyi State like Bayelsa lived up to expectation despite being a first time host of the festival. “This is not the first time a new state will host the festival. We have been in Bayelsa twice and the festival went well. We always do our survey before the hosting of the festival. In the same vein, Ebonyi State has been generous in providing security and logistics including venues,” Yahuza said.

    Earlier at the opening, President Goodluck Jonathan who was represented by Vice president Namadi Sambo pledged greater commitment to the development of the nation’s creative industry.

    He expressed delight that in spite of numerous challenges confronting the nation, NAFEST was held in a convivial atmosphere. According to him, it has become obvious that the annual festival is not only strategic to the protection of the people’s culture and tradition, buthas great potentials for engaging the teaming unemployed youths.

    He said there is a nexus between arts and culture and the economic growth of any nation.

    “The event is high profile in nature and the celebration will manifest abundant grace for the nation outside the country”, he said.

    He stated that the one-week cultural fiesta would provide another platform to re-echo the Centenery message with which the nation celebrated its 100 years of nationhood.

    ”NAFEST is affirming that there is a lot from our culture that binds us. As we move into another century, it is our collective duty to leverage on these for promoting our oneness and uniqueness as Nigerians and as a way of moving the dreams of our founding fathers nearer to realisation”, Mr. President stated.

    Commending Governor Martin Elechi for taking the challenge of hosting this year’s festival, Mr. President highlighted the place of the private sector in promoting the festival. He, therefore, assured the provision of enabling environment for any organisation or group that picks interest in investing in the nation’s culture and tourism sector.

    This year’s festival featured colloquium,

    dance-drama, children painting and drawing, traditional cuisine, traditional architecture, story- telling and traditional wrestling among others.

     

  • Workshop for hoteliers, caterers

    A one-day workshop for hotels, catering outfits and other stake holders in the hospitality industry will hold on November 21 at Airport Hotel, Ikeja, Lagos.

    The workshop is being organised by a team of professional stakeholders in the Hospitality Industry.

    In a statement by the Chairman of the Organising Committee, Bright Uwabor said  the theme as Security Challenges in Hotels and Hospitality Industry in Nigeria-The Way Forward.

    He said the workshop will afford participants to share experience with security experts and knowledgeable speakers on the current security challenges in the country and establish baseline awareness and integrate security challenges in the Nigerian hospitality industry.

    Also, stakeholders will assess and analyse the range of obstacles, risks and capacity in the industry, as well as acquainting participants with the various appliances & gadgets to be used in averting criminal tendencies.

    The keynote address will be delivered by the AIG Umar Manko of Zone 2, Nigeria Police, Onikan, Lagos.

    Other guests expected include Lagos State Governor Babatunde Fashola and his deputy, Mrs Adejoke Orelope-Adefulire; Minister of Tourism, Culture and National  Orientation, Chief Edem Duke; Inspector General of Police, Mr. Suleiman Abba and Director General of Nigerian Tourism Development Corporation, Mrs. Sally Mbanefo.

    Highlights of the event will include presentations by security experts, Law enforcement agents, and renowned academics that will address various security challenges in the hospitality industry and proffer sustainable solutions.

    A special edition of a Hospitality Magazine will also be published on the event day.

    The event will recognise of few corporate bodies and individuals who have contributed immensely towards the development and sustenance of good security network in the Hospitality industry.

  • Me and my Books: I’m fascinated by intrigues of creativity

    Me and my Books: I’m fascinated by intrigues of creativity

    Tade Ipadeola, lawyer, artist, poet, and prolific writer, won the 2013 NLNG Nigeria Prize for literature with his book, The Sahara Testaments. A versatile author and renowned poet, in this interview with Edozie Udeze, explores the world of writing and states all the numerous authors who have in one way or the other influenced his person and style of writing.   

    What sort of books do you like most?

    Collections of poetry, novels, the occasional biography and autobiography, short story collections and books of essays all interest me. Presently I am reading J.P Clark’s Still Full Tide, his collected works. A phenomenal collection for range and an example of what a committed poet should aim at accomplishing within a lifetime. I find myself wondering how he found the time to also write the plays. I read drama too but I’d rather go to the theatre for that than read the book. If the playwright is long dead and the play isn’t part of the repertoire of any theatre company around, then I’d read the play in a book. Say Aeschylus for example, or Sophocles. I wrestle with scholarly books from time to time, I’ve been reading Akin Adesokan’s Post Colonial Artists and Global Aesthetics recently, it is a rare accomplishment and I think every serious writer should engage the ideas in the book.

    When you read a book, what are the salient things you look out for most?

    Ideas, basically. I want to see how the author’s mind engages with the ideas he is trying to express. They say a good book should be slightly more intelligent than the author though, so I am also listening for the pauses. I believe a good book should not only address the ‘problema’ in the proper Latin sense of the word, it should also address a ‘lacuna’ which the reader may not even be aware existed. I look for a book that solves a problem and I look for a book that fills a void. Sometimes I’m lucky and I find a book that does both. Perhaps that is why I am predisposed toward poetry. When, for example, I first read the poems of Niyi Osundare at the University, it was a novel experience. The Eye of the Earth was unlike any collection of poetry I had ever read up till that point. It was fluid, mellifluous, African. I loved the way he made the English language obey his will.

    Who are your favourite authors in the world and why?

