The Nation Newspaper

Category: Arts & Life

  • ‘How we dazzled in the Gambia’

    ‘How we dazzled in the Gambia’

    Adeleke Onanuga became a professional dancer at an early age.  A former dancer with the National Troupe of Nigeria, in 1996, he formed the Dugombas Dance Company. Even though he has since relocated to the United States of America, the troupe is still intact. Its spokesperson, Adepeju Oguntade tells Edozie Udeze how they once used dance to dazzle guests in the Gambia, the uniqueness of their own dance patterns and what it takes to be a strong voice in the dance trade and lots more

    In 1996, Adeleke Onanuga, one of the few people who had taken to dance as a profession in Nigeria, gathered a few artistes together to form the Dugombas Dance Company. Onanuga, a former member of the National Troupe of Nigeria, had deemed it necessary to form this group so as to expand the frontiers of traditional dance in Nigeria. Beyond that, his primary aim was to provide opportunities for young Nigerian artistes who wanted to go into the dance profession full time. Then it was only very few people who believed in him; thinking that this was a tough terrain where no same person should venture into. But he proved cynics wrong.

    However, that did not deter him. Promptly, he left the National Troupe of Nigeria in order to have enough time for his pet dream. To make this a reality, Onanuga decided to create his own dance style, launching into traditional music and local dances that would appeal to the people.

    Since the formation of Dugombas, they have been involved in many dance competitions and outings both in Nigeria and abroad where they have been able to entrench those sensational elements of local dances for which the society is widely known.

    Speaking to The Nation on the exploits of the group and why they have kept the flag flying ever since, Adepeju Oguntade, the spokesperson of the group said: “Even though Onanuga, the founder now lives in America, he comes home from time to time to see how we are doing. What is more important to us is that we have been able to let the world know that dance is now a serious business. And as it is today, we have been able to create our own niche, our own dance patterns and methods.”

    Particularly by looking inwards in terms of the sort of dances they engage in, they have equally evolved new styles and ways of beating the dundun drums. She said, “In our own type of dundun drumming we try to be very solemn in all our beatings and dances. If we are doing it for a festival, we try to create our own unique songs, songs that usually suit that very occasion. There have been occasions where we were asked or rather invited to perform in a funeral, it was our duty to compose the songs that suited the ceremony,” Oguntade decided.

    To her and her group, the real essence of Dugombas is to ensure that traditional dance patterns in Nigeria are given deserving attention.” This is why,” she explained, “We have adopted some songs and dances from other parts of Nigeria. What we have at every outing are complete dances representing each tribe in Nigeria. From Ijaw land, we have copied Aganenboh, a dance that is peculiar to the people. Also we have learnt Egwu Odu which is Igbo and which also showcases the type of maiden dance peculiar to the women. Not only that all these dances are traditional to the people, they are well-known and such bring out the whole beauty and essence of what the people stand for.”

    In other areas of the dance pattern like Akoto which is taken from Badagry, the Dugombas have found solace and real satisfaction in using the solemnity of the traditions of the people to extend the frontiers of the dance. “The people of Badagry love this dance a lot and wherever we take it to, people usually take a liking to it. It is just because we have learnt it so well that it is now seen as being unique and special”, Oguntade said.

    The group has also adapted to the sango bata dance, a pattern that has always been common to Yoruba traditions. “This is one of those very striking movements that give a typical Yoruba traditional dance setting its uniqueness. To us at Dugombas, sango bata has the best sound in known history. And whenever it is sounded or beaten, you’d notice how piercing the sound becomes. You know sango is a very powerful deity so is its sound in form of music,” she pointed out.

    Oguntade whose father, Ahmed Oguntade produced and directed Ajeniyami, the first Yoruba home video in Nigeria and who also directed Ken Nnebue’s Living in Bondage in 1990s said that for her group to perform in any social function the least amount they can accept for a ten to twelve minutes performance is N300, 000. “Dance is beginning to prove tough. More prominent Nigerians have indeed begun to buy into it. Most often we are asked to travel outside Lagos to perform for big people. Even though we wouldn’t say the money is big enough now, our joy is that at least if you are good as a dance company, people who matter are out there to show appreciation.”

    A few years ago, the troupe travelled to the Gambia on behalf of Nigeria to participate in that country’s national dance festival. It was an occasion to showcase the traditional dances of Nigeria during which also other countries of the world came to appreciate Nigeria’s numerous dances. “The festival in the Gambia proved to be an eye-opener,” Oguntade professed. “This was so because we decided to travel with the best dancers we had. The drums we took there were unique and our costumes proved to be the most colourful”.

    To date, she explained, they have been involved in other very important local dances like those of Gulder Ultimate Search, Maltina Dance Hall, Star at 50 and lots more. “During the Maltina Dance Hall, we had to travel to Enugu to be part of the closing ceremonies. Maltina cannot invite you if you are not considered good enough to be part of it. The show was so good that is indeed opened more new doors for us”

    When you talk of one of the most consistent dance companies in Nigeria today, Dugombas stands out because even in the absence of their proprietor, they have been able to hold forth. Oguntade noted that this is due to their tenacity of purpose. For instance, in the past years they have been consistent with their weekly rehearsals which run thrice weekly. “But whenever we have a serious assignment to face, we rehearse every day. With this, we have been excelling in all our shows. You cannot call yourself a serious dancer when you cannot be committed to rehearsals and occasional exercises to put your body in proper shape. Part of what keeps you up there is your ability to prove that you are physically strong.”

    With a sound and symbiotic relationship with the National troupe of Nigeria since its inception, Dugombas has come to occupy a very prominent position among all the privately-owned dance companies in the country. As it is now, each time the National troupe wants a freelance artiste it usually goes to Dugombas for such service. “It is a long standing relationship,” Oguntade enthused. “It has been so because we understand what they need and they too know that we can satisfy their requirements. Over the years most of us have benefited from such arrangements”.

    One of the most impressive qualities of an outstanding theatre or dance troupe is its ability to create its own brand in all aspects. In terms of costuming, the Dugombas have been able to achieve that. All their costumes are designed by their own artistes. “We do that to create the kind of designs that suit our purpose,” she said. “We know that or would be a bit difficult for an outsider to really understand our taste s when it comes to costumes and that is why we’ve chosen to do it our own way”.

