The Nation Newspaper

Category: Arts & Life

  • NAPTIP office rebranded

    The head office of the National Agency for the Prohibition of Trafficking in Persons and Other related Matters (NAPTIP) has been inaugurated by the Ambassador and Head of Delegation of the European Union to Nigeria and Economic Community of West African State (ECOWAS), Michel Arion.

    Arion, who was represented by First Secretary,  Alan Munday, handed over a wide range of IT equipment comprising internet servers, 50 desktop computers and network printers among other facilities.

    The inauguration of the facility followed support from the European Union (EU), within the framework of the EU-funded project ‘Promoting Better Management of Migration in Nigeria by Combating and Reducing Irregular Migration that occurs, inter alia, through Trafficking in Persons (TIP) and Smuggling of Migrants (SOM)’ project.  This project is being implemented by the United Nations Office on Drugs and Crime (UNODC).

    Arion said NAPTIP is the European Union’s key  when it comes to turning words into action to fight trafficking of Human beings and smuggling of migrants.  This, he added, will make life more comfortable for the youngest victims of trafficking.  The equipment, he said will help increase its staff performance.

  • NICO to host SONTA 2015

    NICO to host SONTA 2015

    The National Institute for Cultural Orientation (NICO) has accepted to host the 2015 annual international conference of the Society of Nigerian Theatre Artists (SONTA).

    This is coming on the heels of the request by SONTA, the assemblage of academics in Theatre Arts, that the institute host its conference next year, SONTA 2015.

    A statement by NICO Executive Secretary, Dr. Barclays Foubiri Ayakoroma, said the institute was ready to host the 28th edition of SONTA’s Annual International Conference and has constituted a Local Organising Committee (LOC) under the chairmanship of  Abayomi Oyelola, who is the Director, Administration and Human Resources of NICO, with the Executive Secretary serving as the Convener.

    According to Ayakoroma, the hosting of SONTA 2015 presents a veritable platform to further bring the potentials of the Institute to the fore, and proffers a platform that will draw reputable Thespians from across the globe where NICO staffers can key into the programme as they will be expected to serve in different sub-committees finance, accommodation, entertainment, transport, plenary session amongst others.

    The management of NICO is optimistic that with preparations towards the hosting of SONTA 2015 already in place, the outcome of the conference will serve as a benchmark for the body for subsequent conferences.

    The Society of Nigerian Theatre Artists (SONTA), an umbrella body of theatre arts lecturers in higher institutions in Nigeria, was established in 1982, with the mission of research, promotion of academics and robust practices in theatre, culture, media arts and film.

  • A life of excellence, integrity

    A life of excellence, integrity

    The book ‘A life of Excellence and Integrity’ was put together in commemoration of Mr. Tunji Olugbodi’s 50th birthday ceremony. In a way, the book could be tagged ‘compendium’ on the celebrant as it took a careful look at him through the eyes of his various stakeholders – spouse, child, family, friends, and professional colleagues among others. The nine-chapter book gives a great insight into the life of the celebrator and what actually makes him ‘thick’.

    The book starts with a concise biography of the celebrtor titles ‘Joshua Olatunji Olugbodi ‘through the years’, which is succinct in looking at him from birth, educational journey, career path and business adventures down to his involvement in spiritual work.

    Prologue, which comes next, is a literary piece woven in verses as obtainable in any typical poem. The editor of the work, Mr. Ayodeji Ayopo, a seasoned Public Relations practitioner and business communication strategist, was more than generous in the use of association to describe and trace the life of the celebrant, Tunji Olugbodi, who clocks the golden age of 50.

    Through flashback, the book uses words to create imagery of circumstances surrounding the night before his birth, resilience of the mother in waiting for the day to dawn and the support of the husband to get her to mainland for the eventual delivery. Alas Tunji Olugbodi, arrived the world! The narrative which is rendered in verses also dovetailed into his 50 years birthday.

    The book then progresses into chapters through which the editor looks at the celebrant through other people’s eyes.

    And so chapter one,  x-rays  the celebrant through a bosom friend right from when they met in their undergraduate days. Though Tunji Olugbodi schooled at Ogun State University while he schooled at University of Ife, (now Obafemi Awolowo University), but they were able to bond due to the strong personality traits of the celebrant. Properly captioned, ‘A dependable friend’, the chapter captures Tunji Olugbodi as an embodiment of knowledge, cosmopolitan and someone who adheres to Christian culture in all his undertakings. The celebrant’s nature of being always ready to share whatever he has, lending helping hand and not taking relationship for granted were properly captured. His strong principles based on Christian values, the chapter notes, has helped him in all he does.

