The Nation Newspaper

Category: Arts & Life

  • Homeland Memories at Temple Muse

    The beauty and synergy between architecture and fine art manifested in the collection of paintings by Onyema Offoedu-Okeke in a solo art exhibition tagged Homeland Memories. It also brought to the fore sweet memories of his roots, especially his Ibo cosmetology. The solo show featuring 25 paintings in acrylic opened recently at Temple Muse, Victoria Island, Lagos.

    The works are a spectacular body of recent works, which showcases incredible artistry of different techniques ranging from his well known rectilinear panels with vertical lines, looking like visual totems, to his powerful ‘Cranioglyph’ face series, to intricate grid-like pattern tapestroid paintings and including a few internationally celebrated ‘headload’ paintings.

    Offedu-Okeke use of color and geometric alignment and balance shows an artist who has used his training in architecture and art history to create a new, highly textured and stylistic visual language that has clear roots in African traditional forms but also offers art enthusiasts a fresh perspective on contemporary Nigerian expression.

    In Homeland Memories viewers will encounter an artist whose subjects and interpretations are both steeped in local tradition while tapping into global themes; his works are infused with rich symbols which reflect African roots and are grounded in Ibo cosmology and indentity. While his face series, influenced by classic mask-like profiles, are unmistakably modernist in their bold, colorful, wide-eyed gaze and natural afro-centric styled heads and hairdos.

    “I am inspired by the theme such as memories of histories and home, human resilience, ascendency of the subaltern, though-scrapes as mechanisms of conflict resolution which address challenges and triumphs in women societies’’, he said. Offedu-Okeke described himself as a Modernist interested in creating his own unique lexicon of symbols or iconography.

    Offoedu-Okeke’s style of building narrative based on human experiences uses the face-topography. Titled craniography, it borrows from the cultural memories of comedy theatre, artistic enunciation of beauty and reverence.

    Some of the works which will be on display include Otanjele, which indicates his excursion into the traditional corridors of artistic display to enhance his understanding of architecture. Otangle or Eye kohl as indicate a revisit to a traditional black powder used by my grandmothers as cosmetic eye-shadow.

    Another painting, Yesterday, all my troubles seem so far away recalls a classical musical line from The Beatles. Closely regarding the circle next to it, face shows reflected textures from the glittering orb, inferring telephonic gaze to the past or a recall of an experience. Also, Young blood regarding the street of Anarchy indicates how the youth act as firewood in most conflicts proposes and proposes a redemptive evaluation of youthful energy.

    Other works include Indexing a begotten, Isi anyanwu, League of Plenipotentiaries and Reverie.

    The curator Sandra Mbanefo Obiago said that after four years hiatus from the Nigerian exhibition circuit, ‘we are delighted to host Homeland Memories in which Offoedu-Okeke presents a powerful fresh body of works steeped in ancient symbolism.

    “Memories Of Homeland provides a thinker inside scenery quickly disappearing from the African heartlands. If the jungle was the protector, muse and space which held and supplied countries ideas to African artists since the creation of man, then the fate of art in the present dispensation of careless deforestation, and also using the medium to say a very thank you to the sponsor international art sponsor Ruinart,” she said. The exhibition will run till August 30 at Temple Muse, Victoria Island, Lagos

  • ‘Achebe’s, Nwapa’s, Ike’s writings inspired me’

    ‘Achebe’s, Nwapa’s, Ike’s writings inspired me’

    Award winning writer and author of Half Of A Yellow Sun, Purple Hibiscus and Americanah Chimamanda Ngozi Adichie was a guest speaker at the ceremony to mark Governor Willie Obiano’s 100 days in office at Awka, Anambra State. She spoke of good governance and her love for Igbo language and culture, which she said should be promoted at all times, reports Assistant Editor (Arts) OZOLUA UHAKHEME.

    At intervals, Chimamanda Ngozi Adichie wiped her forehead with her left hand as balls of sweat rolled down her cheeks. On her right hand was the paper she was going to present. Minutes after her citation was read by the Anambra State Commissioner for Education, Prof. Kate Azuka Omenugha, Adichie, who was key note speaker heaved a deep sigh followed by a broad smile. Her smart purple fitted gown gives her away as silhouette on the podium facing the expectant crowd.

    The main hall of the Women Development Centre, Awka, Anambra State capital, venue of the event, was filled to capacity. But, it was not very conducive for the guests because the cooling system was not effective. It was the marking of the 100 days of Governor Willie Obiano of Anambra State in office penultimate Wednesday.

    Guests at the event included Governor Obiano, his wife, top government functionaries, Anambra State Commissioner for Information, Culture and Tourism, Chief Tony Onyima, traditional rulers, party members and women leaders among others.

    For Adichie, the event offered a rare opportunity to address fundamental issues affecting her people and the state. Her presentation centered on good governance and the need to restore the rich Igbo values, especially the promotion of Ibo language at home and in the Diaspora.