    Currently, they have two female artistes (costumiers) whose sole responsibility is to design and create the style that suits each of their outings. “Above all, the fabrics are sourced locally. They need to be in conformity with our local need,” she further stated. “And that is why anywhere we appear on stage, the sparkle is different because the colours of your costumes add a lot to your displays”.

  • Making a case for regional growth

    Making a case for regional growth

    Whoever thought about forming economic blocs must have known that combining two ‘good’ heads to form one is better than ploughing ahead solo at achieving success. Hence, it does not come as a surprise when various professional bodies, community, and nationalities gather together to gain from the powers of synergy.

    Such liaisons have galvanised into the formidable associations like the United Nations (UN), North Atlantic Treaty Organisation (NATO), and the Association of SouthEast Asian Nations (ASEAN). Closer home to Nigeria, the Africa Union (AU) and the Economic Community of West African States (ECOWAS) have been established. The gains of such unions can never underestimated, hence, some jostling to belong have occurred. It was these gains that brought about the formation of the European Union (EU) by 12 countries in 1993.

    And in the country, the call for regional economic bloc has also been screamed. In the early years before Nigeria’s independence and shortly after, regions such as the southwest pioneered integration. The region championed development causes such as farming and industry and it quickly became an economic force to reckon with. Well, that was before the discovery of oil in the Niger Delta and the country’s dependence on the black gold.

    But in recent times, the southwest comprising Yorubas, have come up with Development Agenda for Western Nigeria (DAWN), a regional success road map. And complementary to that, two companies – Vintage Press Limited, publishers of The Nation newspaper, and CEEDEE Resources, – organised in 2012 and 2013, a Legislative Summit in Ibadan and a southwest Expo in Osogbo respectively. It was a product of that synergy that resulted in the book, Regional Integration; Strategy for National Development.

    The 162-page book is a compendium of papers from politicians, technocrats, academics, as well as traditional leaders, all pursuing the goal of regional integration.

    The Osun State governor, Ogbeni Rauf Aregbesola, posited that the time for the idea of regional integration has come. He also advocated that the policy thrust should focus on some critical areas such as employment, education, transportation, healthcare and agriculture.

    And looking at the future to expand the tentacles of DAWN beyond the current states of Lagos, Ogun, Oyo, Osun, Ekiti and Ondo States, Dipo Famakinwa, the director-general of the DAWN Commission stated: ‘DAWN is a challenge of leadership. The whole world is leaving us behind and we cannot continue to put the lives and well-being of about 40 million in jeopardy.’

    To this end, the region would synergise efforts, especially concerning trade and industry, and setting up target landmark projects in road and rail construction, healthcare and provision of a ‘Regional Technology City).

    He also canvassed extending DAWN’s gains to include people in Kwara, Kogi, Edo and Delta States.

    A former governor of Ogun State, Aremo Olusegun Osoba considers the drive for regional integration as a return to the region’s early success.

    ‘The regions enjoyed measurable autonomy from the centre,’ he stated. ‘They enjoyed fiscal federalism, retaining at least 50% of revenues derived within their territories. They had their own separate constitution as well as regional police to ensure security.’

    According to him, had the arrangement progressed, Nigeria could have currently been at par with the Asian Tigers.

    And while most presenters spoke glowingly of regional integration, Hon. Abike Dabiri-Erewa, chairman, House of Representatives Committee on Diaspora, observed that ‘regional integration is very imperative in Nigeria today because the federalism practiced today is not only lopsided, but it is also counter-productive.’

    She also skimmed on some demerits of regional integration to include rivalry for donor funds, contradictory obligations and loyalty for member states, fragmented economic spaces and inconsistent objectives and conflicting operational mandates.

    The contributors also include Governor Kayode Fayemi of Ekiti State, Governor Abiola Ajimobi of Oyo State, Senator Olorunnimbe Mamora, Hon. Olawale Oshun, the chairman of Afenifere Renewal Group, and Hon. Adeyinka Ajayi, chairman, House of Representatives Committee on Aids, Loan, and Debt Management. Others were Professor Akin Oyebode, Professor Adebayo Williams, and High Chief Omowale Kuye, Otun Olubadan of Ibadanland.

    Overall, the book comes across as a distillation of a peoples’ idea and their efforts toward achieving socio-political and economic strength, the ‘bringing back’ if you may, of something they had enjoyed in the past.

  • Doing it better through tourism

    Doing it better through tourism

    Tourism is now a major engine of growth and development contributing significantly to Gross Domestic Product of many nations.

    Arising from the Earth Summit in 1992 organised by World Commission on Environment and Development in Rio de Janeiro, sustainability has become a major ingredient for development.

    This book takes a cue from the publication of the World Tourism Organisation ( Indicators of Sustainable Development of Tourism Destination a Guidebook) to further help and inform Policy Makers and Destination Managers to obtain as much information as possible to guide their decision making process.

    To further articulate and interpret the subject matter, a set of component issues are provided including its performance indicators and verification to allow deeper knowledge. Sustainable development of tourism is applicable to all forms of tourism without exception.

    Tourism destination cannot exist without tourism product. Tourism products are the assets of the local community. They include complimentary attractions such as natural resources (beaches, waterfalls, mountains, ecosystems and landscapes) cultural and historical resources (festivals, historic sites, museums, local food) infrastructural facilities (roads, marinas, airport terminals) and support services ( tour operations, courier services, insurance, tourist information office etc).

    These attractions are planned in an integrated manner with the community aspiration and their active participation. The planning also involves creating partnership with other stakeholders such as travel agents, the tour operators, the hotel owners, the transporters  and owners of the heritage sites to mention but a few.

    These attractions are planned in an integrated manner with the community aspiration and their active participation.  The planning also involves creating partnership with other stakeholders such as the travel agents, the tour operators, the hotel owners, the transporters and owners of the heritage sites to mention but a few.

    There should be fundamental principles of creating tourism products, its development guidelines, planning process and marketing strategy.  Planners are encouraged to develop as many as what to see and what to do because tourism products are amalgamation of attractions, because the more of what to do and what to see; the more the visitors are attracted to the destination.

