The Nation Newspaper

Category: Arts & Life

  • Groups kick against regulatory bill

    The Nigeria Network of NGOs (NNNGO) has made its position known on the proposed Bill to regulate the acceptance and utilisation of financial or material contribution of Donor Agencies to Voluntary Organisation and for related matters.

    According to its Executive Director, Mr Oyebisi Babatunde Oluseyi, the Network, a coalition of over 1700 organisations, is uncertain and fear for the future. In recent years, he said, there has been waves of repression, including restrictive legal framework, administrative burdens in relation to registration and more subtly, funding restrictions under the guise of checking money laundering and probable terrorism funding. This, he noted, has stifled the activities of NGOs and other civil societies.

    “Many of the lessons we have learnt in our work as a Network and experience from national associations in different parts of the world revealed that a Bill such as the one being proposed serves to restrict our civic space. For example, the 2013 State of Civil Society Report published by Civicus indicated that threats to civil society is rising in many countries and is further shrinking and restricting the space in which these organisations can operate and contribute to public life,” Oyebisi said.

    He added that NNNGO has made use of every available resource to consult with its members and various stakeholders to review the proposed bill. The group, he said, has gone a step further to consult others in the civil society and not-for-profit world in different parts of the globe, through the Affinity Group of National Associations (AGNA) and the International Center for Non- for-Profit (ICNL).

    While commending the House Committee on Voluntary Organisation and Donor Agencies over their interest in ensuring that foreign aid is judiciously used by voluntary organisations, Oyebisi said, the NNNGO is concerned that the proposed Bill is in conflict with its rights as enshrined in international standards set in Article 22 of the International Covenant on Civil and Political Rights (ICCPR), which Nigeria acceded to on the July 29, 1993. He said: “Requiring prior approval for foreign funds is a violation of international law, including Article 22 of the International Covenant on Civil and Political Rights (ICCPR), and the UN Declaration on Human Rights Defenders.”

  • Scotland: From Commonwealth game to independence?

    Scotland: From Commonwealth game to independence?

    Today in the United Kingdom, the domestic issue of utmost political significance is the referendum due to take place in Scotland on September 18. The issue to be determined is whether Scotland will remain part of the United Kingdom or it is to become a sovereign state.

    The question may be asked, why is Scotland taking this politically crucial and irreversible step at this time?

    The answer is that Scotland has been an independent State (Monarchy) since 843AD and it was in 1603 when Scotland’s incumbent monarch, James VI, decided to merge with England in a move unprecedented in history.

    The merger of the two crowns was probably as a result of some personal friendship between the two monarchs and the first Head or king of the merger was James VI of Scotland. This means that the king of Scotland was the sovereign of the enlarged kingdom of England Wales & Scotland. The union was operated for 104 years without any legal or constitutional backing until the Act of union in 1707. Hence the Union of Scotland and England is over 400 years old though its duration is usually put at 300 years.

    The new political entity under the Act of Union (1707) was called Kingdom of Great Britain.

    In 1880, the United Kingdom of Great Britain was formed by the merger of the Kingdom of Ireland and the Kingdom of Great Britain under the Acts of Union of that year. In 1922 however, the 21 southern counties of Ireland withdrew from the union. The name of the diminished political entity is The United Great Britain.And Northern Ireland a name that subsists till today.

    To many outside the UK, the metamorphosis from United Kingdom of Great Britain to United Kingdom of Great Britain and Ireland and finally the United Kingdom of Great Britain and Northern Ireland is confusing.

    Drawing inspiration and encouragement from Ireland’s withdrawal from the Union, Scotland also started to agitate for HOME RULE. They did not tag their desire to withdraw from the Union as independence in order to avoid open hostility from the majority people of England. But the movement for Irish independence had started much earlier. The bill for Irish Independence was defeated in parliament several times and this perhaps discouraged the Scots from pursuing their desire for Home Rule.

    However the first serious attempt by Scotland for Home Rule was when a bill to that effect was presented to parliament in 1913.

    The Bill failed because of the prominence Parliament accorded to the First World War (1914-1918).

    In 1978, the Crown grudgingly approved a referendum to determine whether more powers should be devolved to Scotland. The essential condition for validity of the referendum result was that 40 per cent of the entire population of Scotland must vote YES. This means that on the simple issue of devolution of more powers to Scotland only 32 per cent of the population voted YES. Hence the proposal failed.

    Eventually, there was another referendum in 1997 and this time 44.8 per cent of the population voted Yes. Parliament of the United Kingdom subsequently enacted the Scotland Act in 1998 and created an elected parliament for Scotland. A largely elected provincial government was also created by the Act.

    From the above, the reader will see that the struggle by Scotland for autonomy has been on for long. The question once again is, after over 400years of association with the UK, during which time the country became the pre-eminent maritime power in Europe as well as the most powerful imperial nation on earth, why should Scotland, with a mere eight per cent of the UK population, seek to opt out?

    From available information, Scotland’s bid for independence is politically reasonable but economically harmful to the proposed state. Some of the political arguments for an independent Scotland include:

    (a)The concept of an independent Scotland has a strong emotional appeal and easily sellable (b) Self-determination on all matters including foreign policy

    (c) Abhorrence of the monarchy in the present UK

    (d) Desire to have absolute control over the proceeds of Scotland’s North Sea Oil.

    (e) Desire to move closely to the EU, which the UK central Government is planning to quit by referendum in 2017

    (f) The Scottish people wish to adopt a political model more in line with Nordic countries (Norway & Sweden) with which it is believed they have more cultural affinity

    (g) Many laws passed in UK legislature are for the interest of England rather than the Scotts.

    The above are by no mean, exhaustive of Scotland’s arguments for independence. On the other hand, the arguments of Pro-Union (UK) protagonists under the platform “Better Together” are fundamentally economic and they seek to call attention to the opportunity cost of Scotland Independence in September.

    (a)Because of its size and diversity, the UK economy can provide stability, certainty and levels of support that a small country can only struggle to provide.

    (b)Scotland can be independent and survive but it cannot be independent without economic risks. The failure of the Pro-Independent lobbyists to specify which currently to adopt for a Sovereign Scotland is one manifestation of that risk. George Osborne, UK Treasury Secretary, (Minister of Finance) has rejected the proposal by Alex salmond Head of Scotland’s provincial government, to operate Sterling Union at Scotland’s. Independence. The argument is that Scotland cannot file for divorce with the UK while it remains wedded to UK’s national currency, the pound sterling.