    Ah, e go hard to list all of them o. Let us start from home. I like J.P Clark, Soyinka, Okigbo, Amos Tutuola, Franz Fanon, Oswald Mtshali, Jared Angira, OusmaneSembene, AyiKweiArmah, Femi Osofisan, OdiaOfeimun, Tony Marinho, Afam Akeh, Harry Garuba, Akin Adesokan, Daniel Fagunwa, AkinwumiIsola, EbenezarObadare, Kgositsile, Marquez, Kunene, Lisa Combrinck, Andre Brink, NgugiwaThiongo, Sefi Atta, Wale Adebanwi, OgagaIfowodo, Niran Okewole, Emmanuel Iduma, OlubunmiFamiloni, ChumaNwokolo, Chijioke Amu-Nnadi, Benson Eluma, RotimiBabatunde, Molara Wood, Ike Okonta, Amatoritsero Ede, Jumoke Verissimo, ToyinAdewale-Gabriel, Chika Unigwe, ChieduEzeanah, UcheNduka, RethabileMasilo and the yet to be properly published Yomi Ogunsanya and Sam Ogabidu. Yes, Leopold Sedar Senghor especially. From around the world: Derek Walcott, Seamus Heaney, Czeslaw Milosz, Jose Saramago, Pablo Neruda, W.H Auden, Paul Muldoon, Le Clezio, C.L.R James, Salman Rushdie, Amitav Ghosh, Primo Levi, Michael Ondaatje, Rohinton Mistry, George Elliot Clarke, Alice Munro, George Lamming, Kamau Brathwaite, Kenzaburo Oe, Tomas Transtromer, AravindAdiga, Ibsen, Joel Toledo, Gen Asenjo, AnkurBetageri and a really exciting young writer called Joel Dicker. I don’t think it is possible to make a list of every author who has ever moved me profoundly. Several essayists I really like are not on this list but it doesn’t mean their works are not deep. I live works that challenge the intellect and the imagination.

    When and where do you like to read and what time and why?

    I like to read in the morning and late at night. Those are the times I’m freshest. Depending on the gravity of the material, I also like to read when travelling.

    What is your preferred literary genre?

    Poetry, without doubt.

    What book or books have had the greatest impact on you and why?

    Books which provide the reader with a handle on the world are precious. The books that have had the most impact on me are books that have the capacity to transport me into the dimension of reality they try to relate. The novels of Garcia Marquez, especially Love in the Time of Cholera and the poetry of Derek Walcott, especially Omeros, do that for me.

    As a child what books tickled you most?

    Daniel Fagunwa’s Ogboju Ode Ninu Igbo Irunmale was the book I couldn’t stop reading. After my first Fagunwa, I kept reading all the others I could lay hands on, and I couldn’t stop until I had read every one.

    At what point in your life did you begin to nurse the idea of becoming a writer?

    In secondary school I did write essays and some of them won prizes. But I was in my mid-twenties when I knew for sure I would be a writer. I was lucky to have mentors and friends who pointed me in that direction. I was already working at the Ministry of Justice in Ibadan. There was a ferment in Ibadan of the early nineties. One day, the poet Lola Shoneyin delivered a message to me from Chief Bola Ige who had read some of my poems. He wanted to see me in person. It was at an ANA reading at his home that he began to really challenge me to write seriously. I haven’t looked back since.

    How has writing shaped or reordered  your life?

    Completely. I set out initially to practice as a lawyer and I do have a competitive streak in me. I knew I would not be content to just be one of the fellows in wig and gown. But since I immersed myself in serious writing, that has changed a little. Readings, competitions and residencies abroad on account of writing means I cannot but scale down my ambitions at the bar a notch or two. I haven’t regretted it. I still enjoy being a lawyer but a completed book gives the kind of satisfaction that one cannot get elsewhere. Nothing compares, really. It is now, for me, the life of one dancing to a distant drum. Those close by you may begin to doubt your sanity and a few bold ones will even suggest to you a change of course but a real writer cannot decline the enchantment of writing.

    If you meet your favourite author face to face what would you like to ask him/her?

    How do you do it? I want to know how the great authors do what they do best. In fact I want the how-of-the-how as well. Good writing isn’t an accident. From the little I have read, it is a life of committed work.

    Of the plays you’ve read which character struck you most?

    I think that the character of Brother Jeroboam in Wole Soyinka’s Trials of Brother Jero strikes me as a very accurate rendition of the personality of the scoundrel. The Nigerian scoundrel particularly, and how that scoundrel manages to be of such influence. Look at Nigeria today. A building owned by a charlatan collapses and kills over a hundred human beings, both Nigerians and foreigners. And politicians who should enforce standards say they are paying the villain condolence visits. It is totally bizarre.

    What book do you plan to read next?

    I am currently reading the manuscript of a book by Mr Nigel Henry titled Do Something Before You Die, a truly fascinating document that every Nigerian ought to read in print. And I am also reading King Leopold’s Ghost by Adam Hochschild

    How do you arrange your private library?

    There is a shelf hanging from my study walls. It has books that only my closest friends can read or take away. People like Niran Okewole and Wale Dada. These guys give me access to their own private libraries. Then there are the shelves in my living room which have books which everyone can read.

    Are you a reader and how often?

    Actually, I can’t remember a time I didn’t read. I can’t imagine stopping my readings.