    The author made reference to the United Nations World Tourism Organisation and the United Nations Environmental Programme, which set out twelve aims towards achieving sustainable development through tourism.

    From the United Nations Development Programme (UNDP), Human Development Report of 2003 reviewed in 2011 and 2013 respectively, it was reported that these aims are set to reduce poverty in the world.   Already over 1.2 billion people are in extreme poverty level.  More than two-third of them live in Asia, half of them are in South Asia while one fourth reside in Sub-Sahara Africa.  The larger majority of the poor live in medium and large size countries.  More than sixty percent of the event world’s poor reside in just five countries and other less developed nations live in hunger and malnutrition, lack access to good health, water, housing, education and basic skills.

    The book tourism development is recommended to some of these countries as a means of combating poverty thereby reducing their poverty level and improving their quality of life.

    The overall objective of the concluding part of the book is to identify specific policy areas for which policy implementation can be formulated to reduce poverty and improve the well-being of the people.  The policy area articulated include conservation of physical integrity, visitor’s fulfilment, economic viability of tourism enterprises, its local prosperity, employment opportunities and the impact on the wellbeing of the local population.

    Visitors appeals are the attractions of the destination which could be natural, cultural, historical and manmade.  Maintenance and conservation of the attractions with respect to local circumstance are subject to policy formation.  Government is encouraged to develop appropriate policies that will bring about deliberate actions towards sustainable development.

    Sustainable development of tourism requires sound planning as well as protection and management of key elements such as destination assets, involvement of the local community and other stakeholders.

    Where no plan exists in a locality, it becomes imperative to identify possible assets and collate data on all elements associated with tourism potentials and threats.   Where a plan exists, then evaluate current tourism plan, issues and objectives to improve upon the existing system and initiate plans in consonance with sustainable development of tourism.

    The chapter is designed to provide in-depth study on destination planning and development by throwing more lights on tourism and planning, destination elements and characteristics, types of planning approach, destination development and control including parties that make tourism work at a destination.  Policy Makers and Destination Managers are encouraged to understand the planning process in tourism and what makes tourism work sustainably in a destination.

    Who has the mandate to plan and manage tourism destination?, the author asks.

    He went further in the publication to describe tourism as multi-sectorial and multi-discipline where no single entity (stakeholder) can lay absolute acknowledge to its management.  It bore on the importance of destination managers to understand the policy behind sustainability.

    The highlight of the success of the any destination is based on the following:

    •Emphasis on poverty reduction and increase on the quality of life of the local residents;

    •Protection of unique ecosystem, heritage sites and places of memory.

    •Establishment of the role of private sector in the planning, financing, implementation and ownership of the tourism operations;

    •Ensuring that the poor play active  role in the supply of goods and services including management of destinations;

    •Development of effective marketing and promotion strategies;

    •Co-ordination of essential government services;

    •Creating awareness among the stakeholders and the local community;

    •Ensuring implementation of regulation and control throughout the destination area.

    Tourism Destination Management; A Guide for Policy Makers and Destination Management gives an insight into the roles of various stakeholders and the Destination Management Organisation in the overall management of the destinations.

    Tourism destination is a place where visitors spend atleast one night. It covers a geographical and administrative boundary where products and services are offered to the visitors.

    Visitors in turn absorb complimentary and experiences, and share same with other (friends, families, colleagues and group).  These complimentary and experiences are expectations.  They could either be interesting or unpleasant.  It is a place where several actors and stakeholders nest, network and offer their services.  They are not limited to the following; public authorities, destination management organizations, transport operators, accommodation providers, heritage conservators, travel agent, tour operators, tour guide, financial institutions, other ancillaries and service providers including the host community.

    Destinations vary depending on their assets and unique attractions.  While issues affecting one destination may be similar to the other but several destinations are distinct in their attractiveness.  This chapter is designed for tourism professionals and managers of destinations to understand and appreciate the complexity, flexibility, similarity and uniqueness of destinations.

    It is certainly possible that issues affecting cultural heritage sites in the areas of protection and conservations are likely to have similar issues of ecosystem and biodiversity with beaches and coastal zones.

  • All for 1914

    In Because of 1914, Odia Ofeimun, renowned poet and writer, presents a society fused together by external forces, that today all indices of differences still stare the people in the face.  Edozie Udeze who watched the premiere of the stage dance-drama, which is infused with poetry and music, reports that the issues involved in the 1914 amalgamation of Nigeria will never peter out so long as all the socio-political, religious and economic dichotomies embedded in the system persist

    With poetry, dance and drama, Odia Ofeimun’s latest offering, Because of 1914,  which was premiered at the Muson Centre, Onikan, Lagos, last weekend has ushered Nigerians into an era when the people need to re-think reasons why they have to continue to stay together or make the project called Nigeria drift apart.  The title of the dance-drama is derived from the 1914 amalgamation of the nation in which the Northern and the Southern protectorates were fused into one by the British government to have Nigeria as we have it today.

    But for the beauty of total theatre, Ofeimun used the elements of poetry, music, remarkable events, cultural issues, political differences and social cohesion of the different tribes and ethnic groups in Nigeria to make the story into theatre.  The people were represented and dressed in their usual local costumes and native dresses to make the show complete.  The writer who is also a renowned poet has always devised new methods to put myriad of Nigerian socio-political issues into the stage.  The idea, he has always maintained, is to enable the people come closer to the issues that have shaped the nation’s political terrain over the years.

    Odia Ofeimun had in his two previous experiments of this nature, captioned The Return and Nigeria, The Beautiful, showcased both Africa and Nigeria as places where people could find peace and solace if the indices of leadership and followership are properly defined.  However, in Because of 1914, the poet took his time to bring out all the problems that defined the amalgamation and what the people did not do right to make the union work.

    Today, Nigeria is a nation walking on its tethers where mutual suspicion, fear, tribal sentiments, economic dominion and hatred for what is good have been the order of the day.

    The play opened with the playing of the drums, in a solemn but evocative form.  The solemnity of the drums was to usher in a society where the people have found themselves at the crossroads of confusion and poverty.  The drummers, dressed, in the national colours of green-white green with native caps to match played the drums to sychronise with the pitiable conditions of the people.