    (c) At present, the Uk’s economy is one of the most efficiently managed in the world and second largest in Europe. Its domestic market of about 62million people with high disposable income suggest that an independent Scotland (with only 5million people) faced with many economic uncertainties will suffer a much lower standard of living.

    (d) Scotland’s North Sea Oil fields are nearing the limits of their economic lives and the huge cost of exploration will make receipts from oil less attractive than now appears

    (e) Certainly, taxes will be greater in an independent Scotland

    (f) The financial cost of funding Scotland’s large ageing population (45%) could be conveniently shouldered by the UK Government as presently constituted. Leaving that to a new Scottish government will lead to financial insecurity and misery among Scots generally.

    If Scotland were to vote for Independence on September 18, it will take up to one calendar year thereafter before its sovereignty takes effect. Within that period, there will be a devastating run on Scottish banks and the confusion that will happen in the interim is better imagined. Since UK’s three political parties have rejected Scotland’s offer to use the pound sterling and Scotland will be ineligible to use the Euro, the new nation may find itself isolated from the outside world. Moreover Scottish owned banks like Lloyds and Royal Bank of Scotland with UK-wide clientele will have to move their Headquarters to London from Scotland’s capital, Edinburgh. This will mean massive job loss to the Scottish people.

    The above scenario implies that an independent Scotland may not have a functional Central Bank – a recipe for financial confusion.

    However it is fair to state that the cost of Scotland’s independence to the UK could also be very high as the international prestige of the former maritime and imperial power could be severely undermined in three critical areas.

    The European Union Big four i.e. Germany, France, Italy and UK, vote on the basis of population. Presently the UK has 29 votes on EU Council of Ministers. The loss of 5.3million Scots will mean UK will have the least population of the Big Four and will have to be relegated to second division alongside Spain & Poland with 27 votes each.

    Secondly, Britain is one of the eight permanent members of the IMF governing Board. Losing Scotland will diminish Britain’s financial muscle with the risk of calls for UK’s replacement by a country from South East Asia or South America where economies are booming.

    Lastly, and perhaps most important, Britain is one of the five permanent members of the United Nation Security Council which can approve military action.

    Losing Scotland may lead to calls UK’s replacement on the Security Council.

    Because of the aforementioned possible international humiliation the UK may suffer on Scotland’s independence, Her Majesty’s Government has been making various overtures to placate the people of Scotland in the last few months. For instance, Prime Minister David Cameron recently offered to invest huge funds into exploration in the North Sea Oil such that in the next five years, income from that source will be in excess two Hundred Billion pounds. This will be a big wind fall for Scotland. Similarly the Queen, in a smart political move consistent with Royalty, last month launched the construction of the largest warship in the history of the Royal Navy HMS Queen Elizabeth at Crosby in Scotland. The cost of the Warship is about six and a half billion pounds. The location of the ship building yard will have positive economic benefits to Scotland. In fact, a sizeable proportion of the contracts are awarded to competent Scottish firms. Britain’s adventure into space tourism has also been approved by Her Majesty’s government. Of the eight locations approved for the takeoff of the space ships, six are in Scotland and the expected revenue from space tourism is about 12 billion pounds annually. This will also generate substantial economic benefits to the various locations. To prove that space tourism is real, Sir Richard Branson’s Virgin Galaxy has collected deposits of about 50 million pounds from prospective space tourists.

    To further pacify the people of Scotland, all the three political parties have agreed to devolve more powers to the Scottish parliament and Government especially the power to collect some categories of tax.

    From the above, it is clear that the economic implications of Scotland voting for independence on September 8, will harm the new nation as well as do serious harm to the international prestige of what remain of the UK.

    The people of Scotland must realise that what was politically and economically reasonable in 1922 when 21 counties of Southern Ireland opted out of the Union of Great Britain and Ireland may not work out well today as the economic odds against Scotland are indeed great. For this reason key Scottish personalities are in the forefront of the campaign against a break –up of the UK. Gordon Brown, former prime minister, Sir Alex Ferguson, easily the most successful football manager in Europe are against independence for Scotland. And it is my opinion that if Adam Smith, a British citizen of Scottish extraction and one of the world’s most respected economists were to be alive, he would most probably caution against independence for Scotland today.

  • Echoes of 1897 Benin invasion

    Echoes of 1897 Benin invasion

    It was a festival of sorts when scholars converged on Benin City, the Edo State capital, last week under the auspices of the Nigerian Oral Literature Association (NOLA). Revisiting the Benin 1897 Expedition, they sought  ways of harnessing culture and festivals for national development. Evelyn Osagie reports.

    With more than a 1000-year-old history, the old Benin Empire is etched in the hearts of scholars, historians, artists and culture aficionados worldwide.

    It is no surprise that its historic charm caught the fancy of literary scholars and culture enthusiasts, under the auspices of the Nigerian Oral Literature Association (NOLA).

    With the theme: Arts and Literatures in Nigerian Festivals, the scholars thronged Benin, the Edo State capital, seeking to prevent the dearth of Africa’s rich cultural heritage and draw attention to economic wealth in the sector. The scholars re-emphasised the need for government to implement the provisions of the Cultural Policy for Nigeria (1988).

    According to them, “the Culture and its multiple Industries house a more valuable economy than oil, gas and solid minerals”. They argued that culture is the bedrock of all aspects of national development. And their focal point was the economic relevance of ‘Festivals’.

    On Benin 1897

    Hosting the conference in Benin City barely a week after the city became headquarters to the former Midwestern Region, the conference organisers said, was intentional. “The spirit of the centenary influenced the choice of this year’s theme for our conference. It is also apt that Benin City is our host for it was the invasion of the ancient city on February 17, 1897 that triggered the political and military actions culminating in the amalgamation in 1914, 17 years later. As historians have shown, the destruction of the city and the fall of the 1000-year-old Benin Kingdom epitomised the conquest of Nigeria by the British imperialists.

    “With immense influence on fields of literature, music, visual, sculptural arts, its history has generated numerous traditions of myths stories performance arts and festivals such the Igue Festival celebrated yearly in December,” NOLA President and culture advocate, Prof Godini Darah said.

    While praising the efforts of the people of Benin for preserving their culture and historical heritage, despites foreign influences, he noted: “For the peoples and nations of the old Benin Empire, this is a week of joyful remembrance of freedom and celebration. Much of the territory of the old Benin Empire became the Midwestern Region in 1963 on August 9, 1963 when it was created from the former region of Nigeria. Although the Midwest (Bendel State) has since been split into Edo and Delta states, the memories of shared history and artistic heritage still lingers. One of those histories is the Benin Expedition of 1897.”