    She described community life and consensus

    as two values that are common to Iboland, which are also relevant to good governance. She noted that ‘conscience and integrity are central to Igbo culture, and to any culture that has strong communitarian principles. Conscience means that we cannot think only of ourselves, that we think of a greater good, that we remain aware of ourselves as part of a larger whole.’

    She however decried the series of abuses and oppression of the common man by political office holders, especially executive governors’ convoys that use horse whip and siren to drive citizens off the road.

    She observed that for a longtime, Onitsha has been a security nightmare as travelers do not want to be in Upper Iweka in Onitsha after 6 pm because of the fear of armed robbers. “But today, because of our new governor’s initiative, people in Onitsha no longer live in fear. My sincere hope is that under the leadership of Governor Obiano Anambra State will continue its journey of progress with strides that are wide and firm and sure…I am proud of Anambra State. And if our sisters and brothers who are not from Anambra will excuse my unreasonable chauvinism, I have always found Igbo as spoken by ndi Anambra to be the most elegant form of Igbo,” she added.

    She acknowledged that ‘if Chinua Achebe and Flora Nwapa and Chukwuemeka Ike had not written the books they did, when they did, and how they did, she would perhaps not have had the emotional courage to write her own books. ‘Today, I honour them and all the other writers who came before me. I stand respectfully in their shadow. I also stand with great pride in the shadow of so many other daughters and sons of Anambra State.’

    Continuing, she said: “But the truth is that I have not always been proud of Anambra. I was ashamed when Anambra became a metaphor for poor governance, when our political culture was about malevolent shrines and kidnappings and burnt buildings, when our teachers were forced to become petty traders and our school children stayed at home, when Anambra was in such disarray that one of the world’s greatest storytellers, Chinua Achebe, raised the proverbial alarm by rejecting a national award.”

    Adichie, who described language as a wholesome way of identifying a people, stressed the need for the promotion of Ibo language noting that she loves English and Ibo languages. According to her, to deprive children of the gift of their language when they are still young enough to learn it easily is an unnecessary loss.

    “We now have grandparents who cannot talk to their grandchildren because there is a hulking, impermeable obstacle between them called language. Even when the grandparents speak English, there is often an awkwardness in their conversations with their grandchildren, because they do not have the luxury of slipping back to Igbo when they need to, because they are navigating unfamiliar spaces, because their grandchildren become virtual strangers with whom they speak in stilted prose.

  • Ilorin National Museum is toast of tourists

    Ilorin National Museum is toast of tourists

    t is the policy of the Federal Government to establish in each of the state capital a museum station. The museum is a visible symbol of our common cultural heritage. The laudable policy, which was initiated by the Nigerian Antiquities Commission has not yet been fully realised due to financial constraint. However, temporary arrangements have been made to bring museum facilities to many parts of the country.

    The National Museum, Ilorin, located at No. 14 Abdulkadir Road, GRA Ilorin. is one of the museums created by the former Director-General of National Commission for Museums and Monuments, the late Prof Ade Obayemi in 1988 and till today it is still waxing stronger and has indeed been a centre for education, entertainment, relaxation and enjoyment.

    It has on display archaeological, ethnographic and craft shop units. Other features include the hair-do centre, barbing salon centre and relaxation centre (museum kitchen). All these attract lot of visitors and tourists to the museum.

    A new exhibition titled: Nigerian Governments, classical Artwork and Pottery” is ongoing at the museum. Its gallery 1 exhibits Nigerian classical art pieces that include Calabar culture, Igbo-Ukwu, Owo, Ife, lower Niger Bronze (Tsoede) Esie Soap stones and Benin culture. Gallery 2 is housing a collection of a pictorial of the Nigerian government’s leaders from the pre-colonial period till the present time. Gallery 3 showcases Nigerian pottery as an ancient form of art and their uses which include domestic, ceremonial, decorative and ritual purposes. The exhibition is aimed at celebrating Nigerian cultural heritage for the promotion of peace and unity for National development.

    At the Hair-do Centre, different traditional hair styles are made for customers based on their request, these styles ranges from Suku, Suku Ologede, Ipako-elede, Koroba, Koju-soko, Konkoso, Ojo-n-peti etc with token amount charged.

    The Barbing Centre is for outsiders and as well the staff who wishes to cut their hair. Moderate amount of money is charged. The barbing shop was reconstructed with thatched roof to reflect the Hausa traditional architectural design. But the floor is well tiled.

    In the craft shop, there are various from of artworks for sale ranging from beads, candle stand, frames in different shapes, aso-oke etc all these are available at affordable prices.

    The Museum kitchen is where traditional food of different tribes is been prepared and sold  at very reasonable amount.  also drinks are available including palm wine. The kitchen has been attracting customers from all works of life.