    Who knows a man better more than his spouse? The editor did a yeoman’s job by looking at Tunji Olugbodi through the eye of his wife. Indeed chapter two could not have been better titled than  – ‘my husband, a dutiful husband’. Flowery and powerful words were used to describe Tunji Olugbodi . He is seen as a man of his word, confidant and a diehard believer in nothing is impossible. The chapter brings out some characteristics that makes Teejay, as he is fondling called by his wife, a man of her life. He is a focused man that pursues whatever he sets to do with doggedness; he is also a perfectionist who hates laziness and disloyalty with passion. His relationship skill in calming her down when she is upset is acknowledged.  Teejay is a man bustling with ideas, inspiration and strategies and above all his ‘can do spirit’ goes beyond description. He loves work and if work could be considered a weakness, so it is for Teejay.

    Chapter three captures what the celebrant, Tunji Olugbodi, is to his child. A father to behold, cherish and love for his generosity is the celebrant to his son.

    The book moves further in chapter four to give insight into the life of the celebrant through one of his staff in the office. The totality of Tunji Olugbodi to the staff is that he is a leader and not a boss. He is a leader who believes in supremacy of ideas; listens to superior augments; and sees others as colleague.

    Chapter five reviews his commitments to using his God’s given resources to advance the kingdom business through his denomination – Baptist Church. The book presents him as a man who being a deacon uses his office excellently in service and exhumes the virtue of humility in his relationship with people.

    Chapter six specifically lists out virtues that make Tunji Olugbodi a veritable resource in God’s hand. He is a child of God, an apt teacher and a powerful preacher, a public relations officer, a good programme planner, a renowned strategist, an impeccable innovator and a motivational speaker.

    Chapter seven acknowledges that Tunji Olugbodi has always shown great promise from his teen age.  His involvement in organizing ‘street Olympics’ featuring marathon races around Tejuosho, standing to fight for his younger ones, talking of visionary things about the future, demonstrating courage, fashionable and commitment in self improvement  are traces which shows what is future will be. Today, he is the rally point for the whole Olugbodi’s family and he is playing the role very well. Building of business empire in marketing communication only reminds one of the promise he has shown as a child.

    A heart committed to ministry, the title of chapter eight, is apt when viewed vis-à-vis what the chapter says about him. How else can a man be committed to ministry than being a believer in the bible, giving to the ministry and providing for spiritual needs of others? Tunji Olugbodi excels in them all.

    In Chapter nine which rounds up the chapters, the editor, Ayodeji Ayopo, describes him as a mentor and exemplary role model. He has not ceased to inspire him through his disciplined life, openness, giving, professionalism and respect for other people’s opinion.

    The book ends with appendix of his various press interviews with leading national dailies such as the Guardian, Thisday and The Nation.

    The book really captures the life of Mr. Tunji Olugbodi from his birth to his 50th birthday anniversary, which the book is dedicated to. His doggedness to build business from ground zero to spreading tentacles to West African countries is an example in raw courage. However, there are few typographic errors which should have been avoided. Some borders on spacing between words, a good one is Tunji Olugbodi being spelt as one word many times in chapter eight and mistake of writing chapter 7 as chapter 1. Despite some of these shortcomings, the editor, Ayodeji Ayopo, did a good job in putting the book together. He has been able to add another book to volume of books on life and times of great men through which others could draw inspirations.

  • They call me princess

    They call me princess

    •A portrait of Motunlayo Adefunke Sofowote

    Then in mid-2014, a revised edition of the original 1998 novel, They Call Me Princess by Motunlayo Sofowote was published there were more than a few people who wondered how the author, bedridden and fighting for her life, could find the strength of purpose, and indeed, the presence of mind to execute such a project. But that was only the second book published by the woman in the final year of her life.

    However, as though as final statement and reminder, They Call Me Princess will now go down in history as the very last known work of art by Motunlayo Sofowote made available to the public during her lifetime. And how apt, how absolutely apt it is, this simple, quiet, unassuming statement – They Call Me Princess!

    For so they did. In their hundreds and thousands, or perhaps even hundreds of thousands. Wherever she went, she was regarded and treated as royalty. But this was no surprise… You only had to spend a few minutes with the woman to feel that without a doubt, you had just come across a true and wonderful human being, something rare, something royally unique. Something beautiful.