    For the Director, Edo Cultural Group International, Mr Aikpitanyi Iyekoretin, the British invasion would never be forgotten by the Edo people. He said: “The impact of the invasion of the British to the city in 1897 is ever with us. The memory lingers on; just as when a wound heals, the scar remains forever.”

    To keep the memory alive are diverse folksongs and traditional performances handed down and used during traditional occasions and festivals. One of such performances is the Izagbede dance drama, sequential dance piece highlighting the historical accounts of the British invasion.

    Deck in the colourful traditional attires, the cultural troupe gave the guests a gleam of Edo rich cultural heritage and festivals. “Izegbede tu vberan, tu vberan! I maren ne I gha yo…”, meaning the struggle and embarrassment caused by the British did not make for extinction but only caused confusion…, began the troupe as its members thrilled the audience with their electrifying performances. They re-enact the dance piece along with other famous Edo folksongs and festivals dances.

    “This, with some corresponding songs, is used pass the information of the period to the present and coming generation,” Iyekoretin said.

    Festival as nation’s treasure base

    Moved by the performance, the scholars noted that “every festival forgotten or abandoned is akin to a treasury of knowledge lost to humanity”. With about 170 million people, over 500 languages, a warm tropical climate, diverse cultures, histories, arts and a large Diaspora community in all continents of the world, Nigeria is a veritable livewire of festivals and festivities, they further observed. They, thus, linked the development and promotion of festivals to the economic, historical and growth of a nation.

    “Our festivals are an economy of their own. As African descendants in Jamaica and other Caribbean nations have demonstrated, cultural festivals are a treasure base of national economies. There is the adage that a community where there is no festival is like a journey undertaken without a travel guide or map. Each year, according to the Nigerian Tourism Development Corporation’s Tourist Map of Nigeria, about 96 festivals take place in the country along with hundreds that unrecorded. These are indeed a huge untapped market, if you ask me,” Prof Darah said.

    In addition, the scholars decried the neglect and marginalisation of the Culture Sector by past administrations, saying ‘bad governance’ and insurgencies witnessed in recent times are the aftereffect of such neglect.

    While calling for a national re-orientation, the eggheads drew particular attention on the provisions of Section 7 of the policy which offers that the state (government) shall not only recognise traditional festivals as periodic celebrations, but also promote them and preserve them.

    “There is the imperative need to put culture at the centre of national socio-economic planning and democratic restructuring. Unfortunately, the indices employed in the recent rebasing of the national economy did not include data from culture and what it contributes to the survival and prosperity of the country. Yet culture and its multiple industries are more valuable to the country than pollution-generating and perishable endowments like oil, gas and solid minerals.

    “The official neglect and contempt for culture and its creators and transmitters reflect the poverty of philosophy among the ruling elite; a poverty of ideological orientation so pervasive that over 90 per cent of the basic needs of the citizenry, including food and clothing, is imported from foreign lands.”

    Festivals as footing to theatre

    Prof Olu Obafemi, who gave the keynote address, reaffirmed the importance of festivals to development of education, saying traditional festivals have influenced scholarship, particularly the written literature and theatre. His paper linked the development of theatre in Africa to prehistoric and indigenous performance traditions such as festivals.

    He advised African scholars to write their histories and new theories of literature and theatre, drawing inspiration from their oral tradition. He said: “Big ideas and theories are hinged on African Festival. The earliest encounters with theatre in African countries are with the theatre that inherits its repository and provenance from indigenous performance forms, language and environment. Contemporary theatre of Africa is linked to and draws from individual rituals, festivals, folklore, and seasonal rhythms of ancient and indigenous performance traditions.”

    Future should speak

    On the part of Prof Tony Afejuku, African scholars, critics and historians should move beyond the blame game, saying they have dwelled too much on the continent’s negative past experiences. He urged his contemporaries to propound new world-class theories and studies that would move Africa forward using its rich cultural heritage, saying this trend has contributed to the under-development of Africa in all spheres, compared to other continent. He said: “Don’t dwell in the past move on. The Asians were also colonised but they have not allowed hold them back, instead they have looked inward and are tapping into their cultural heritage to create new innovations. What happened to the Benin arts after 1897? Does Igun Street not still exist: what new innovation has been done by the government and people to tap into that industry?”

    With a mind of contributing to government’s efforts at implementing the 2013 UNESCO Convention for the Safeguarding of Intangible Cultural Heritage, NOLA said its members are determined to embark on field recording and translation of oral literature and folk traditions of geo-political zones of the country.

  • For the love of gender equity, social inclusion

    It was a gathering of intellectuals. The roundtable of eggheads gathered in Lagos for the same goal: to chart proactive ways of improving the agenda setting of the media.

    To sensitise media on the need upbeat and professional reportage, the Lagos State Gender Advocacy Team (LASGAT) with State Accountability and Voice Initiative (SAVI) took the plunge to organise a two-day workshop for media in Lagos.

    The organisers said the workshop was an attempt at implementing various policies on gender equity and to educate the media of the relevance of social inclusion of specific people: in this context; children and the people living with disabilities. Their role as the fourth estate of realm, SAVI President, Dr Adebayo Adebukola said, can never be overemphasised.

    In attendance were journalists from electronic and print media, bloggers, human right activists and owners of non-governmental organisations. The facilitators included professionals, who had been handpicked to do justice to different topics. They were conflict and strategy expert, Olutoyin Falade, Vivian Ememsowum and disability rights advocate, Emmanuella Akinola.

    In his address, Dr Adebukola, stressed that gender is a social construct. He said: “Each gender has different functions. Sex is a relative term. It is not restricted to men and women alone but age concept. Though most people get it wrong, it is not necessarily a man’s world. It is everybody’s world. Equality is not always the same. The representation, participation and portrayal of both gender in the media, is not equal at all. The feminine gender is often disadvantaged. Their beauty; voice and aura are always used as selling points for products, movies and adverts. Gender advocates tends to tilt towards feminism. Children should be brought up equally, regardless of gender.

    “The media is largely responsible for what the society is today. It reflects to us about who and what we are. The media has fair share of social challenges and inclusion. As media practitioners, we need to begin to build. The movie industry has actually not done much in screening the sort of things that are exposed to the public. Writers of the story are obvious carriers of these stereotypes. Women do not own or have a higher position of management. How many women are in the guild of editors in various news organisations? Women are grossly under represented. The media has been insensitive towards the need of the woman. In the advert media, there is gross exploitation of the women sexuality. It is as though men are catching fun at the expense of the pride of women. All these things lend credence to the fact that media content do not contribute to gender equality. There is need therefore for the media to be gender-friendly and inclusive in their reportorial.”