    There is adequate parking space for visitors to park vehicles and maximum security guaranteed as here are guards that patrol from time to time. In addition, the services rendered by the National Museum Professional include, Educational, Ethnographic, Curatorial, Heritage, Archaeological and Library. Each potential professional carries out a research for publication and public consumption. Assistance is rendered to researchers such as undergraduates, tourists and other visitors from outside whenever the need arises.

    An Art club is organised by education department for children of primary and secondary schools age who are taught various form of art works to improve their creative abilities.

    Another facility rendered by Ilorin museum is the issuance of Export Permit to travellers who intend to travel out with contemporary art works from Nigeria. Ten percent of the amount is charged for rendering such service under the law of the land.

    The landscape within the premises is good and well beautified with flowers and carpet grasses. There is a roundabout that houses a town crier; decorated with horses head to show the strength of the museum.

    All these and lots more provide the visitors a pleasurable visit. In fact a visit to the National Museum Ilorin is not a visit and time wasted.

     

    •Daniel is of National Museum, Ilorin.

  • A town’s rich history

    A town’s rich history

    Book review

    Title: Ago-Iwoye Origin, Growth & City Status. 1510-2010
    Author: Senator Jubril Martin Kuye
    Reviewer: Chief Babatunde Fadun

    Publisher: Crown Venture Publishers

    Ago Iwoye is a remarkable city in Ijebu and Remo parts of Nigeria. What marks it out is not its spatial size or the quantum of its population but the high level of education of its people. They are one of the very first groups in Nigeria to embrace Western education.

    These facts and more are comprehensively and lucidly explained by one of the most distinguished and celebrated sons of Ago Iwoye, Senator Jubril Martins Kuye (JMK) in this 16-Chapter book of 240 pages. Kuye is a two-time minster of the Federal Republic and the Asiwaju of Ago-Iwoye.

    The author is of noble parentage (in Ago-Iwoye) being a grandson of Alase Osikolade Osibule, the first Chairman of Ago-Iwoye Native Court (1911-32) and the Supreme Head of Alawori Community. His father, JG Kuye (1907-1974) was twice elected councillor in colonial Ago-Iwoye Town Council (1940-45) and (1952-55). His mother, Alimat Aderonke Kuye, was a princess of Ijebu-Ode, being a granddaughter of Awujale Fesengbuwa 1790-1819. Kuye is the first indigene of Ago-Iwoye to graduate in Economics Sociology and Politics almost fifty years ago from the University of Ibadan and in 1983 he obtained a Masters Degree from the prestigious Harvard Business School in Economics and Investment. With such a sound academic background, little wonder that the book is written in an academically stimulating style.

    In the first two chapters, the author examines some of the various theories on the origin of the Yoruba and rejected outright that which suggests that Oduduwa was from Mecca.

    He accepts the proposition that the Yoruba emigrated from either the present day Southern Sudan (Egypt) or from somewhere in the Horn of Africa.

    He submits that Ijebu Kingdom had existed in Sudan called Owodaiye (corrupted to WADDAI). North of OWODAIYE was a Yoruba Kingdom of NUBIA also in Southern Sudan. Both Ijebu and Yoruba empires of OWODAIYE and NUBIA were pushed into extinction by Arab imperialism in the Middle East and Sudan about 6B.C.

    The author argued further that the emigration from NUBIA & OWODAIYE to present day Yoruba Land was not in one single movement. The first group to arrive Ile-Ife (from NUBIA) was led by Iwade, centuries before Oduduwa. Hence in classical Yoruba, the word IWASE denotes antiquity e.g Igba Iwase (time immemorial).

    Another proposition considered by the author is that Oduduwa was an indigene of Ife and later became the Supreme Ruler of the territory. Olu-Iwa, probably leading his team of emigrants from Owodaiye reached Ile-Ife, and, with the permission of Oduduwa, settled and farmed there.

    The author states that the two leaders lived together peacefully. When it was clear to Olu-Iwa that Oduduwa had fully established himself as the Supreme Ruler, Olu-Iwa decided to move on in search of a kingdom to rule. But he gave Oduduwa a parting gift-his only daughter, Igborowo, was presented to Oduduwa as wife. Olu-Iwa left with some of his people and eventually settled at Ode-Ijebu (not Ijebu-Ode) as in Ode-Remo, Ode Aiye, Ode-Itsekiri. Thus Olu-Iwa was the first Ruler of Ijebu Ode. Igborowo begat Awujate who later became the third Ruler of Ode Ijebu after ousting Owa-Oshin, the second Ruler.

    The original name of Ago-Iwoye is Orile-Iwoye or Wojaiye and the first Ruler or King is Prince Kehinde Akingbade, with the title Ebumawe. That, the author posits, was around 1515AD. Oba Akingbade was a direct son of Oduduwa. At that time multiple births such as twins or triplets were seen as Evil or harbingers of misfortune and as such the children were instantly killed.