    And beautiful she was inside and out. In fact, many would agree most emphatically that her outward beauty was only further intensified by her dazzling yet welcoming beauty of her spirit which could never be diminished; not even in the most literally painful years of her life toward the end. This was made all the more obvious when in the excruciating throes of the final stage of cancer, she lost all of her trademark long-flowing silver hair and was recommended a wig to cover the resultant baldness.

    To oblige her caregivers, I believe, and even more, to shield the rest of us, her loved ones, from the sad reality that her baldness so vividly highlighted, she tried on the wig for a time. However, not many days had passed before she decided that she would have no more of it. With a twinkle in her eye, she said: “I will not wear this wig anymore. If I am beautiful, I am beautiful.”

    And she was beautiful.

    Yes, they called her princess. They called her friend and mother too. Her four biological children very quickly had to learn that there were a far greater number of people who, while not related by blood, had sufficient right to look to her as a mother; by virtue of her own disposition toward, and love for, them. And she loved them all. With a true motherly love that brought many a biological mother to her in curious wonderment at the effect that this woman quite unassumingly had on their own children. It was therefore, not long before there became untold numbers of mothers who looked upon her as a model for their motherhood.

    It was not only mothers however, who were drawn to her and who found themselves making Motunlayo a mentor of sorts. Women and girls, and indeed, men of all ages who had within them an appreciation of beauty and goodness were invariably drawn to her through varied encounters and scenarios. Even those who might ordinarily have a base outlook on life often found themselves wishing to be better and working on themselves as a direct result of having met her.

    Motunlayo made friends of all kinds everywhere. From road-side sellers to captains of industry and heads of government, Motunlayo was truly the sort of person who could eat with beggars and dine with kings. And she did both.

    It is therefore not surprising that they called her princess. Whether she was helping others through quiet and secret philanthropic acts, or drawing public attention to causes that needed intervention through her annual charity concerts, she always was royal.

    In the 67 years of her beautiful life, she left a definite mark of positivity on the world and everyone who met her. And she will continue to do so, on everyone who will yet meet her through her works and the stories of her which are bound to be preserved and spread abroad.

    Motunlayo was, indeed, one of those one-in-a-million, once-in-a-lifetime, Hallelujah-I-met-you people whose lives, however long or short, leave a firm imprint on this Earth.

    As a friend, mother, teacher or princess, Motunlayo’s foremost objective was to serve her GOD, to whom she constantly sought to draw nearer, through her life, and her very essence. And now that she has left the confines of the physical, one can be confident that she is now free to fly upward, nearer His Presence, according to the natural law of Gravitation, which cannot but suck up a spirit as light, and as beautiful as Motunlayo’s toward those Realms of Eternal Beauty, where like spirits are permitted to serve their King forever.

    Even now, her pure ringing laughter is to be heard, a happy child of the Light, singing songs of praise in beautiful soprano, to the warm smiles of those angelic helpers who guide her path upward, to a Garden in which she can be yet another beautiful flower of Creation.

    *Bibisanmi is son of the late Motunlayo

  • It’s no longer anonymous

    It’s no longer anonymous

    A Professor of Art History and Graphics at University of Benin (UNIBEN), Edo State, Prof John Ogene, has ascribed the seeming anonymity of art and the perception that it is a craft to the importance the society attaches to it.

    He spoke at a lecture at the Prof Yusuf Grillo Auditorium, Yaba College of Technology (Yaba Tech), Yaba, Lagos. The theme was: No Longer Anonymous. He said art is anonymous in Nigeria because most people don’t know its importance to the society.

    According to him, art is unknown, obscure, nameless and unrecognised “as a serious profession. “This attests to the fact that art as a vocation belonged to a category of unfamiliar professions. Things have not changed much today. This stereotype, apart from exasperating, is suggestive of the fact that what is “commonly” attainable is of little importance,” he siad.

    He described the anonymity of art in Nigeria as a collective burden like illiteracy. “It is a factor that robs the individual and the profession of social, academic and political visibility. Consequently, it is a direct source of inferiority complex and, thus, must be shed and demolished,” he said.

    Ogene observed that lack of grand institutions for art in the country contributes to its anonymity, suggesting that contemporary artists should marry art with science and technology as the world revolves around them.

    “Some people argue that art is a doing thing and it is a natural gift which cannot be taught. This may be right, but the thought is both defeatist and nihilist. It is an over simplification of what the profession demands, and gives a false sense of confidence to the creative individual that is often in early stage in life. Besides, such an assumption limits the potential of such an individual.