    The songs, which were composed by Felix Okolo, the director of the drama, were meant to soothe the stories.  The poetic lines were done to explain away most of the knotty and terrible situations that have been of grave concern to the entire nation.

    In the beginning, the tribes existed as indivisible entities, each cohabiting harmoniously with their neighbours.  The idea of coming together never crossed their minds.  They were happy being who they were and doing what suited them.  Every tribe held their cultural values in high esteem and so the idea of forcing them to lose their identity or being some other persons did not arise.

    Therefore, the respect for the other person was there.  For the exchange of goods and others, people had to travel from their places of origin to the next, to have exchange of ideas and engage in trade.  Life, generally, was good and totally in order.  Yet, when the British came, they took their time to understudy all these issues.  In truth, they saw these differences, they knew they were quite irreconcilable differences that would not make for a total cohesion or unity.   Yet, they ignored them all to give the nation its new name called Nigeria.  From that moment in time till today Nigeria has been tottering between existence and life, between what is good and what is bad and so the whole experiment seems to be on the backward slide.

    Then oil was not yet the binding factor.  The binding factor was to use the palm oil of the East and the Kola nuts of the West to unite the entities into one.  The groundnuts pyrami of the North was also an issue.  Yet their inability to catch up in terms of education was used as a yardstick to fuse them with the South.  This total new approach was indeed to the benefit of the North who were supposed to use the educational advancement of the South to their own advantage.

    As each of these segments of dichotomy was introduced on stage, the artistes used both poetry and dance drama not only to explain them away,  but used stage mesmerisation to douse the weight of the message and then allow the entertainment aspect of it to speak to the audience.  Both the music and the costumes suited the era in question and people were seen nodding their heads and shuffling their legs to the rhythmical movements on stage.

    The narrator used powerful poetic lines to tell the people the stories.  There was a complete blend of the major and minor tribes to present a comprehensive scenario of a total nation.  A nation where the wishes of the Whiteman were allowed to decide the future and the fate of the local people, the owners of the land.

    So, why would 1914 be the main watershed in the national life of Nigeria as a nation?  Why would it be this bad where the people still find it difficult to trust one another?  Why is it that people are yet to come to terms with religious, political, social and economic differences and then use all these to their own advantage?  It is just that some people have decided that sowing the embers of discord and hatred is their own hallmark.  They benefit from the chaotic situation in order to perpetually keep the people in the background.

    The dances therefore told the stories on stage.  The dancers were trained to perform in conformity with the annals of historical factors that shaped the era.  Each dance truly dramatised Nigeria and brought out the total element of Nigeria and why 1914 will continue to remain an issue.

    It was the arrogant posture of Lord Lugard that finally pissed people off.  Appearing on the stage like a colossus, he told the people of how her majesty was the lord of the manor, how she has gone round Europe and now Africa to plant the seed of colonialism.  And therefore, no one could stop her, could make her halt until the whole of humanity embraced the British culture.  It was a task that must be accomplished so that Africa would know that Britain is a great Kingdom indeed.

    As he spoke, the arena wore a solemn look.  The ambiance was sombre; people listened with rapt attention; not even in a hurry to discountenance or counter his utterances.  In the meantime the drums played, other instruments pelted away to ensure that the dance drama itself was complete to make for total theatre.  Then Lugard went on:  “We have taken over Africa, from the Arab world all through the deserts.  Europe does not sleep because her majesty is on the throne.  We’ll take over all the nooks and crannies of this continent and other places.  We’re imperialists, great custodians of great empires.  We take and overcome.  We build empires in the deserts to suit our whims and caprices.  These are to help investments for we ourselves do not invest.  We build railways from mangrove to the hills, to the savanna.  We know the future better than the people themselves.

    “We do not teach people how to be free or how to ask for it.  We will continue to dominate until they know how to fight for themselves and be free.  That is the ideology of the Great Britain.”  But soon after, some leaders with conscience, with unbridled courage, focus and commitment began to appear on stage.  Their mission was to dislodge the colonial masters from the helm of affairs.  “We will have schools, we need sound and productive education to be able to liberate ourselves, the entire kingdom from the furnace of hegemony…”  And so the struggle began and the internal differences that have since kept the people divided began to rear their heads.  But the people needed to be free first.

    Amid poverty, amid misery, in the presence of abundant resources, the nation therefore tried to exist.  The level of hopelessness; the distrust and endless struggle to live, all came together to give a complete blend to Because of 1914.  Ofeimun said one has to watch the story on stage to really appreciate the issues involved.

  • Without apartheid on her mind

    Without apartheid on her mind

    The death, last week, of Nadine Gordimer, South Africa’s literary giant and 1991 Nobel Laureate for literature has again depleted the rank, writes Edozie Udeze

    When she began to write at the age of 15, Nadine Gordimer’s intention was to use her works to create an entirely new world for South Africa.  Born in 1923 in Transvaal of Jewish parentage, and at the height of apartheid, Gordimer grew up in the midst of racial segregation and prejudices which inadvertently helped to mould and shape her thinking and the direction of her writing.  Her death last week at the age of 93, has indeed deprived the world the opportunity to continue to have this rare gem, a quintessential writer whose boldness, courage, fearlessness and love for what is right and just is unequalled.

    She rose through her works to be one of the foremost and fiercest anti-apartheid campaigners and political activists. At a point in the early years of Nelson Mandela’s struggle to liberate the people from the heinous hands of white overlords, Gordimer became his speech writer and staunch supporter. Even though she was white, born into a privileged home, her parents who also detested apartheid and those who were behind its numerous obnoxious policies, she deliberately chose to be a writer so as to find reasons and avenue to hit hard at the people she described as core racists and enemies of humanity.

    Educated at a Catholic Convent School in Transvaal, she wrote her first book in 1937 at the age of 15. The Quest for Seen Gold, her first collection of short stories became an instant hit and turned out to be a pointer to the direction her later works would take. In it, she questioned the few racial issues she could see and experience around her vicinity. The reception of this first book propelled her to publish yet another more compelling book named Come Again Tomorrow at the age of 16.