    After the birth of the twins (One body & one girl) their mother was assisted to escape from Oduduwa’s palace and she left with some palace aides and relatives. They settled at a village near Ondo called Idoko where the twins were brought up to maturity.

    The female was named Adebela Taiwo (Osemawe) and the male was Kehinde Akingbade (Ebumawe). The female soon married in Idoko and, having been tutored about her royal status, was installed as the ruler of Ondo Kingdom (Ode Ondo) with the title Osemawe. She advised her twin brother, Kehinde, to move further afield to find a kingdom of his to rule.

    Kehinde left with an entourage that included their mother, Olu-Ojam, who died shortly after they left Idoko at a spot near Ondo. The place was named Ile-Oluji meaning in Ondo dialect the place where Olu-Oja slept and did not wake up.

    Prince Akingbade wandered for several years with his team until they reached Ijebu Forest territory where they met descendants, relatives and servants of the Awujale. Prince Akingbade first settle at Isamuro where three of his close associates died suddenly from Evil Spirits. The Prince decided to stay for a few years to recover from the shock and see how things would turn out, i.e. Wooju Aiye or watch and see.

    The place was later named Wojaiye. Prince Akingbade then moved to Orile Ibipe where the people readily accepted him as their Oba. About 1515AD, Prince Akingbade was installed as the first Ebumawe or Orile-Iwoye or Wojaiye. It is clear from the foregoing that the Ebumawe or Wojaiye or Orile Iwoye is a direct son of Oduduwa and that the first Osemawe of Ode Ondo is a woman (Adewale Taiwo) otherwise known as Pupupu. She reigned from 1510-1529.

    The kingdom of Wojaiye was made up of five communities, with each community having a Head Chief who had allegiance to the Ebumawe. It was a confederal system and it ran smoothly for almost three centuries under seven kings, the last being Ebumawe Adan bi Ide Loorun i.e (One that shines like silver in the sun).

    The peaceful and successful administration of Wojaiye or Orile Iwoye kingdom was suddenly destroyed by the Egba in 1831.

    Having been dislodged from Ibadan by the combined forces of Ijebu, Ife and Oyo, the Egba felt very insecure in their new abode, Abeokuta. This sense of insecurity was heightened by the attacks on them by the Dahomey from the west, Remo on the east and Awori Iganmode from the South. They decided to take the battle to the enemy’s camp under the command of Generalissimo Lisabi.

    Bu unfortunately, they erroneously regarded Orile-Iwoye or Wojaiye kingdom as part of Remo villages that had always attacked Egba settlements.

    The military strategy employed to defeat Orile Iwoye was deceit and it worked effectively. The Egba sent an emissary to Obaruwa of Isamuro that they wanted to pay a courtesy visit to Wojaiye. Obaruwa of Isamuro was elated and instructed his people to prepare a grand reception for the Egba visitors. On the appointed day, Egba soldiers in full battle gear, moved their troops onto the defenceless and unsuspecting Isamuro people and massacred them on a large scale. Instead of receiving visitors, Isamuro received a bloody defeat and humiliation from the Egba. That was the sudden and tragic end of Akingbade’s Wojaiye kingdom in 1831.

    After the humiliating defeat, the five communities of Wojaiye or Orile-Iwoye moved to a new War Camp or Ago with the immediate purpose of planning a revenge attack on the Egba.

    All the five communities of Wojaiye i.e Isamuro, Ibipe, Odosinusi, Imosu and Imere and even Awori and Idode that were not part of Wojaiye’s kingdom teamed up in their new settlement (Ago-Iwoye). The head chief of each community was the Balogun and all of them regarded Balogun Meleki as their leader. Thus Balogun Meleki from Igan Township was the first political and military leader of the New (Republican) Ago-Iwoye.

    The advent of Islam, Christianity and the extension of British colonial rule to Ijebu territory all had a significant impact on the New Ago-Iwoye. The first mission school in Ago-Iwoye is the Wesley Primary School, established in 1893, and the Anglican Mission School followed later. The author, quoting J.O. Ajibola, said school enrolment was poor in the early stages of the schools. On page 109, he said: “Annual enrolment was below 20 for several years. Those who went to school had money tucked into their school uniform pockets as an inducement for them to keep coming”. By 1913, many homes in the different quarters of Ago-Iwoye had produced educated citizens though they were largely pastors and teachers. The first grammar school in Ago-Iwoye was established in 1954 and this was an eye opener to a wider world of opportunities for the children of the educated elite. By the 1940s, the first set of university graduates had arrived. Rev T.T Solatu BD Hons MA, BD (Hons) 1942; the very first Ago-Iwoye University Graduate J.O. Ajibola LLB was the first Ago-Iwoye lawyer 1942. Brig Gen Babafemi Ogundipe was commissioned into the Nigeria Army in 1943 as was the de fact. deputy to Gen. Ironsi by the time of the first military coup in 1966. Dr S.D Onabamiro, a world renowned parasitologist obtained a Doctorate in 1951. His daughter, Mrs Dolapo Akinsanya, is Ago-Iwoye’s first High court Judge. On page 171, the author observed that Ago-Iwoye is yet to produce a Senior Advocate of Nigeria, SAN. This is surprising to this reporter too but we must be reminded that the contribution of Justice Dolapo Akinsanya has done a lot to put the name of Ago-Iwoye in the Hall of Fame in Nigerian Jurisprudence. She gave that landmark judgment that declared the Interim National Government null and void and thereby became the first High Court Judge (Indigene of Ago-Iwoye) to declare illegal a sitting Federal Government of Nigeria. The judgment paved the way for Abacha to overthrow the interim.