    “This over simplification may be responsible for the mindset of most Nigerians who think that you “just draw” when you say you are an artist. The next thing they want to say is “my little daughter or son can also draw very well.”

    Recounting an experience while handling a project with Professor Osa Egonwa of Delta State Univerty, Abraka, Delta State,  in 1987, at Okada Wonderland, Ogene said he presented a quotation to the committeein charge and the Director of Consultancy (one Professor Osifo) noted that the quotation was on the high side.  Osifo asked Egonwa to reduce it, saying, after all, his brother, who had no training in art, is also an artist,” he said.

    He stressed that Fine Arts students are also faced with these challenges as other students perceive their choice of course as inferior.

    He said: “Recently, I received a complaint that a Fine and Applied Arts student at UNIBEN was verbally assaulted by a student of History and International Relations, who said the Visual Arts student was ‘making noise over ordinary N500, no wonder he is reading ordinary Fine Arts.

    “This attitude towards the discipline exists and the status of artists is continuously being undermined. This is what could be referred to as identity crises or group anonymity.”

    He noted that the teaching of art in Nigeria has been dominated by the culture of practice with minimal theory, scarcely articulating what is being done. “Although the practice of making art is as important as its articulation, what we find today in most institutions is the excessive emphasis on the psychomotor domain. In other words, emphasis is laid on doing or making art- a practice largely based on perceptual and physical ability, skilled movements and non discursive communication. It is, therefore, convenient to conclude that the state of art has predominantly stagnated within this domain of learning,” he stated.

    Ogene advised that  those artists who wish to further their education, should be encouraged to do so, bearing in mind that not only their practice will be enhanced; their potential to articulate their practice becomes incremental. “This is important, because a journey into the inner mind of a celebrated uneducated artist will reveal a vacuum or desire for education. It is a different thing altogether for those who suffer from illiteracy.

    “This can be achieved by taking cognisance of the three equal domains of learning which are cognitive, affective and psychomotor. Without these, it will be futile to articulate what we have produced and are producing in our country. Failure on our part will yield to perpetual dependence on the West in defining our cultural wealth,” he asserted.

    After the lecture, Ogene presented an art exhibition for public viewing in Yusuf Grillo Art Gallery at the same venue.

    The works consisted of paintings and photographs, which Ogene said he took with his mobile phone. He also gave the show the same titled with his lecture: No Longer Anonymous.

    The lecture and the works from the exhibition are also documented in a glossy book, entitled: No Longer Anonymous.

    According to him, the theme of his lecture and the art exhibition was inspired by Prof Solomon Wangboje’s quote. “My encounter with Professor Solomon Wangboje in 1995 remains indelible for several statements he made when I interviewed him in preparation for a conference in Ahmadu Bello University Zaria. One of them is his proverbial “now that we are no longer anonymous, let us see what we have done.” Besides impacting on me as a young lecturer, his words remain in perspective and context both as it was then, and today. Almost 20 years after, it now dawned on me that to be anonymous is to be free, and to be known is responsibility.

    “Given a choice, anonymity is certainly not the kind of freedom an artist should enjoy. The freedom of anonymity can be likened to the saying by Jean-Jacques Rousseau that Man is born free but everywhere he is in chains – and in this instance, art in Nigeria as symbolised by man, is in chains of obscurity and anonymity,” he said.

  • Ekemini’s fetching the future

    Ekemini’s fetching the future

    Fetch the Future  is a collection of poems that addresses the need to look after and pay attention to children early on, in order to avoid personal and societal decay. The book emphasises that if children are trained and cared for in the right way, then a lot of crime and wrong acts will be nipped in the bud in the society.

    The book, Fetch the Future touches on a lot of aspects of upbringing that are essential for normal growth and development of a child.

    The author, Ekemini Francis’ use of  the language of poetry to convey her opinion is apt, but it is hoped that the structure of the poetry may not be lost on some children who are the primary target.

    The use of pictures in the book is refreshing, giving the book a twist especially for a poetry book.

    The author has a first degree in Modern Languages and Translation Studies, majoring in French form the Universite D’ Abomey Calavi in Republic of Benin.

    Ekemini’s passion for children is evident, hence the writing of the book and being the founder of Inspired Children Foundation (ICF).

    Her involvement in child development training from her university days, came in handy in the production of this book. Lessons from these programmes such as; UNICEF, Capacity Development Training to promote Social Change etc. were applied in this work.

    Fetch the Future can be said to be a basis in correcting from the root, vices that are prevalent in Nigeria and the world at large.