    With her studies at the famous University of Witwatersrand, South Africa, coming to an abrupt end in 1948, Gordimer left to continue her writing. There she was able to mix with people of all races and then came away with more informed insight into how apartheid was operated in a wider perspective. And so in 1948, she moved to Johannesburg. In 1949, she wrote Face to Face, chronicling her contacts with those whom she described as inordinate individuals sitting on the progress of South Africa. In 1951, she published A Watcher of the Dead and then in 1953, her novel the Lying Days finally exposed the inner workings of the apartheid era.

    She wrote more than 30 books in her life time, including short stories, poems and so on. In 1958, she wrote one of her most world-acclaimed books called, A World of Strangers. In 1963, The Occasion for Loving, and in 1966 her book, The Late Bourgeois World dominated the literary discussions in the Commonwealth that her next book, A Guest of Honour published in 1970, won the total admiration of the world.

    In 1974, she won The Booker Prize with her book, The Conservationist. After that, in 1979, Burger’s Daughter, a novel that hit apartheid below the belt was also published. This was followed by July’s People in 1981; The House Gun 1998 and so on and so forth.

    In 1991, she was awarded the Nobel Prize for Literature in which the Swedish Academy recognised her as a woman, “who through her magnificent epic writing has, in the words of Alfred Nobel, been of very great benefit to humanity”. And so having become one of the best and most renowned literary giants the world has ever seen, she swung into more action.

    She once said: “The reintroduction of censorship is unthinkable when you think how people suffered to get rid of censorship in all forms”. In an interview with this reporter in 2006, she said concerning a post-apartheid South Africa, “Oh yes, it is good to see apartheid dismantled…when I look through my window and see both white and black children playing together I feel good, extraordinarily happy. But more needs to be done. A lot of people still do not want to welcome this change; do not as yet see a free South Africa as a new glow for all of us”.

    As she takes her final bow, it is most heartwarming  that her dream of a free South Africa which she lived and fought for became possible in her lifetime.

  • Child’s play

    Child’s play

    With the long vacation for schools fast approaching, the National Troupe is preparing to host the fourth edition of its annual Children Creative Station Workshop (CCSW). The workshop is conceived as a long vacation theatre workshop for children between the ages of five and seventeen and it is primarily aimed at exposing participants to general theatre practice and appreciation of the creative arts.

    The 2014 edition according to the coordinator of the project and director in charge of Drama of the National Troupe, Ms Josephine Igberaese, would begin as from the first week of August 2014 and will run for a period of one month. She also disclosed that at the end of the creative workshop exercise, the participants would be expected to put up a performance that will detail all they have learnt during the one-month training period. ‘What we are doing is in line with one of our objectives which is to encourage the development of children’s theatre. But beyond that we have used the project successfully over the last three years to groom future theatre practitioners who may want to take up a career in the theatre and allied genre like taking part in Nigeria’s Nollywood’’.

    Explaining further that one of the other objectives behind the exercise is to engage the children creatively during the long holidays

  • At 80, I can’t stop writing

    At 80, I can’t stop writing

    Publisher, Islamic scholar and missioner, Alhaji Ayo Adeyemi, releases 11 educational books at 80 and tells Edozie Udeze that he can never stop writing 

    This is indeed a season of birthdays for several senior citizens in Nigeria. From the Nobel laureate, Prof. Wole Soyinka, who clocked 80 on Sunday; media giant, Prince Henry Odukomaiya, who also recently clocked 80; and ace columnist, Dr. Olatunji Dare, who has also hit 70, it is indeed a season of birthdays.

    Now, on July 27, entrepreneur, writer and publisher of the defunct newspaper, ‘Lagos Flight’, Alhaji Ayo Adeyemi, will also clock 80. Like the other ‘ birthday boys’ who have celebrated the landmarks in different ways, Adeyemi, who is also the founder of the Isolo, Lagos-based Islamic Mission Organisation, has rekindled the writer in him. He has published 11 new books aimed at exposing pupils to the rudiments of Islam.

    The books include ‘Why I am Proud to be a Muslim’, ‘Fasting’, Abridged History of Prophet Mohammed’, ‘The Concept of Prayer (Salat) in Islam’ and ‘What is Qadar or Predestination?’

    Others include ‘Knowledge is Power’ ‘All Roads to Arafat’ and ‘Act of Charity (Zakat)’.

    That Adeyemi is a seasoned teacher, researcher, writer and publisher are evident in each of the books. Apart from the fact that they are detailed and revealing, the materials are presented in simple language that children will especially cherish.

    While Adeyemi discusses topics such as  ‘The Effect of Zakat’, ‘Amount of Contribution’  and ‘General Condition that makes Zakat Obligatory’, he coaches the reader on ‘Nabi or the Prophet of God’ and ‘Kidden Knowledge’ in Why I am Proud to be a Muslim’.

    At 80, Adeyemi is still physically fit. He not only freely walks around, he still drives himself around Lagos, an exercise that, he believes, helps in keeping him alert. But a mark of his creative alertness is the books which Islamic scholars have received with much excitement.

    Commenting on the works, the Dean, Faculty of Arts, Lagos State University, Ojo, Dr. Isaq Akintola, notes in the foreword that Adeyemi is a man whose passion for Islam is instructive. The scholar, who is also the Director, Muslim Rights Concern, saluted the writer for his contributions to the development of Islam in Nigeria. Also, he uses the opportunity to correct the wrong impression that some people have about Adeyemi’s preaching, as the latter is a radical missionary who does not believe in using religion to bamboozle adherents.

    Akintola writes, “Alhaji Adeyemi comes across as a man with great organisational skills,” Akintola writes. “He is a highly talented manager of men “His passion for Islam knows no bounds. He is also an artist nulli secundus. This is where he surpasses many businessmen of his ilk. He has successfully combined mastery of business integrity with musical stardom. He has produced many enticing albums and his works linger on till today.”

    According to Adeyemi, who is also an Islamic gospel artiste, having released albums while also planning to record more songs, the books are published as part of the  ‘Islamic Foundation for Beginners Series’. He explains that that they are to advance the Islamic catechism for which he is famous, having been one of the pioneers of Islamic tracts in Nigeria. He says the series were conceived to show young Musilms fundamental knowledge of Islam.

    The writer adds, “Islam enjoins us all to search knowledge and the truth. But many people do not bother to get that knowledge first. The lack of the real principles of Islam is the genesis of the security problems we are having, especially the Boko Haram issue. Islam is a religion of peace. Now, it is important to bring up our children in the right direction, and that is why I decided to write the books.”