    Ago-Iwoye’s educated elite are highly dedicated to the progress of their town. They formed Iwoye Progress Union and used it as a platform for the town’s development. Their key achievements are: (1) the agitation for the re-instatement of the Ebumawe throne that had been put in abeyance with the collapse of Wojaiye or Orile Iwoye kingdom in the Isamuso war in 1831. By 1932 under the dynamic and dedicated leadership of J.O. Ajibola, the colonial government approved the restoration of Ebumawe throne to Ago-Iwoye after an interregnum of 101 years. Ebumawe Akandiri Adenugba was crowned on October 24, 1932.

    The IPU also agitated for and got the colonial government to give Ago Iwoye a town council in 1935, much earlier than Ijebu Ode (1938) and Ijebu Igbo (1940).

    The author concludes the book by raising 10 points which he believes will make for lasting unity in Ago-Iwoye. These include the recognition of the Eyiri lineage as being eligible for the throne of Ebumawe. Secondly he makes a strong case for the elevation of the seven Heads of quarters in Ago-Iwoye into full-fledged beaded crown Obas as is currently done in Abeokuta and Sagamu. The book reflects the passion of the author for the place of his birth, and from what this reporter witnessed on the day of the book launch his people appreciate his contribution and high sense of patriotism. That is why he richly deserves the title of Asiwaju of Ago-Iwoye. As an Awori man from Igbesa, Ota – Ado-Odo axis, I must express my utter surprise to learn from this book that there is another Awori in Iwoye. There should be a liaison between the two groups.

    In conclusion, I observe that the book is well researched and a substantial contribution to the inadequate knowledge on the origin of the Yoruba. It is also a goldmine of information on the origin, growth and development of Ago-Iwoye since 1515AD.

    The reader will enjoy its flowing but standard language typical of the colloquial eloquence of the author. A hard cover edition is recommended to enhance the shelf-life of the book.

    •Chief Fadun is a political associate of Sen. Jubril Martins Kuye.

  • NTDC, the Gambia Tourism Board sign pact

    THE Nigerian Tourism Development Corporation (NTDC) has signed a pact with The Gambia Tourism Board to propel a rapid development and best practices in the Nigeria’s tourism industry.

    The NTDC boss, Mrs Sally Mbanefo, said that the partnership between NTDC and The Gambia Tourism Board is a landmark momentum in the tourism industry in West Africa, as the partnership will also develop and promote a sub-regional tourism brand. She spoke during the signing of the Memorandum of Understanding (MoU) at the corporation’s Lagos office.

    Mbanefo said:  “Nigeria is a catalyst in the development of tourism in West Africa. We have the population, which is a great lubricant in the wheel of developing tourism. We also have the political will to explore the potentialities of the industry. Meanwhile, The Gambia has an excellent track record of beat practice in the industry. As a result, partnership with The Gambia will enable us to exchange notes, programmes, and share best practices.

    “Following the partnership, NTDC staff members can go to The Gambia for capacity building and bring back the knowledge to develop Nigeria’s tourism industry. This will also enable our staff members to enlighten the Gambians on the tourism potentials in Nigeria and tell Nigeria’s story correctly to the Gambians, thereby propelling them into visiting Nigeria. The Gambia Tourism Board as well can send their staff to Nigeria for training and also appreciate our tourism assets.

    “Our relationship with The Gambia Tourism Board will promote the sub-regional tourism with the standard of the United Nations World Tourism Organisation (UNWTO) and Economic Community of West African States (ECOWAS).

    “It will promote travel and tourism between both countries in the areas of eco-tourism, culture, black heritage, festivals, cuisines and entertainment just to mention a few,” opined Mbanefo.

    The NTDC boss, who described The Gambia as the first African country to sign an MOU with, promised that the MOU will be implemented as soon as possible.

    Mbanefo used the opportunity the event offered to sell Nigeria’s domestic tourism to The Gambia Tourism Board members, encouraging them to attend fascinating and crowd-pulling festivals in Nigeria, while reeling out the national domestic calendar to the team.