    For example, the Poem on page XV is an admonition to parents against saying negative things to their children, as this could make children bitter towards them, but should instead nurture and grow their talents which would be more beneficial.

    Also the Poem on page XVII of the book highlights the need for parents and teachers to work hand in hand,  in grooming children and having an interest in their education.

    The Poem on page XXXII advises against abusive words and harsh treatment which is the norm in Nigeria. Parents feel that this is the way to go in correcting children, but when a child is corrected in love, it makes a positive and lasting impact in the life of that child. Sitting a child down and talking to him/her is better than having that child angry and which might eventually lead to him/ her developing hatred for you.

    It is evident that the decay in morals and ethics starts from the home, where an individual gets his/her first interaction and communication with people. It is from the home that children are taught right from wrong, depending on the setting and foundation of that home.

    In this wise, Fetch the Future calls for all hands to be on deck in the restructuring of the Nigerian society that is pitiable and riddled with vices and crime committed mostly by the youth.

    Government should also take action in and play its part in reforming juvenile delinquents, and organise programmes/clubs aimed at giving children ‘big brothers and big sisters’ who will be part of their day to day lives in a mentoring way.

    The author’s attempt in addressing an issue as worrisome as this is commendable and encouraging for at least focusing on the children who are the future leaders. it is believed that the author consideration for children is worth the while but there is need for all children from all social strata should be considered.

  • My vision for National Troupe, by Adejuwon

    Barely one month after assuming office as the Artistic Director and Chief Executive Officer, National Troupe of Nigeria, Mr. Akinsola Mendra Adejuwon says the greatest asset at the troupe is the quality of staff, reports Assistant Editor (Arts) Ozolua Uhakheme.

    The newArtistic Director and Chief Executive Officer, National Troupe of Nigeria, Mr. Akinsola Mendra Adejuwon, has said given the quality of staff at the National Troupe of Nigeria, his job is a walk-over and it would be a wonderful experience. He said his new job is like that of a coach and a scout, but that the troupe he inherited is to take one or two notches up as he is conscious of the import and its responsibilities to Nigeria.

    Adejuwon who spoke in Lagos at the weekend for the first time since he assumed duty on September 11, said that the National Troupe of Nigeria is planning an international festival that would provide regular platform for the troupe.

    “We want to be out once a month as well as in each of he state of the federation with performances. We must also be relevant and our theme will address performance expression in a conflict environment such as military formations and barracks. We are looking at ways to synergise with relevant agencies within and outside Nigeria to keep National Troupe productive and acknowledged,” he added.

    He regretted that for now, the troupe is homeless because the National Theatre is being run as a profit venture. He expressed fear over the financial capability of the troupe to pay for hall at every rehearsal and production. “If we have to pay for hall or stage during rehearsal and production, then we will be in a financial mess. However, my vision is that in a short while, we may not depend on funding from government, which is dwindling,” he said.

    The new chief executive officer assured that under a rejuvenated National Troupe, there would be aggressive marketing of programmes in order to serve its public and private sector customers adequately. According to him, the troupe is also considering taking the annual creative workshop to the three regions of the country in order to expand its scope of participation.

    On the visibility of the troupe within and outside the country, Adejuwon said: “We are going to be very active on the web in order to reach a wider audience beyond the shores of this country. This will also take care of the misinformation about the troupe and the country.”

    Reacting to what would be the added value he is bringing to the National Troupe as a visual artiste, he said: “My festival background at the Obafemi Awolowo University, Ile-Ife and working with Prof Wole Soyinka gave me the push to do better as Artistic Director of National Troupe. In fact, when I worked with Demas Nwoko at New Culture Studio, Ibadan, I learnt set and scenic designs among others. I lived with dancers and I ran a private music and performing outfit. My street credibility is great and I survived on art.” Adejuwon who hails from ekiti State takes over from Mr. Martin adaji. He becomes the fourth Chief executive Officer of the National Troupe of Nigeria since the Troupe’s formal establishment in 1991. Foremost Theatre Director Mr Bayo Oduneye and the Dean of the College of Humanities of Redeemers University Professor Ahmed Yerima have at various times led the Troupe as Artistic Director.

    A theory cum practivcally oriented Artist; Mr adejuwon was until his appointment as Artistic Director on Thrusday september 11, 2014 a Museum Curator of the Institute of Cultural Studies of  the Obafemi Awolowo University, Ife, Osun state. He holdds a Bachelor of Arts Degree in Industrial design of the Ahmadu Bello University, Zaria and a Master of Arts Degree in African Arts Studies of the Obafemi awolow University, Ile-Ife.