    On the need to mainstream gender in local governance and reporting, Ememsowum said the participation of men and women in formal and informal decision-making varies greatly between countries but it’s generally in favour of   men. She said gender mainstreaming is a globally accepted strategy.

    Conversely, a conflict and strategy expert, Falade, in the presentation of her paper, enlightened the practitioners on Conflict Sensitive Reporting. She emphasised on the need to report conflict in a sensitive and harmless manner in order not to aggravate the situation while trying to find a solution to it.

    She said: “Conflict involves disagreement, clash, collision and a struggle of contest between two or more parties. It should be seen as an opportunity for change. Although conflict sells because it is attractive as a source of news, media should be sensitive towards people’s reaction when you write. Media reports are part of traditional rule of providing information, education and entertainment. People rely on media to create images and form opinions. The media perform surveillance function in the country.

    The aim of conflict reporting has become a threat to societal survival. Through selective reporting determines what the public see and think. This would explain why journalists are usually dragged to courts with different avoidable cases. It is a result of professional incompetence and a manifestation of mental laziness. It is, therefore, time for media practitioners to balance their stories in ways that their job won’t be affected and the integrity of the people whom they seek to represent would be intact as well. Be accurate, fair and objective in reports. Tell the truth.”

    On child sensitive reporting, Falade added that media are not usually insightful about the need not to harm any child through reportage. While she saluted some of the media houses on their effort in maintaining that children are well reported, she enjoined other media houses to follow suit.

    “Programmes as well as movies should be screened. Children have copy-cats spirit as the make-up of their body psychology. Avoid programmes and publication of images that is damaging to the children which intrude upon their media space. Also avoid use of stereotypes and sensational presentation to promote journalistic material involving children. Avoid the use of sexualised images of children.” she said.

  • Walker and the restitution of two Benin bronze (II)

    Walker and the restitution of two Benin bronze (II)

    Dr Peju Layiwola recalls the historic return of the stolen Benin bronze.

    The unending debates over Benin looted treasures have thrown up obnoxious theories emanating from the West. Kwame Opoku, a lawyer, known as one of the most vocal advocates for the return of stolen objects to countries of origin, has consistently responded to some of these theories. The proponents of a shared and universal heritage, acquiesce to the keeping of illegally acquired works in foreign so-called ‘encyclopedic’ or ‘universal’ museums. Their claim is to keep the art of the world in trust for mankind- a view popular among directors and curators of these universal museums. It is important to note that these Universal museums are all located in the Western world. Benson Osadolor, a History lecturer at the University of Benin describes them as the ‘Museums of Loot’ following the ‘Declaration on the Importance and Value of Universal Museums’ signed in 2002.   This concept has become very popular amongst curators of western museums and help propagate and legitimise the continued keeping of looted works. To better appreciate the brazenness of this argument, it is important to quote excerpts from the declaration.

    “Whether (acquired) by purchase, gift or partage- (the artefacts) have become part of the museums that have cared for them, and by extension part of the heritage of the nations which house them.”

    In other words, since the Benin objects were first looted and then sold to collectors, the buyers of these looted objects now have the right to own them because they have so ‘graciously’ cared for them. Being able to pay for them gives a buyer of stolen objects the right to own them. Additionally, the nations which have acquired these objects or house buyers or museums with illegally acquired objects are now by this declaration free to assimilate the objects as part of their national heritage. It has been noted that almost all the signatory museums to this preposterous declaration belong to the nation states that signed the final document of the 1884/1885 Berlin Africa Conference. On the other hand, there are those who argue for works to be retained within their national jurisdictions. They are often referred to as nationalist retentionists. The British government has been constantly reminded of its need to return looted objects. Nigeria and Greece have been consistently demanding for the return of their objects housed in the British Museum. The Greek’s demand for the Elgin marbles has gone on for a long time, the same way the Benin monarchy have been on the case for the return of their heirloom.

    In support of the nationalist retentionist’s position, Walker clearly states: ‘I believe the international community is guilty of double standards with regards to such artifacts. When for example at the end of Second World War came, looted works of art were discovered in Nazi home, we went through a great deal of trouble to return them to the families from which they had come. I cannot understand what the difference is between Nazi and looted objects of Benin… If you ask the British Museum, they would say ‘well, they are only custodians’. If you ask (British) politicians they say ‘it is the business of the British Museum’. So, we go round in a circle. We need to persuade not just the British public, but the international community that it is unethical and immoral to be holding on to items which were not legally acquired. To this end I think, this event is important particularly if it achieves publicity not just here but also in Britain. I am confident that within another generation we should see a lot more of these objects returned to Benin.

    While this return has come out of a private collection in the UK, it is pertinent to add that several thousands of looted Benin works still remain in public museums in the UK, Germany and the US. Soon after the invasion of Benin, the works were first collected in the courtyard of the king from where they were later shipped to Britain.   On arrival in London, the Admiralty auctioned them. Later in 1897, the British Museum exhibited well over bronze plaques loaned from the Foreign Office. Charles Read the curator of the British Museum at the time facilitated the auction of the pieces, which got into several British, and other foreign private and public collections.   Today, a large number of looted Benin works can be seen in the galleries of the British Museum as well as many other museums across Europe and America.   Ever since, there has been no return made to Nigeria from the British Museum despite several requests from Nigeria for the objects in their kitty. In 1977, the British government turned down the request made by the Nigerian Government to loan the popular Queen Idia mask stolen from the bedchamber of the king which later became the symbol of the Second World Black and African Festival of Arts and Culture (FESTAC ‘77) in Lagos. This mask along with four other similar pectoral masks can be found in the Linden Museum, Stuttgart, The Metropolitan and Seattle Museums in the US and the most popular one at the British Museum. The fifth mask in a private collection surfaced at the Sotheby auction in 2010. After the 1977 request came another, this time on the occasion of the 30th anniversary commemoration of FESTAC. In February, 2007 Professor Tunde Babawale, Director of the Centre for Black and African Arts and Civilisation (CBAAC) made a fresh request to the British Museum for the mask. The Director of the British Museum, Neil Mcgregor, glossed over his request, replying that the British Museum had been invited by the NCMM to offer assistance and advice on the development of the Lagos Museum. In the 1950s the British Museum sold a number of Benin art objects to Nigeria. These were purchased to beef up the collection in the newly founded museums.