    Her words: “Nigeria is so blessed with innumerable fascinating natural and man-made tourist sites and attention-grabbing cultural festivals. I invite you to attend any of the festivals, and you will be glad you did.”

    Director-General of the board,  Mr Benjamin Roberts expressed the interest of The Gambia Tourism Board to work with NTDC promoting tourism in the two countries.

  • A medic concern for prison inmates

    A medic concern for prison inmates

    Book review

    Title: The Basics of Prison Ministry
    Author: Ufot Ekete
    Reviewer: Joseph Eshanokpe
    Publisher: City Publishers, Calabar

     

    Not many people, especially among the elite, find the prisons a good place to visit not to talk of  investing their goodwill. But not so for Dr Ufot Ekere, who since he became a Christian 10 years ago, has pitched his tent in that sector. Now he is enjoining others to join him serve humanity.

    In his 108-book, The Basics of Prison Ministry, he explains how this is possible. In the Introduction, he says the Prison Ministry is wide and involves a lot of people ­– inmates, prison officials, medic doctors, lawyers, social workers, etc.  He also says  though many pastors and their congregations  are mainly  volunteers, they have minimal knowledge of their work, adding that it is for this that some of their works are not sychronised. It is the gap he set out to fill in the book.

    What is prison ministry. Quoting the Executive Director, Prison Fellowship of Nigeria, Mr. Benson Iwuagwu, a lawyer, he defines a prison ministry as ‘’the determined, focused and measured, spiritual, psychological, material and medical intervention aimed at the transformation of the offender, reconciliation and restoration of relationships, in ways that promote community and the common good”. But to the author, the prison ministry is aimed at offering service ‘’in a place of confinement and punishment to those men and women found in the prison, adding that it is more than the donation of food, toiletries and clothing to the prison inmates”.

    To him, the prison inmates despite their condition and ‘sins’ should be shown some care and candour, if not for any thing but for the sake of Christ. And there are eternal rewards, he adds. He quotes Matthew  25: 31- 40. “.. I was naked and you visited me; I was in prison and you came to Me …Assuredly, I say to you, inasmuch as you did it to one of the least of these my brethren, you did it to me.”

    What are the qualities of a prison ministry volunteers? A divine call, the will to work, passion for the needy, a giving heart, a leading, among others, says Dr Ekere. Above all, he adds that for those coming from the church, they need to consult both their church’s leaders and the congregation to get their consent.

    What is more, prison volunteers may need to apply to the prison management to get their nod. This granted, then they must get cracking. While there is need for one to show mercy to the prison inmates, he warned that this should not go beyond one’s mandate as the inmates could capitalise on it to cause havoc. At the end, it is the volunteers that would be held liable and culpable, he further warned.

    No doubt, Dr. Ekere has produced a good book.  Its glossy cover and error-free pages are a reader’s delight. But while Christians may find it a good guide, non-Christians who have a heart of love for humanity may also find it very useful.

  • US museum returns stolen Nigerian antiquities

    US museum returns stolen Nigerian antiquities

    Looted Nigerian antiquities which are scattered across the globe are gradually finding their way back to Nigeria as a result of the efforts the National Commission for Museum and Monuments (NCMM) are putting to recover the ancestral objects. The recent recovering are 18 seizures at Seme border, Benin Republic by the Nigerian Custom Service, and eight repatriated from Museum of Fine Arts, Boston, United States of America (USA).

    For four years NCMM has been working vigorously to see that the looted ancestral objects are brought back to Nigeria, its country of origin. A project they called sharing and collaborating. So far they have succeeded in retrieving 100 objects from countries such as USA, France, Germany, Britain, Switzerland, Canada etc including their recent achievement of recovered 26 collections, making it 126  artworks since they started the assignment. However, some Nigerians are making the hard work of the commission more difficult as they cart away these historical cultural objects outside the country. This was the case last month where some individuals outside the country were caught at Seme Border with some objects as they could not prove ownership of the artworks.

    In this regard, the Minister of Tourism, Culture and National Orientation, Chief Edem Duke, last week during a preview session of the 26  objects at the National Museum, Lagos, called the attention of the public to be watchful of such activities because it’s a crime in Nigeria to traffic artworks. Duke, therefore, urged Nigerians to protect and preserve their priceless heritage even though the objects belong to NCMM. He said: “I wish to emphasise that it is prohibited by law to engage in illegal trafficking of our cultural objects. The criminal act of illegal trafficking of our tangible cultural objects is an economic sabotage to the cultural development of our country.

    “As people that value their Cultural Heritage in high esteem, it is our primary responsibility to ensure the protection, security and safety of these priceless antiquities,” Duke said. He expressed his gratitude to Nigerian Custom Service for their good work and the Museum of Fine Art, Boston, USA for returning the eight antiquities to Nigeria.