    Currently the chairman of the Osun State Chapter of the Society of Nigerian Artists (SNA) and member of the Nigerian filed Society, the new Chief Executive Officer of the National Troupe has designed, organised and attended several conferences, seminars and workshops and has curated, coordinated and executed a number of local and internationally acclaimed exhibitions.

    A widely travelled artist whose current research activities include a study on Festivals of Yoruba land, Mr. Adejuwon has since been meeting with management, staff and stakeholders of the National Troupe. His imemdiate His immediate plans, as Artistic Director is to reposition the National Troupe and to make the Troupe a truly national and international performing arts company.

    At a brief handing ceremony held at the National Theatre on Thursday, the former Artistic Director Mr. Martin Adaji congratulated Mr. Adejuwon on his appointment and thanked President Goodluck Jonathan for giving him the opportunity to serve.

  • Author laments agonies of workers

    Motivational speaker and self-help author Reuben Onwubiko has said  that the decision to become poor or wealthy lies with an  individual.

    Onwubiko, who spoke at the launch of his book,  7 streams: God’s Original Wealth Creation Plan, at the Nigerian Institute of International Affairs, Victoria Island, Lagos, described the book as his contribution to opening people’s eyes to the fact that, to be rich or poor is a choice. He observed that as individuals “we should choose the one we want and work towards it because even in the Holy Bible, it is stated that there will be poor people among us, so choose where to belong.” He said number 7 is a unique  and  perfect number, which was why he chose 7 Biblical ways of making it in life.

    Onwubiko said: “There is this thing that keeps me awake at night and there is this thing that brings tears to my eyes regularly and some of these things are when I see a man or woman who works regularly hard, leaving home early, coming back late, but before the end of the month that person is broke, looking for how to make up. In Nigerian calendar, there is a portion of the calendar called  ‘quench hungry’ tied to the time when money is not enough. Another thing that really touches my heart is when I see someone who has spent twenty years, thirty something years of work and he is going into retirement, his blood pressure is high. And because what they call pension is probably not there and if it’s there, it could not be compared to their  income”. He lamented the agonies of people over money issue, but noted that the book was published to help people like that and put a smile on their faces.

    In his book, he unveiled biblical secrets to multiple income streams. He also talked about ways of hearing from God, classes of income by tax collectors, spiritual guidelines for wealth and income application, key steps to developing a plan, aspects of discipline for financial success, deadly sins that ruin, divine bases for 7 streams. Other issues include  heavenly virtues for successful living, steps to income generation, healthy living ways to manage your old age, excuses people make for not planning, pillars of wisdom, qualities of a good income portfolio,

    Onwubiko is also the author of books such as Your earning power booster, Hearing from God and Why God wants you to be rich.

     

  • ‘Why Igbo artists abhor realism’

    Ever wondered why some Igbo artists do not embrace realism in their works? Is it a taboo rooted in religion or witchcraft? Prof Chuu Krydz Ikwuemesi’s critical survey on Igbo and Ainu (Japan) art provides the answer, reports Assistant Editor (Arts) OZOLUA UHAKHEME. 

    Renowned Nigerian artist and scholar Prof Chuu Krydz Ikwuemesi has said colonisation and neo-colonisation have taken a terrible toll on Igbo art traditions, thus, causing them to struggle between death and survival. He noted that unlike in Ainu in Hokkaido, Japan, colonisation in Igbo land was quick and dogged in displacing Igbo autochthonous religion through the instrumentality of Christianity.

    “Although a number of Christian missionaries lived and worked in Hokkaido, Christians in Hokkaido today remain very few and far between,” he said.

    He explained that in Igbo world, Christianity has taken a great toll and has had positive and negative influences on art. He said for Ainu, Christianity has very little or no impact on their lives and art. He, however, noted that although the art of both peoples suffered from non-recognition by their colonisers in their different historical and political developments, post-colonial Igbo art seems to have attained more recognition as art internationally than has Ainu art.

    “While the international recognition of Igbo art is due in part to the flourish of African Studies Centres and some major exhibits of African art in the Western world, especially from the 1980s onwards, the poor perception of Ainu art persists as a result of the attitude of Japanese curators and art historians as well as the inability of Ainu artists themselves to see theirs as art,” he said.

    Ikwuemesi, who spoke on Art and Culture among the Igbo of Nigeria and the Ainu of Japan in the Postcolonial Period:  a critical survey as guest lecturer at the fifth OYASAF lecture in Lagos, observed that arts and promotion of culture are alive and well in Japan, adding that the ‘type of crowd you find at a major shopping mall in Lagos is what you find in a museum in Japan.’