    Although he rose from grace to grass, having lost his father at an early age, Adeyemi has remained committed to the growth of knowledge. He says he lives by example in this wise, as he is not only a committed writer, he is still a passionate reader.

    “I cannot stop reading. I read even up till today. A leader must be a good reader particularly the kind of people I have been privileged to lead are people you can’t lead through the nose. You have to be intelligent and educated, and know what is happening around you and globally. That is the essence of religion, anyway. It is not about just prayers, it is about leadership in every facet. There are so many professionals that I am privileged to lead. So I have to carry everyone ahead. I have been interviewed by many university students coming for researches. As a religious leader, you have to lead by reading,” he says in an interview.

    He adds that he delved in to singing as means of propagating Islam.

    His words, “It is all about propagation. When we were young, the most popular religion of the day was Islam in Lagos because there were lots of merriment and entertainment. It was sweet. There were lots of things to eat by both Muslims and non-Muslims. People enjoyed those things. And most churches then only opened on Sundays. And apart from hymns and prayers, there was no dancing. The people that introduced dancing and marching around were the Salvation Army, then later the Aladura. It was strictly formal. The mosque was virtually open till night every day. What was missing in Islam was introduced by the Pentecostal churches.

    “Majority of the people who went to church then were not there because they loved church, but because of problems and once the problems got solved, they stayed back. So I introduced choir, bought drums and other things because I wanted people to stay back even after their problems had been solved. That was how I started going to the studio to keep people’s interest, especially the younger generation. Once they come for the music, I also speak to them, and through that, they stay. It is working even though I am being criticised. But until someone shows me where the Holy Quran prohibits what I am doing, it is not wrong and I will continue.”

     

  • Ayo Banjo’s day of honour

    Ayo Banjo’s day of honour

    An Evening with Prof Ayo Banjo at 80. So the ceremony was called by the Nigerian Liquefied Natural Gas Ltd (NLNG). It was all to celebrate the erudite professor who joined the octogenarian club this year. It was a heart-warming moment for all as distinguished friends, colleagues, former students, family members and admirers thronged the prestigious Eko Hotel and Suites, Lagos to celebrate him with fond memories. At 80, the professor is thankful, especially for one of the lucky things in his life, reports Evelyn Osagie.

     

    As one walked into the Orchid hall of the prestigious Eko Hotel and Suites, Lagos, three professors stood talking about their former teacher – the erudite Emeritus Prof Ladipo Ayodeji Banjo, whom they had come to honour that evening. They called him “humble”, “a man of integrity who is not only tall in stature but also in wisdom and his quest for excellence” and more.

    Oblivious of their discussion, their teacher waved and smiled at them from the far end of the hall, they bowed and smiled back and added “a man of sunny smiles”to his many admirable qualities.

    “He is a good teacher and very good Christian. I am the first PhD student produced by Banjo in 1974; I was 28 years old then. He is always willing to fight for the underdog; absolutely accessible and very affable. His steadfastness and accomplishment is an inspiration to us,” said Prof Festus Adesanoye of the Department of Communication and Language Arts, University of Ibadan (UI), Oyo State.

    For the President of the Academy of Science, Prof Oyewale Tomori, Prof Banjo is his role model. “Without him most of us would not be where we are today. He is a giant on whose shoulders we stood to see further off. Prof taught me in Government College, Ughelli, in Class Four in 1961/62. He was my English teacher then; and later became my VC in 1980 when I was Head of the Department of Virology. He is very discipline. And he has not changed from the person I knew him to be back then.”

    It was no school reunion, but An Evening with Prof Ayo Banjo at 80 organised by the Nigerian Liquefied Natural Gas Ltd (NLNG). The event was a night of reflection and reminiscences in which eggheads from across the country, many, who were his former classmates and students, friends, colleagues, admirers and family gathered to celebrate him. Guests were treated to cocktail, classical music and popular highlife and Afrobeat tunes by MUSON duet and Top life Band, with poetic tributes by 2013 NLNG Prize for Literature winner, Tade Irapade, who read On Turning 80 from Derek Walcott’s collection entitled White Egrets and Tunde Onikoye.

    It was his night of glory and the professor beamed with smiles as guests took turns to share their fond memories of him. In their words, one could see a man committed to his God, family, friends and nation.

    Prof Banjo, who is  currently the chairman of the Nigerian Prize for Literature Advisory Board that is sponsored by the NLNG, is said to be a foresighted academic, administrator with over 60 years of service in the educational sector.

    “This is a day to honour a man who symbolises what Nigeria should be,” began the Managing Director, Nigerian Liquefied Natural Gas Ltd (NLNG), Mr Babs Omotowa as he welcomed the guests. “He is a man of integrity; a man that has put in so much for this country, not just in education. He was such a colossus.  Prof… tonight is your night; and we are so proud of you. You are a role model to us and we have learnt a lot from you; you have mentored us. I think you are the kind of Nigerian we need to celebrate. I join me in appreciating Prof tonight!”

    Although Prof Banjo’s birthday was initially on May 2, he and his family had planned to mark the day in the month of July. On hearing it, NLNG said, it seized the occasion to celebrate the man and his contributions to education and literature.

    If NLNG were a human, according to NLNG General Manager, External Relations, Mr Kudo Eresia-Eke, it would like to be formed with the qualities for Prof Banjo. “At NLNG, Prof Banjo shows us the way and we try to follow. We look to a new Nigeria, that is, if we were to personify our country, it would look like Ayo Banjo. He is a man of honour, who has put in so much for this country.”

    Born on 1934 into the family of late Pa. Reverend Samuel Ayodele Banjo, an educationist and teacher at St. Andrew Primary School, Oyo town, Prof Banjo hails from Ijebu-Igbo, Ogun State. Aside his academic and professional qualifications, his contributions towards the development of the sector has also earned him the several recognitions and awards such as Justice of the Peace (JP), Oyo State; Commander of the order of the Niger (CON); Nigerian National Order of Merit (NNOM); Fellow and President of the Nigeria Academy of Letters; Fellow of the Nigeria English Studies Association and Chairman, Sigma Foundation.