    According to the Director General of NCMM, Mr Yusuf Usman the eight returned artworks from US are pieces distributed to Boston Museum Fine Art from the estate of an undisclosed African collector now deceased. “In our continuing effort at the restitution and return of our cultural property, we have over the years been in co-operation with many institutions including intergovernmental organisations such as United Nations Education, Science and Cultural Organization (UNESCO) involvement in the fight against illicit trafficking of cultural property.

    “About four years ago we started what we call sharing and collaborating rather than confrontation with Europe Museum on the need to jointly find a way of resolving our differences concerning the holding of Nigerian antiquities in Europe Museum”

    The beautiful, ageless bronze, terracotta and wood works, which have  historical patterns and untold stories of Nigeria are: Nok Bronze, Terracotta Head, Nok Male Figure, Ife Head, two Benin head (terracotta) Benin figure and Kalabari Screen Figure (eight returned from USA), Igboukwu lidded pot, Benin Bronze Bell, Queen Mother Memorial Head, Kneeling Female Figure, Kneeling Female Worshipper, Portuguese solder, Benin Bronze Leopard, Seated Benin Chief, Standing Flutist, Bronze Python, Benin Memorial Head, Bronze Drum, Bronze Leopard, Bronze Plaque depicting Portuguese Soldier, Benin Bronze Messenger, Standing Bronze Figure of Ife Chief, Bronze Leopard and Igboukwu Lidded pot  (eighteen seizures at Seme), are correctly on displayed at the National Museum, Lagos, for public viewing.

  • Eni Ogun for Soyinka

    Eni Ogun for Soyinka

    As Professor Wole Soyinka, Africa’s first Nobel Laureate marks his 80th birthday on July 13th a number of activities, mostly stage plays, have been lined up at different venues and locations to make the event a memorable one.

    At the Muson Centre, Onikan, Lagos, Eni Ogun, a play written by Wole Oguntokun based on the autobiographical works of Soyinka will be staged.  The play billed for July 19 and 20 is also directed by the playwright who today is considered as one of the best directors in the industry.

    Its content spans over six decades of the life and times of Soyinka both as a writer, an activist, academic, defender of human rights, public commentator and social critic.  Other plays of Soyinka to be staged are: Dance of the Forests, Death and the King’s Horseman, Kongi’s Harvest and lots more.  The plays will be staggered to last the whole of July in order to give Soyinka, Africa’s foremost playwright, a befitting 80th birthday anniversary.

    On July 13th, there’ll be a lecture at the Nigerian Institute of International Affairs (NIIA) Lagos, to be delivered by Professor Abiola Irele in honour of Soyinka.  The lecture will highlight the place of the celebrator in the annals of world history, international politics, writing and what next to do to have a better society where peace and love for one another predominate.

     

  • A bit of phenomenon

    A bit of phenomenon

    Title: Uwem Phenomenon (…a people manager par excellence)
    Author: Sunday Obanubi
    Publishers: Rhegos Resources, Lagos, Nigeria
    No of pages: 65
    Reviewer: Blessing Olisa

    What does it take to sail through stormy seas and come out unperturbed, yet standing tall? Which African woman gets impregnated by a man and chooses not to get married to him because he doesn’t fit in the picture of her future? Uwem Akai Martins is the exception to the rule. Welcome to the world of a woman who is strong, courageous, focused, disciplined and above all, a phenomenon.

    Reading through the 65 pages of her biography written by Sunday Obanubi, will keep you star-struck. It will dazzle you and just makes you want to keep digging into what makes the value of this jewel inestimable. The book also gives a deeper reavelation of the word, phenomenon.

    In the biography, titled, Uwem Phenomenon, Obanubi takes you through the life and career of Uwem, a people manager par excellence and  the woman everyone refers to as the proverbs 31 woman.

    Born into a Christian home of seven, Uwem grew up as a regular kid with her four siblings in Akwa Ibom State, Nigeria. Her life went on normally until 1995, when some events with a goal to alter her life began to unfold.

    A young woman who had a major challenge with her job found out she was pregnant with her first child. Unlike most young women, Uwem refused to get married to the father of her baby because she was convinced that wasn’t the right thing to do. How could she even determine that? Pride? Dignity? This biography takes you on a trip of self realisation, gives you a reason to face your fears, man up to the reality at hand and also stay focused in trying times.

    The charming Uwem wields a personality that helps you see through who you are and who you want to be. Her personality also gives you an insight on achieving everything that you desire, giving you a reason to develop your strong points, stay on your dreams and pursue your dreams at all times till they materialize.

    Simple and charismatic Uwem reveals how to lead and grow a team from 15 to at least 200 people, yet being a very professional leader who leads by example. She gives all her subordinates a reason to be the best and stay the best in everything they get involved in.

    Uwem, who is the envy of many, gives an insight on ‘how to be an enviable professional’, while leading your team successfully.