    “Everything there carries art- from food utensils to clothes etc. Unfortunately in Nigeria, the reverse is the case and we are doing great harm to ourselves. The ignorance and arrogance of our politicians are also serious undoing too,” he added.

    According to him, Igbo and Ainu arts continue to survive in various degrees and in spite of modernisation and technological advancement of both societies, their arts derive much from nature as is common with ethnic art. He said plants, humans, animals, rivers, rains and other things remain possible elements in Igbo and Ainu art, but that to different degrees, both art traditions abhorred realism or figural representation.

    “For Igbo art, representation was not totally ruled out, but realism and resemblance were not highly encouraged for fear of witchcraft. Thus both human and animal figures featured alongside organic and other forms but in often abstracted modes. This is not exactly the case in Ainu art where pure abstract forms and symbols are favoured also for the same reason of witchcraft and other taboos rooted in religion,” he said. Ikwuemesi, who had his sabbatical at the Osaka National Museum of Ethnology, Japan in 2008, identified religion as one major factor that had considerable influence on the arts of both people. He noted that unlike Ainu, in Igbo art, gods and totems can be the subject matter and can be depicted formally or alluded to aesthetically and iconographical; as well as celebrated thematically. But for Ainu, he said, the role and place of gods may not be as direct because Ainu carvers have to give thanks to ‘kamuy’ before they begin a work, even at the very point of felling a tree intended for carving.

    Present at the lecture were Prince Yemisi Shyllon, Chief Rasheed Gbadamosi, Kolade Oshinowo, Olu Amoda, Deola Balogun,

  • Time for Zombie once again

    Time for Zombie once again

    Once again, Fela came alive; he came alive on stage in the minds of those who cherish what he did to challenge oppressions of all sorts through his lyrics. Last weekend, thespians and artistes gathered at the National Theatre, Iganmu, Lagos, to watch Fela Son of Kuti, a stage satire on the life and times of Fela, written by Cornel Onyekaba. The show re-enacted the 1977burning down of the Kalakuta Republic and other sundry issues around the Abami Eda. Edoze Udeze reports.

    n writing Fela Son of Kuti, Cornel Onyekaba has demonstrated that there is plenty of theatre in life itself.  Every man’s life is full of theatre, more so someone like Fela Anikulapo-Kuti, the Abami Eda, whose own life was full of events, activities and actions that made him the cynosure of public eyes.  From the moment Fela Son of Kuti hit the National Theatre, Lagos, Fela himself came alive stirring souls and touching and piercing hearts.

    The opening scene created the magic.  Fela was seen on stage with his numerous wives and band boys playing Zombie.  His trade mark Igbo was dangling between his right fingers.  At a stage, it really appeared as if Fela himself was the one playing the scene.  The scene was done on purpose.  Soon after FESTAC’77, Fela was noted to have criticised the Federal military government led by General Olusegun Obasanjo for having wasted a lot of money on the festival.  For a while, the anger which he ignited in the minds of the military was reaching a boiling point.  The Federal government was waiting for an opportunity to hit Fela and probably destroy his Kalakuta Republic.

    Then suddenly Fela released his Zombie, a mockery of the lifestyle of the military.  This was the height of it all.  So, as he and his people were on stage playing and demonstrating Zombie, the military struck.  They struck, not only to disrupt the flow, but to also cripple Fela, render him useless and teach him an everlasting lesson.  So, with brutal force, never seen in the history of any society where the military displayed the worst heinous crime ever, the Kalakuta Republic, located along Mushin – Ojuelegba axis of Lagos, was dismantled.

    Fela was taken away in a commando style, while most of his queens were raped, brutalised and dehumanised.  Watching the scenes in form of stage theatre brought back the memories of those days when the military held the yam and the knife.  It showed Fela entangled in the hands of his worst enemies, the enemies of the society, where no one had the temerity to criticise the government.

    As the soldiers stormed the inner foyers of the Kalakuta, they unleashed mayhem on everything, everybody in sight.  The most pathetic and perhaps symbolic of the scenes was when they began to look for Fela’s mother.  “Kai, kai,” a soldier shouted, “where that woman dey? Make we make am pay.  No be she dey give Fela juju?.”  As he did so, he looked upstairs with blood stained eyes, pointing his gun everywhere, towards every movement, looking for Funmilayo Ransom-Kuti, the 78-year-old mother of Fela, to harass and torture and perhaps kill.