    Ever wondered what could be one of the lucky things in the life of an 80 year-old erudite professor? In the words of Emeritus Prof Banjo:  “One of the lucky things in my life is that I have a wonderful family and that I have a brother and a sister who are very supportive; and I couldn’t ask for a better children and the larger family – my cousins. You have seen the way they rally round me – this is how they are and I thank them from the bottom of my heart.”

    He is married to Mrs Alice Banjo, retired a matron from the University Teaching Hospital (UCH) that hails from Anambra State and their marriage is blessed with four children. Although his wife, who is presently in London, was absent, three of his children were at the event along with his junior brother, Gboyega Banjo; Mr and Mrs Babs Okuyemi and cousins. His first son, Tunde described his father, thus: “He places a lot of emphasis on excellence”. For his daughter, Ayoyinka, the fond memories of her father were those years of travelling with him.

    His close friends – Emeritus Prof John Pepper Clark; past President, Nigerian Academy of Letters, Emeritus Prof Ayo Bamgbose; Prof Ladipo Wusu; Prof Isaac Jide Desalu; the Executive Chairman, Safari Books Ltd, Chief Joop Berkhout and his son Ernest and those from Igbobi College – were also there to celebrate him.

    His close friend, Prof Ayo Bamgbose praised the celebrator’s loyalty to his friends –especially his friends from school. “He set a good example for others to follow.”

    Prof Wusu, who is a former classmate of the celebrator, said he possesses the attributes of a good leader. “I fondly call him LAB. He is very humble. He has all the attributes of a good leader – he was discipline, just like Awolowo was; focus, had vision; led by example and did that which is right. And as he grew older, those attributes matured like wine.  I thanked the Lord that he is my egbon (senior). We attended class in primary, secondary in Igbobi College – his bed was next to mine –and the University of Glasgow, Scotland.”

    UI Vice-Chancellor, Prof Isaac Adewole, referred him as “My referee”. Ajayi Crowther University VC, Prof Kolawole Jaiyeoba praised Banjo’s respect towards his younger colleagues, saying he is an astute administrator. He said: “He was VC when I joined UI and when I was VC of Ajayi Crowther University, he was Pro-Chancellor. He is patience to things grow and a fine a gentleman. He is not only tall in stature but he also tall in wisdom and quest for excellence.”

    Responding to the entire encomium showered on him, the celebrator said: “I am short of words and it is funny for somebody who has made a living out of talking. I really do not know what to say. I am really speechless to see that the little I have been able to do is being appreciated. NLNG has really surprised bowed me out tonight.” He praised the efforts of the Gas Company in promoting science and literature in the country, while calling on others to borrow a leaf from NLNG’s example.

    Also in attendance were UI Deputy Vice-Chancellor (Academic), Prof Idowu Olayinka;  a member of NLNG Prize literary committee, Prof Akachi Ezeigbo; NLNG Advisory Board member, Prof Ben Elugbe; Tade Irapade; former Presidents of the Association of Nigerian Authors (ANA), Dr Jerry Agada, who is also a member of the advisory board, and Dr Wale Okediran; CORA executives, Mr Jahman Anikulapo, who is a former student of the celebrator and Mr Toyin Akinosho; his former students: President of the Academy of Science, Prof Oyewale Tomori: Emeritus Prof Femi Osofisan; Prof Festus Adesanoye; Prof Akanji Nasiru and ace filmammaker Tunde Kelani.

  • Before The Siege

    Before The Siege

    A play written by Sam Omatseye in celebration of Nobel laureate Prof. Wole Soyinka’s 80th birthday will be staged tomorrow at MUSON Centre, Lagos. FEMI MACAULAY, a member of the Editorial Board, writes a preview of the production

    It began as a poem but became a play, by the playwright’s account.  So, it has both poetic and dramatic qualities.  The Siege, a new play by Sam Omatseye, which will premiere on July 24 at MUSON Centre, Lagos, promises the audience an intense experience of both genres, which means double edutainment. The portmanteau word is appropriate because this is a thinker’s play as well as a thinking play. It is informed by historical reality and intended to promote a fundamental socio-political understanding.

    The play’s director, Wole Oguntokun, captured the historical inspiration in an interview. He said: “Charles Gordon was a British Army General, who was in charge of Sudan, Khartoum in the 19th century. He was asked to leave Sudan by his government, which felt they couldn’t hold Khartoum anymore but he thought he could hold it for his country. So, he refused to leave. Unfortunately, he met a man who was as zealous and strong as him in the person of the Mahdi, who fought to hold his country back from the British. The play is about the siege laid on Khartoum with Gordon unwilling to give up the city. It led to the death of Gordon during the face-off between Gordon and Mahdi’s men. The play is about people who hold and believe in their own ideologies; the two men fundamentally believed in the cause they were fighting. It’s based on a true-life story.”  Still on history, the drama doesn’t end with Gordon’s defeat and includes the British reprisal attack spearheaded by Lord Kitchener.

    It is intriguing that Omatseye, who is also a poet, novelist and journalist, was captivated by this grim sequence of events that happened long ago in a distant land. Remarkably, his mind drew parallels between Sudan of past times and Nigeria of today in particular. “A historical play chides us out of our historical and anti-historical mindset. It also reminds us that we are not as far apart from our past as we think,” said Omatseye in a prefatory note. He added: “I could not have realised in the course of writing that I was influenced more by the various stories of religious angst in Nigeria in recent memory. The Boko Haram insurgency in Nigeria has brought to the open the danger of faith on both sides of the Christian and Islamic extremities.”

    Indeed, an undercurrent of religious radicalism runs through the play; and his reference to the Islamist guerilla force that has continued to terrorise the country since 2009 is instructive. However, the play’s overriding thrust embraces all philosophies of exclusion, especially what Omatseye described as “fanaticism of faith and country.”  In other words, The Siege is both literal and metaphorical. Figuratively, it is about self-promoting ideologies that deny the relevance of diversity.

    Notably, the play’s colonial setting and the implications take the issue beyond the spiritual realm and address its physical and materialist dimension. In this connection, the idea of political subjugation is spotlighted in all its intolerant glory. Omatseye referred to “zeal, powered not only by a murderous zealotry but also a fiery nationalism.”