    Several attempts at retrieving Nigeria’s stolen art objects have been carried out over the years. Bernie Grant, an MP in the British House of Commons, made a request to the Director of the Art Gallery and Museums in Glasgow in 1997. As a follow up to this letter, Emmanuel Arinze, Chairman, West African Museums also wrote letters of request for Benin objects. By 2000, Prince Edun Akenzua, the Enogie (Duke) of Obazuwa and brother of the Oba (king) of Benin gave testimony before the British House of Commons. In 2008, I had delivered a request letter from Prince Edun Akenzua to the Art Institute of Chicago. In all of these cases, there has been no response to mails. The lack of response has, however, not dissuaded people from reacting to this historical injustice. Fresh requests and responses occur as often as the issues of the looted artefacts resurface.

    One of such was the sale of Benin artefacts by Sotheby in 2001. A 16th century Benin ‘Oba’ mask was to be auctioned for about 4.5 million pounds sterling. The consignee was a descendant of Lieut. Col. Sir Henry Gallwey, Deputy Commissioner and Vice Consul in the Oil Rivers Protectorate in 1891, who took part in the infamous British Expedition. Protests organised by civil society groups and Nigerian intellectuals against this sale spread from the streets of London to social network sites. The consignee was forced to pull down the work from the auction. It is no longer business as usual to profiteer from the loot – a loot which was forcibly removed during a very bloody contest between British soldiers and Benin defenders. At another occasion, Nigerians living in Chicago protested in 2007 when news came that the Art Institute was selected as a venue of the travelling exhibition of Benin art titled Benin Kings and Rituals: Court Art from Nigeria. In 2013, the controversial donation of 32 Benin objects by the Lehman Brothers to the Boston Museum of Fine Arts, USA and the Museum’s search for legitimacy from the Benin Royal family caused another stir.

    It is important to mention here that the British expeditionary soldiers had a field day picking some of these Benin objects as mementoes for themselves. Captain Egerton took for himself about half a dozen objects. Admiral Harry Rawson, the commander of the expedition and Sir Ralph Moor, the Consul General of the Niger Coast Protectorate, sent to Queen Victoria a pair of exquisitely carved leopards as well as two carved ivory tusks as gifts from the troupe. It was in this context that Captain Walker acquired his own pieces. While descendants of Sir Henry Gallwey have resorted to making money from the loot of their grandfather, Walker has decided to return to the original owners what his father himself described as ’loot’ in at least three entries in his diary. This act of honour is the reason Edo people came out in large numbers to show immense gratitude to a man who has followed the path of nobility and conscience. He has resisted the temptation of profiteering from works that were taken forcibly from a people who defended their kingdom with their lives. One can only hope that other individuals and descendants of British soldiers and particularly, foreign museums and institutions keeping Benin works would return them and in good time too.

  • Gaining marital strength through patience in challenges

    Without disregarding the school of thought that whatever happens to is an “act of God”, Ebi Akpeti believes certain challenges could be man-made partly because of the way they are handled.

    In her 113-page book, God Has A Sense of Humour, Akpeti treats without sentiment, challenges that bedevil young female adults and their spouses. While noting that one cannot rule out “divine intervention” from man existence, Akpeti posits that every woman is responsible for her success or failure.

    It throws light into issues on infidelity, loneliness, abuse, home management and balance between carrier, religion and realities of life, while it establishes that motherhood or marriage should not be held responsible for non-fulfillment of God’s purpose.

    Without sentiment, her sense of creative imagination, narrative insight, intellectual drive and language structure remain contestably applauded. Her stories could be consistently compassionate as she attempts to enter the shoes of each of her characters.

    A collection of seven short stories, the book could be best described as witty, engaging, romantic, inspiring, funny, reassuring and full of suspense.

    A Prison with Golden Gates, tells the story of a banker, Akin that fiddles around with other mistresses aside Remi, his 38-year-old wife who is nursing the only baby of the family. The extramarital affairs turn the table round as he spends quality time after office hours with Eno, a pretty single lady living close-by, almost abandoning wife and baby. Remi’s hope of happy married life dwindles daily and this makes her to take the last option of tracing out the hide-out of her husband.

    “As I sat in the cab watching, a middle-aged woman opened the front door of the house. She was not someone I knew. As she let him in, I saw him bend down and plant a lingering kiss right on her lips. Then, like a loving husband, he walked into her house with his arms wrapped fondly around her waist.” (14).

    After this drama, Remi forcefully finds her way into Eno’s residence but the obscene image she captures as she enters blow away her psyche.

    “Remi, please go home. When I get back, we will discuss this,’ he whispered.” (15)

    With the drift of guilt all over him, Akin eventually discovers how to tackle it all by applying a smartly ‘bone-face’ strategy. “Remi, take a look at yourself…Every time I look at you, I feel like I have lost a wife and gained an overweight, ailing mother.” (17)

    Remi seeks for advice from friends, mother and father because the 10-year-old marriage is about to crash. You need to find out from the rest of the story, how Remi wins back her heartthrob.

    In certain instances, two opposite sex may be so close and friendly but not necessarily with the ambition of becoming lovers. But then it may be painful if one of them, especially the lady is battling with the urge to be at fit with the other. Such is the case of Dan and Ethoan who have been good friends for four years in the story entitled The Gong That Should Have Deafened Me. Ethoan becomes Dan’s ‘love doctor’ sharing thoughts and dreams about his interest and challenges in love relationship with other ladies. Each time she offers advises, she feels grieved because she wants this guy by all means while the guy does not see reasons why they should become lovers. She eventually recommends Amaka for Dan, knowing fully that she (Amaka) does not merge his requirements with the hope of setting trap to capture his love. Unfortunately for Ethoan, Dan conveniently settles for all the odds in Amaka, formalise the relationship on the altar and leaves a ‘Growing Pain’ on his friend, Ethoan.

    Of course, she couldn’t help sobbing in soliloquy: “The most important lesson I learnt from that experience, however, was that I cannot make anyone love me, and it’s okay! We do not have to work hard to receive love; it is either there, or it is not! …Love is simply a matter of grace…I have learnt not to take it personally when someone does not want me around, but to respect myself and to know when to take a hike?” (41)

    The book takes its title from the next story, God Has A Sense of Humour. This man wants an abortion but the woman insists it’s ungodly. Even before their marriage, Ladi and Alex have concluded they were going to have only three children. After the first born, the wife was pregnant again and brought up twins. No thanks to contraceptives to keep the going but it clicks again! Since Ladi would not want to follow him to Dr. Wilson for abortion, he stops eating at home, moved to the guest room, refuse to respond to greetings. The story is a lesson as it establishes the majesty of God at the end.