    Obanubi reveals how this virtuous woman from Proverbs 31 strikes a balance between being a professional at work and in her home. The beautiful mother of two, Uche and Atinuke is happily married to Adetokunbo Martins and puts her family before everything else, without any conflict. She also conveniently spreads her love to her extended children, her over 200 staff members.

    Uwem Martins not only leaves her mark with those she comes in contact with, but also with those who read her biography.

  • ‘Day I almost died on stage’

    ‘Day I almost died on stage’

    Philip Okolo is one of the oldest stage artistes in Nigeria. When he started his stage career in 1977, his dream, along with his contemporaries then was to infuse a new lease of life into live theatre. This was during the era of Dr. Bode Sowande, when street theatre was the vogue and Nigerians had the freedom of watching theatre whenever the opportunity  offered itself.

    “After a while, I joined the group of artistes with Bayo Oduneye who introduced me to the late Sam Loco Efe. I told him I wanted to be a full time actor and that theatre was in my blood. That was how I started as a full time actor.” Okolo reminisced, smiling.

    After he got to know Loco and others, they then gave him a role to play, which he did very well.  From then on, the sky became his limit, he stated. “ Then it was in1984, that I actually started professionally. There was a show in England, that was the Commonwealth Festival of Arts and Culture. They wanted to pick the role of Akaraogun in Wale Ogunyemi’s Langbodo. I was then picked against so many other big names in the industry then. Uncle Jimmy Solanke and Loco were to play that role.  But lo and behold, the role fell on me.”

    That was how it all began for him. Professor Adelugba who directed the play wanted to experiment with a younger artiste. In the process, he chose Okolo who incidentally dazzled the whole arena with his professional dexterity. “After that outing in England, when we came back home, I began to get more sensitive roles which also began to shore up my resume as a stage actor. It was during this period that I encountered other older professionals like the late St. Iyke and then Chief Fred Agbeyegbe whose plays formed part of what we were doing then.”

    Even though he has worked as a television actor, Okolo said he has not felt quite at home doing so. “I like live audience.  To me that is pure theatre.  Stage brings out total theatre and the people can easily feel it. See, if I had wanted to be in Nollywood, it would have been easy for me. What they churn out, most of the time, are below standard practice. I am not really condemning what they are doing, but for me, it is an easy way out.  On stage, you are on your own and you have to be accountable to the audience.  And that is why I love stage.” In acting out most of these roles, Okolo has discovered that one has to prove the stuff he is made. While acting in Langbodo in one of those roles that spells one out as a professional, he sustained a serious injury on stage.  “You see, in my overzealousness in one of those shows, I jumped on to the stage instead of walking in through the auditorium.  It was then that I sustained the injury. I had this costume that was very heavy and it hardily allowed me space to exercise myself.  I was feeling more like a hero and so when they heralded Akaraogun, instead of appearing the normal way, I jumped onto the stage.”

    By the time he landed on the edge of the stage, he had got a deep cut on his ankle. But like most brave professionals, he got on with it, while blood kept tricking out. “At the end of that show, when I got to back stage, I passed out; I fainted because I’d lost a lot of blood” he said. Before the acting ended, all the cast and crew were scared, for they thought the show would flop. The solution was that Okolo tore a part of the costume with which he covered the wound. But even then, the director of the play was not at ease until the show was over.

    Again, the artiste in him blossomed in the other shows that today, anytime there’s a tough role that needs serious role and stage interpretation, Okolo is usually sought after. “The role of a serious actor is to interpret his role convincingly”, he said. “I have not been out of active career since 1977. Even when I was at Saint Patrick’s College, Ibadan, I knew I’d be an actor. It was through literature that one of my teachers lured me into acting. I love story telling and of course my mum, at night would tell us plenty of stories. So, we kind of had the background, my brother Felix and I.  So when we graduated while he went for directing I went for acting. But above all, watching Sam Loco in Ibadan in those days got the better of me. Then when we were in Benin and I used to watch Hotel De Jordan in which Loco and others took part, my imagination and love for the theatre  grew.

    “I also love Bata drums,” Okolo revealed. “More so I love Yoruba acting. I love the traditional sentiments expressed in Yoruba theatre. When I listen to bata drums I feel like dancing and I really want to act and you cannot discountenance the place of Yoruba theatre in Nigeria. For me I try to spend some of my earnings to produce some plays. I work on mini festivals and it is an aspect of theatre I want to revive to bring back live theatre. We used to have open theatre at the National Theatre. Then if you had a show and people attended, and thereafter you’d share the proceed. That’s the sort of thing I want to bring out now. That will be in Delta State. I am in touch with them to that effect.”

    So far, his intention is to have some stories by Nigerian writers into stage. “We need to adapt those stories to give theatre real life flavour. This is one of the ways to bring theatre to its fullest meaning in Nigeria. From there, we’ll go into community theatre too. This will give us fulfillment, fun, joy and then writers would get their royalties,” he said.