    There is an interesting angle that the play offers as food for thought. It can be formulated as a question: What role does individual ego, or self-promotion, play in the psychology of bigotry? Or put differently: How many expressions of hostility have been triggered by personal pursuits?

    Omatseye’s script has a decidedly international colour; and it is a testimony to the impressive professionalism of Oguntokun, who has been in the theatre business for a decade and runs a company called Renegade Theatre, that the international complexion is treated with striking fidelity. To achieve a compelling interpretation, the director has four UK-based British actors in the cast, Sam Quinn, Angus Scott-Miller, John Glynn and Paul Garayo.  One of them, Quinn, is no stranger to the country and has been around twice before. He said: “Being Gordon is an interesting role to play. Colonialism is not something I’m proud of as an English person. It’s a dark chapter when you consider what happened to local people. It’s a difficult role to play being the bad guy.”

    In addition, Oguntokun said of the production, “It’s challenging because it deals with another culture, and we have to be careful that we stay true to the Sudanese culture in terms of dresses, music and mindset that existed at the time.” So, the serious issues will be spiced with spectacle, what Oguntokun called “a fusion of play and dance.”

    Without being frontally didactic, the play nevertheless drives its message home through subtleties that underline its artistic strength. Despite the dramatist’s obviously strongly felt conviction, his skillful handling of the material escapes the stamp of propaganda. Through an imaginative use of creative license, he succeeds in achieving a believable presentation of a “truthful lie”, meaning that he gives a fictional spin to history that is at once realistic and fantastic.

    Of particular significance is the drama’s contrived ending. A triumphal Kitchener, having routed the Sudanese and avenged Gordon’s death after the Mahdi’s peaceful passing, orders the desecration of the Mahdi’s resting place and demands his skull which he turns into an improvised “ink bottle.”  However, two defiant locals break into Kitchener’s office with another skull which introduces uncertainty about the Mahdi’s skull. So, in the end, it would appear that the Mahdi is unconquered, especially as Kitchener has to discard the skulls following a royal order from his homeland. The play ends on this note of open-ended interpretation.

    Essentially, The Siege, Omatseye’s debut play, is a statement on human freedom and the man-made encumbrances that often complicate its flowering. In this sense, it represents a fitting contribution to the celebration of the milestone 80th birthday of the 1986 Nobel laureate in Literature, Wole Soyinka, on July 13.  A legendary symbol of justice and freedom, he was garlanded by the Nobel Committee as a playwright and poet “who in a wide cultural perspective and with poetic overtones fashions the drama of existence.” It may be a passable hyperbole to see The Siege in this context.

  • Museum hosts Limcaf exhibition

    Museum hosts Limcaf exhibition

    The Lagos Zone Exhibition of the Life In My City Art Festival (LIMCAF) opens at the National Museum, Onikan Lagos on Saturday a t 4 pm.

    Life In My City Art Festival aims to promote art pan-Nigeria through a yearly competition that offers young people an avenue to showcase and commercialise their productions, win handsome prizes and interact with the larger art community on a national and progressively international platform.

    LIMCAF also enables young artists to  express themselves on the state of their lived environment through their art.

    According to a statement by the Executive Director of LIMCAF, Mr. Kevin Ejiofor, Prince Yemisi Shyllon, renowned art collector and the founder / proprietor and of Lagos based Omoba Yemisi Adedoyin Shyllon Art Foundation (OYASAF) will be the special guest of honour at this second Lagos Zone Exhibition.

    The exhibition is one of the eleven such exhibitions in various zones around the country including Abuja, Ibadan, Kaduna, Jos, Auchi, Enugu, Calabar, Uyo Owerri and Port Harcourt.

    The best 100 works from these zones will be selected to be part of the one week Grand Finale Exhibition at the Nike Lake Resort Hotel Enugu from Monday the 21st of October. The climax of the festival will hold on Saturday  October 25, at the same venue where the top 25 works will win prizes, including the overall winner’s prize of N500,000 cash donated by Diamond Bank PlC.

    Meanwhile, a renowned art scholar and Professor of the Department of Art & Art History, St. Lawrence University, Canton, New York Prof  Obiora Udechukwu has paid glowing tribute to the Board and Organising Committee of the Life In My City Art Festival (LIMCAF), for what he called an unprecedented innovation in the promotion of art and art appreciation in Nigeria.

    Prof. Udechukwu spoke at a reception for him by the Board of LIMCAF hosted by Elder Dr. Kalu Uke Kalu CON, former Chairman of Union Bank of Nigeria and Chairman of the Life In My City Art Festival.

    Udechukwu who is one of the founders of the once premier art association, the Aka Circle and a famed proponent of the Uli School of the University of Nigeria Nsukka, particularly commended Chief Robert Oji who single handedly gave birth to the LIMCAF initiative through his Rocana Nigeria outfit, the Alliance Francaise Network and the French Embassy in Nigeria which gave him initial support as well as Diamond Bank PLC and the various organizations and individuals who have donated prizes. Udechukwu predicted the inevitable snowballing of this project into internationally significant art event and urged the Board and Organising Committee not to relent in their efforts.

    Chairman of the Board, Elder Kalu has thankedProf  Udechukwu  for his support for LIMCAF in various ways, including pointing the Board to various special persons and organisations who have made a great deal of difference in its growth over the past eight years of the struggle to expand and sustain the development of the project.

    Elder Kalu told Prof Udechukwu that the LIMCAF Board had big dreams for the project and solicited his continued support especially in seeking sponsorship from international organizations interested in the development of contemporary art in Africa. He noted that support was growing across Nigeria with such notable organizations and individuals as Senator Ayogu Eze,  the Justice Anthony Aniagolu family in Enugu , Bisi Silva’s Centre for Contemporary Art in Lagos and Mrs Mfon Usoro among others for endowing special prizes of LIMCAF.

    Notable connoisseurs and art personalities at the occasion included Chief  Robert Oji, founder of LIMCAF, Barrister Peter Eze,  Ayo Adewunmi Head of Design at the IMT Enugu School of Fine Arts, Obiora Amidi sculptor and Chair of the Enugu State Council For Arts and Culture and Bona Ezudu  of Bona’s Gallery, Enugu and the Director Alliance Francaise, Enugu Mr. Dominique Fancelli.