    “Happy birthday, Ada. This might not be the best time to say this but please stop coming uninvited to my house. I am not interested anymore. Focus on finding someone that can marry you. Happy Birthday.” (63)

    This bombshell in, Singlelaria, narrates the ordeal of a 38-year-old spinster that was jilted on her birthday. Does she commits suicide or survived the earthquake? The rest is story.

    Other stories include Death Is No Longer a Rumour; The Woman that Marries for Money Earns Every Kobo and Life Can Only Be Understood Backward.

    Akpeti’s message is clear, convincing and timely.

    The book is recommended for those who aspire to weather through all peculiar challenges in their endeavours.

  • For love, relationship

    Love, relationship and sex, in the order of important hot topics in the minds of young people rank next to career and money. Youths feel highly misunderstood by parents, teachers, churches and society. Youths have little or no experience about life; no past and no tradition and therefore feel as free agents. They are risk takers and adventurous and like to explore and experiment.

    Bola Dada has dedicated a great portion of this book to the topic of sex the way most authors have not. Sex is the topic most churches do not like to highlight. Parents hope that their wards will not get into it early and the fear is that they may get into trouble.

    Since these issues; Love, relationship and sex are front burners of the existence of man particularly the younger generation, they dominate man’s thoughts and faculty and also represent the key topics of discussion among friends, in the media, social media and books. These issues also play a major role in many decisions and interactions with the opposite sex.

    Bola Dada, in this book, ‘Love, Relationship and Sex’ tries to explain these issues from the perspective of being a christian. In his view, pains,agonies, heart breaks, disappointments, betrayals, frustrations and losses can all be avoided if choices concerning love, relationship and sex are made under the influence of GOD.

    The book contains eight chapters. Chapter one is titled, ‘Let’s talk about Love’; chapter two talks about ‘Chastity’; chapter three is titled ‘The Sex Drive’; chapter four is titled: ‘The trials, the temptation and the test’; chapter five discusses ‘Appearance’; chapter six is titled ‘Who are your friends?’; chapter seven is ‘Building a successful future’ and the last chapter is titled ‘Where are the sons and daughters’.

    The first chapter talks about love which is the greatest desire of man; to be cared for. In history, the greatest songs of all time are songs about love. William Shakespeare attained a high ground as a playwright and poet with his plays and poems on love. Romantic novels are usually best sellers and even when thrillers are about crime and adventure, the authors more often create romantic dimensions.

    Most of the movies produced all over the world are on love and when they are not, romance is still included in the plot. In musical videos, makers of music maximise sales with the creation of a form of romance with sexual appeal through dance steps and in the appearance of characters in the videos. Regardless of what is adertised; soft drinks, tissue paper, toothpaste and so on, television commercials also displays a form of love,romance and affection. So, if love is seen in all these and shown everywhere, when young persons come into the world, they like everyone else have to satisfy their love desires because it does not take much to learn from the environment.

    Therefore,the book postulates that what the world preaches in the movies,books, soap operas and songs as love is not love at all. The world teaches lust, infractuation and obsession.

    Chapter two talks about chastity. The book explains that chastity is the quality of practising sexual purity. Sexual feelings are part of what makes us human. That is why married couples can have romantic feelings. Sex, invigorates a marriage and adds zest to life and it enables a husband and wife to be truly one. So, there should be a proper outlet to build the sexual feelings and the only outlet that God recognises is marriage.

    Young individuals play around with sex in the community with reasons which the book refers to as ‘Common lies of the devil’ which are: Everyone is doing it so we should not be different.Nothing is wrong with it, boys saying that they will get married as soon as possible and many girls are falling for the line ‘I cannot help myself’, ‘If you love me, you would let me’, ‘Just this once’ and ‘If you do not let me, I will do it with someone else’.

    The author, gave reasons why young individuals should avoid pre-marital sex. He said one may never know real love with such act, sex before marriage may affect sexual relations with one’s spouse, there is loss of dignity and self-esteem, it leaves an individual with a life-long guilt, there is loss of God’s presence, there is exposure to devil’s attacks, there is a danger of contacting sexually transmitted diseases, possibility of marrying just anybody and danger to hell fire.

    Purity on the other hand is beautiful. It means that a person has character, self respect and courage. The book encourages that individuals should always turn to God in prayer.

    Chapter three is on sex drive; a powerful force in the body of males and females which creates appetite for sex. According to the book,young individuals should not allow movies, soap operas, and commercials on television to shape their minds. It is important to understand sex drive and learn to control it before marriage. This is possible because God would not ask of it if it was not possible.

    All young people are bound to go through difficult times and face trials(betrayals and disappointments) in life. Chapter four of the book talks about ‘the trials, the temptation and the tests’. Trials can manifest in form of lack which makes concentration on important things impossible. Whatever an individual goes through in life, is nothing compared to a bright future by God.

    In Chapter five, titled: ‘Appearance’, it reflects the different ways of dressing around the world that centers on multiple cultures, values and religious beliefs. Like Moses, a way of dressing may be used to identify a civilsation one belongs to and may even reveal one’s religious inclination. Dressings which reflects people’s cultural background and scriptural admonition have been done away with. Dressing seems to have gone haywire everywhere.

    In the nation’s higher institutions, most female students now dress so provocatively and this is also seen in the ‘well modernised’ Pentecostal churches. When you wear clothes that are revealing, you send wrong messages to people. The boys are not left out. The waist of their trousers are lowered and fastened tightly at the middle of the two bottom lobes to reveal their inner wears. This is known as ‘sagging’. In the aspect of bearing tattoos, he examines that throughout history, the tattoo bears the mark of paganism, demonism, baal worship, shamanism, mysticism and every other pagan beliefs known. He attributes bad dressing to poor parenting and wrong influence of the society to individuals.

    Indecent dressing is not good for a christian. It encourages rape and sexual harassment.A fine boy and girl does not need to go semi-nude or sag.

    Chapter six assists young individuals in defining friendship. A good friendship is progressive, there are quality discussions, good behaviour and advice, love, concern and understanding.

    In ‘building a successful future’ in chapter seven, the author advises as one journeys through life, one should be moving in the direction of set goals and ambition. Achieving goals will not be an easy task. An individual will go through a lot of obstacles and distractions and one could only get to the desired destination through focus, good strategies, determination, discipline and diligence.