    Meanwhile, in the background, Fela’s music played nonstop.  Different songs of his played to depict the scenes, the sorrowful mood to register the agony and the import of the situation in the minds of the people.  “Stupid man,” a soldier shouted is he sighted one of Fela’s boys.  “You people say water no get enemy.  Today you go see enemy plenty.  Kai – kai yeye man.”  Then he spat and hit the man on the head.  As the man struggled to his feet, a busty lady came along, trying to find a way of escape, because at that time the place was already burning. There was confusion everywhere.  He got closer to her, pointing both his torch light and gun on her chest, asking: Wetin be this for your chest?  Na water abi na chest out?  Answer me now now or I go bust the yeye thing comot for your chest.  Ashawo like you.”  Then he disappeared with the lady amid more confusion and yelling and screaming.

    Interestingly, the audience reaction was spontaneous.  It was a show that held people spellbound.  No one was in a hurry to leave.  The intriguing elements of theatre were present and the totality of the show proved that the playwright did his research very well.  Tunji Sotimirin, who handled proceedings, told the audience that this is the Fela we knew.  This is the Fela everybody is missing today.  This is Fela that used music, beautiful lyrics to rule the minds of the people.

    At a stage the whole scenes sounded as if people were at the shrine, the African Shrine, savouring the opulence of the place and watching Fela release yabis in reasonable quantum.  As he was led out of the Kalakuta, the boys regrouped someplace with a few of his queens who still had the courage.  The scenario thus registered proved how critical the situation was.  The band boys and girls began an argument as to whether Fela was right in his approach to music.  Was it right for him to build a republic within a republic?  Why would he abandon Kola Lobito to delve into Egypt’80 or rebrand his music to criticise government nonstop?  The issues raised by those people and the content and strength of their argument went further to show how deep they were; how Fela’s doctrine had been able to penetrate their inner-minds.  While some of them berated him for his fire brand stance on national and international issues, others supported him, saying, one has to live the sort of life he desires for himself and for his people.

    On the symbolism of Kalakuta Republic, some of them agreed that it was an artistic expression which Fela created to support his brand of music and the messages he had for the people.  Fela was an iconoclast and you cannot silence him.  His exposure to the United States of America where he met Sandra thus became a turning point in his life.  Then, the tempo of the music changed, the content became more forceful, with Fela himself being a person whose attitude towards oppression, subjugation and bad government, becoming more vociferous and somewhat volatile.

    But how did Fela manage to survive?  Well, as an Abami Eda, a cat with several lives, he came out of it, though physically brutalised and terribly dehumanised.  But he became stronger in the mind with renewed psyche more determined to defend the people through his music.  At that point when he called a world press conference to state his case and show where he was inflicted with injuries and wounds, Fela had indeed succeeded in drawing world-wide attention and sympathy to himself.  Even though the Republic was shattered and never to rise again, he nonetheless moved on.  He moved on to create more stirring and disturbing lyrics and soul-searching ideologies to pep up the minds of the youths.  Everywhere soldiers touched, Fela said, they leave sorrows, tears and blood.  Referring to these as their regular trademark, he released coffin for the head of state and confusion breakbone to further diminish the military in the eyes of the people.

    In fact, deeper political and social issues hence remained his stock in trade.  Then the tempo became slower but more evocative, provocative and penetrating.  Fela found strength in his own situation and suffering to further demonstrate that music is a weapon for change and awareness.  Biodun Abe, one of the organizers of the series of plays said “it is a play of all plays to remind people about the place of Fela in history.  This aspect of it was indeed the biggest turning point in his career, in his social and political life and commentary on the issues that affected the larger society.”

    As for Mallam Kabir Yusuf, the General Manager of the National Theatre, the series was created to bring back life to the Theatre.  “It is instructive to start with big theatre issues in the life of the nation.  And this is why we have made the Theatre environment conducive for all.”  This is the kind of show that will be happening at the end of every month as part of returning live theatre back to the society.

    With the stage background replete with some outstanding headlines on Fela during his heyday, the stage was indeed remarkably set to welcome this epic show.  It was an epic because it lampooned the society, it denounced idiocy, it pinpointed the numerous ills that plagued both the people and the government.  And with the crop of seasoned artistes who watched it gave vent to it.  It is the sort of play to keep the theatre ever aglow, busy and hopeful.  Fela son of Kuti as a classical stage play that can serve a better purpose on the Broadway or given enough boost as a travelling play.  It can be shown nationwide to give hope to people to envision the sufferings Fela endured for humanity.