    The last chapter titled: ‘Where are the sons and daughters?’ discusses Abraham’s faith in God which is legendary and it remains a model for children of God today in putting unalloyed confidence in God. In the story of creation, God created man to be fruitful and multiply and replenish the earth. But satan ensured he scuttled the fellowship between God and man. The satan knows that God hates sin and being the great deceiver and liar, he deceives Eve and man into sin.

    One lesson to learn is that satan can go to any length just to destroy one life. If he has to kill everyone in a commercial bus, derail a train filled with passengers or sink a ‘Titanic’ just to get one soul, he will not think twice. The good news is despite the onslaught of the devil against the church, the church will continue to march on and the gate of hell can never prevail on the church. Which side are you on? The author asks readers in this last chapter.

    A new earth created by God is a place of continual fellowship with God. No more sickness, diseases, poverty, anxiety and darkness. Death will be thrown into the lake of fire and therefore, there will be no more death.

  • Celebrating the legends

    Celebrating the legends

    The theatre scene is bubbling with life now.  The legendary plays series is going on with four plays by Fred Agbeyegbe put together by top Nigerian artistes.  Edozie Udeze spoke with the three directors of the plays

    At the National Theatre, Iganmu, Lagos, at the moment, stage theatre is totally on course.  A group of artistes have come together to organise what they termed legendary plays series in which, periodically, plays of renowned Nigerian playwrights are packaged and presented to the public.  For now, the plays of Fred Agbeyegbe, Lawyer and one of the most consistent dramatists in Nigeria are being showcased.  In the show, four of his plays are involved and three professional and seasoned stage directors including Biodun Abe, William Ekpo and Muyiwa Osinaike were chosen to direct the plays.

    For the month of August, the plays would run every weekend to enable thespians and theatre enthusiasts to have the opportunity to watch live and stage plays.  Invariably, it is to keep the stage alive and ensure also that the National Theatre is not bereft of attention and ideas.  According to Ekpo who incidentally directed two of the plays, “before we decided on the project, we looked at the National Theatre, where there is so much passion, so much interest, and found that if we do this here, people would come back to begin to patronise the National Theatre.  We are happy that a lot of things are happening at Freedom Park, the Muson Centre, Terra Kulture and so on.  But we are not too happy that theatre is not totally alive here.”

    Based on this consideration, the artistes decided to put up plays that would appeal to the people; plays that are not only topical but equally dwell on issues that pertain to the very existence of the society.  “So we decided to include The King Must Dance Naked; a play that is based on the selfishness of a leader who later paid for his in-ordinate behaviour.  With the assistance of the National Theatre management and others we’ve been able to do this so that after Agbeyegbe’s we will do more in the series.  It has to be every three months so that people will not be bored.  It will also give us more time to create and build enough enthusiasm in the minds of the people,” Ekpo explained.

    With the plays which include Woe Unto Death, Human Cargo, Conflict Resolution and the King Must Dance Naked mounting the stage, Nigerian artistes are indeed bubbling with enthusiasm to keep the hope alive.  While The King Must Dance Naked was on stage at the weekend, with the hall packed to brim, the audience could glimpse through the kingship situation in a typical Itsekiri settlement in the Niger Delta.

    At the same time, it is the story of Nigeria, of a people steeped in a state of anomy.  Explaining the play further Osinaike who directed it said:  “Even though the play was given to me to direct, the inherent message is not indeed lost on those who follow events in the society.  The story of the culture of some people, from the South-South region, precisely the Itsekiri people, is what is presented.  It was written many years ago and was performed during the Ajo Festival in 1986.  The theme and message are still very topical.

    “If the king in my life has been pretending to be what he is not and then I have to be more careful on how to handle such a person.  This king may be my wife or my son; he could be a relation. There are many pretenders in the society; people trying to be too deceitful in whatever they lay their hands on.  So, if the leader or king is that of my country who has been this deceitful, then the people should expose him and shame him publicly so that there will be progress.  So, to me, it is topical now.  In fact, it may not have to be the president.  It can be the councellor of your area or the local government chairman.  Now, the people say okay, we do not have employment.  There is youth restiveness and all of that and we have to react to show our disdain towards the king.”

    In the process of all this, the people forced their king to dance naked in public.  Today, many people want the king to dance naked so that the secret of the high places will be revealed and peace will reign.  At the end the day a new king will ascend the throne to usher in progreess and modernisation.

    Abe who directed Conflict Resolution which will be the last play to be staged, harped on the need for people to look inwards to promote local plays, plays that have a lot to offer the public.  To him, that is one of the ways to bring back life to the National Theatre and recreate that wonderful ambiance or peace for which Theatre is known over the years.  “Having renovated the Theatre, we feel it is time for us to encourage theatrical activities to begin to happen here.  We have many cinema halls, many other halls well-equipped to serve this purpose.

    Today the management feels that the best it can do is to bring back live drama and that is why it gave out the halls for this legendary plays series.  As it is, the management has even called all the interest associations and theatre groups to a meeting and told them that the Theatre is ready for use,” Abe said.

    As a result of this, more plays are expected to be staged as time goes by so that live theatre will not continue to be in limbo.  “For now, we’ve decided to collaborate with groups or individuals who have need of the place.  The collaboration is made so conducive so as to enable artistes have the opportunity and wherewithal to have most of these shows in the numerous theatre halls that are available at the Theatre.”

    In supporting the industry and the artistes who are the direct beneficiaries of this arrangement, the hosting of these series of plays thus became imperative.  It is expected that fewer theatrical programmes in the next years, will be back on track now.  The plays have been made to incorporate other issues like jokes, music and more, so that it will embrace total entertainment that will sustain and captivate the interest of thespians.  “Yes, it is a way of ensuring that nothing is lacking in the process,” Abe enthused.

    Abe also noted that even as the plays go on, the industry players need to do their own bit to ensure that the project becomes a huge success.  Even as the venue was given to them at no cost, it is expected that they provide alternate source of power in case there is a power outage.  It is when some of these essential issues are properly taken into context that the plays can run smoothly and thespians will be guaranteed a pleasant outing.  “What we are saying is that when there’s power outage, provide your own source of power.  That should be your own part of the collaboration.  We are also saying that stakeholders should try to come back to their trade; it is their responsibility to join in making the National Theatre lively by bringing their shows and programmes to the place.”

    Part of the problems that militate against the promotion of shows, according to Abe, is lack of funds and the inability of a lot of artistes to raise enough money to put up shows.  “But we are hoping that with this kind of collaboration, more artistes would be encouraged to look inwards, knowing that they do not have to pay exorbitantly to host shows.

    In addition, this is the time to encourage artistes’ cooperatives.  This way, let all artistes guilds, professionals, directors and so on come together to do shows in order to keep arts running.  From whatever money realized from the shows, we can put it back to do more events.  This way, there will be constant running of plays and more people will come along.”

    On the whole, there is need to keep the Theatre running and so with time, other programmes would attract fees so that more amenities will be provided for the convenience of all.

  • WriteHouse publishes Dami Ajayi’s ‘Clinical Blues’

    WriteHouse publishes Dami Ajayi’s ‘Clinical Blues’

    TriteHouse Collective, a firm poised to create credible and enduring platforms for writers, has recently signed a publishing contract with Dami Ajayi, winner of the Melissa Manuscript Prize. The award winning manuscript, Clinical Blues, now due for publishing under WriteHouse is a collection of poetry that has remained in its manuscript form since it won the prize in 2012.

    Dami Ajayi is a prolific bard; a medical doctor by day and writer by night. He is also the co-publisher of the Saraba Magazine and one of the leading lights in the literary landscape of the young generation. His works have featured in online media and international journals like The Guardian, Pala-Pala Magazine, Africanwriter.com, Nigeriansbiz.com, Sentinel Magazine, The Maple Tree Literary Supplement, amongst others. His poetry chapbook, Daybreak and Other Poems, published as the first of its kind on Saraba Magazine in November 2013 has gained wide acceptance across both literal and non-literary audience.

    ‘Clinical Blues’ is a surgery of meanings and memory. It weaves a subtle narrative surrounding pop culture, music, love, sex and social issues. The collection shows a light for a new generation of authors. It is buoyant accessible collection with layers of meanings.

    Femi Morgan, managing partner of WriteHouse Collective, noted that ‘WriteHouse has always had the creative capacities of writers and the reading culture of Africans at heart. We have started our publishing arm in order to deepen our commitment to literature and reading culture on the continent, by creating enduring platforms for writers and creative people. We are also interested in opening up the creative space for a vista of profound writing and narratives.’

  • The Siege : Pitching evil against good

    The Siege : Pitching evil against good

    The staging of The Siege, a stage play by Sam Omatseye at the Muson Centre, Lagos, recently, has demonstrated the impetuosity and resilience of a people in the face of mounting pressure by their oppressors, writes Edozie Udeze

    For a long time, the Muson Centre, Lagos, had not had it so good with the large turnout of thespians, stakeholders, and artistes who trooped in to watch the show.  It was The Siege, an epic play written by Sam Omatseye which premier performance was to usher the society into the inner workings of political and religious chess players who, through their inordinate activities often plunge the world into a state of abyss and confusion and retrogression.

    The audience had waited eagerly to see this play that had gripped the society for a while.  It was the appearance of Charles Gordon a role played by Sam Quinn that first alerted and excited the people.  Quinn, a Briton had emerged with that  unmistakable arrogant posture and carriage of a typical British overlord.  As he bestrode the stage, dictating the pace on how to make Sudan and Africa see civilisation from his own point of view and bend to the whims of the British colonialists, the  Mahdi, standing in for the Sudanese people, refused to be so intimidated.

    For a while it seemed the two would lock together into a combat.  The argument on both sides showed how much most people have come to use their own ideals to hoodwink the world.  But the idea presented so profusely by the playwright was to show a state in which ideological leanings and their attendant consequences have slowed world progress.  The Mahdi, speaking on behalf of his people couldn’t see the role of Gordon in the internal affairs of his country.  His sentiments further infuriated Gordon who, in his own world views had elected himself the policeman of the world.  It was more in marshalling out these arguments, laced with plenty of venoms and racial hatred that the play succeeded in elucidating the sympathy of the audience.

    In it, the people could see the fallacy of imperialism, the high handedness of a people who went round imposing themselves on others, insisting that the cultural, moral and social values of Africa were at their lowest ebb and therefore should be substituted with those of the English.

    The loyalty of the Ansar, the foot soldiers of the Mahdi and the Khalifa who later took over from him, proved very relevant till date.  They proved that their own beliefs could not be allowed to fizzle out, giving rise to the idiocy of the impostors, the invaders.  It was that tug of war, that innate trust in what was theirs that propelled the play on.  It so energized it, giving it the kind of blend common with most epic plays that the suspense also became heightened and somewhat elitist.

    It was made a director’s play in some sense because Wole Oguntokun who handled it, brought all the elements of the theatricals to make it tick.  The role of Aminatu, the romantic damsel that became the centre of attraction to both Gordon and the Mahdi indeed helped to embellish and soften the play.  The romantic scenarios and escapades of a maiden hooked in between two important and stubborn men of history demonstrated that a world without the role women play continues to be incomplete, indeed incongruous.  At a point it seemed the core of the argument and the squabble was who to take over Aminatu or whose love live for her was the most poignant and effectual.  It was in seeing the scenes, the topical sequences of her place in the set up that one could fathom where the pendulum tilted to.

    In the play, there is the beauty of a colourful setting, a situation that clearly depicted the Sudan of the past.  But this is not totally different from the Sudan of today or the British of tomorrow.  In some respect, it was proper to glimpse through the problems of the world divided along the East and the West.  And with the death of Gordon in the hands of the Sudanese and the arrival of Kitchener to avenge the death of his compatriot, it was obvious that the British would never let go.

    The desecration and denigration that followed showed some level of irresponsibility, but then the English would always prove that they can never be overawed by whatever circumstances.  Must Kitchener mutilate or even exhume the skull of the Madhi to prove his superiority or his personal hatred towards the natives?  The level of bizarre and absurdity this displayed and the manner in which the director of the play orchestrated it, further gave clear scenario to the intentions of the playwright.  Must an imperialist overwhelm his subjects even to the point of incurring public blame and submerging his own integrity?  Must Kitchener had to wait for the Queen of England to order him to be a bit more civil and prudent?

    All these combined to keep the audience spellbound.  Like it is said in theatre circle it is the audience that show the depth or profundity of a play through their reactions and attention while it is on stage.  The attitude of the audience, most of whom had not watched an epic in a long while helped to give unquestionable approval to the play.  However, many scenes were not clearly spelt out.  As the Madhi finally joined his ancestors, most people could not fathom what led to his death.  As Aminatu rocked him and nursed his physical and inner wounds and torments, he suddenly succumbed to death, why?  A lot of scenes have to be made clearer in order to properly situate the import of this play that has come to join in re-establishing a sane society; a sombre ambiance for the total progress of mankind.

    Like Omatseye himself explained, he wrote it to re-visit an important event in the history of mankind.  And this is a history that has to be made relevant on stage for posterity and for humanity.