The Nation Newspaper

Category: Arts & Life

  • Journalist presents Democratic Interface

    —FRCN seasoned correspondent, Gbenga Onayiga, captures some remarkable moments in Nigeria’s quest for democracy in his 250- page book prelude to his retirement after 35 years of service.

    Nigerian journalists are fast joining the league of book writers and emulating their counterparts in developed democracies by churning out books based on their experiences while performing their reportorial duties.

    The latest insightful, scholarly and intellectually challenging work on contemporary Nigerian political history entitled “Democratic Interface: Memoirs of a Political Reporter” written by a Radio Nigeria veteran political correspondent, Gbenga Onayiga, will enrich the book shelves on Tuesday when it will be presented to the public at the National Press Centre, Radio House, Abuja.

    Nigeria as a nation has passed through various political experiences under military and civilian administrations. This has contributed significantly in shaping the future of the country. Onayiga is evidently one of those so strategically positioned by providence to chronicle some of the major events that contributed to the shaping of the destiny of the nation.

    A ringside observer in the country’s political evolutionary process, Onayiga had seen the intrigues, blackmail and other vices in their conduct. The book is a product of his personal experience in his chequered journalism career as a political reporter spanning about three decades. The work is the outcome of surveillance kept over the attitude of successive governments and the citizens thereby ensuring the checks and balances required in a democracy. The work is a clear demonstration of the reference to journalists as people who write history in a hurry, as Onayiga chronicles major political developments, particularly during the various transition programmes in Nigeria since independence.

    In furtherance of its constitutional injunction, the “Fourth Estate of the Realm”, as the media is usually referred to, has always been monitoring the activities of government and promoting strict adherence to the rule of law as well as the sustenance of democracy in the country. Right from the founding of the first newspaper in Nigeria “Iwe Irohin ni Ede Yoruba” by Reverend Henry Townsend in Abeokuta in 1859, the media in Nigeria has been in the fore-front of defending the rights of the masses. It played the advocacy role and helped to check the excesses of the government.

    Indeed, the media led by nationalists like Dr. Nnamdi Azikiwe, Chief Obafemi Awolowo and Ernest Seisei Ikoli, used the power of the pen to champion the attainment of independence for the country. It is therefore not an over-statement to conclude that the media, more than any other profession, suffered and sacrificed a lot in lending a hand to bringing about whatever success has been recorded in the social, political and economic life of the country.

    Nigeria can boast of having the freest and most outspoken press in the whole of Africa, one which has been credited for having helped in Nigeria’s transition to civilian government, but also one which has consistently (and understandably) been the target of harassment by past military dictatorships. Many agents of Nigeria’s press have been imprisoned, exiled, tortured or murdered as a result. Nevertheless, few still persevered, working to make the dreams of the founding fathers of Nigeria not to be in vain.

    Our nation today needs people like Onayiga in the media profession. Men who are honest, true to the heart, self-made men, men with conscience, steady as the needle to the pole, men who would stand for their right even if the heavens and earth reel, men who can look the world in the face and tell the truth, men who have courage without being domineering, men who know their place and fill it, men who know their message and preach it, men who would not lie, shrink or dodge, men who are not lazy to work, nor too proud to be poor. He is a trusted, visionary and committed journalist.

    The public service of Onayiga has given him a deep sense of commitment, honesty, enthusiasm, responsibility, the right mental attitude and other positive characteristics that are lacking in many in public positions which affect the lives of the less privileged in the country today.

    This book is primarily a general interest encyclopedia about trust, transparency and accountability of the media to the project called Nigeria.

    There has been a growing realisation that the mass media has been under-used in development. The key realization has been that the mass media can be deployed in the fight against poverty, corruption, Niger Delta and Boko Haram insurgency as well as failing infrastructural development. There is also the need for an increased emphasis on good governance and strengthening democracy. The mass media is widely seen as playing a key part in supporting people’s rights under law, and in holding politicians and officials to account.

    The book is written in simple language that is accessible to many grades of literacy. It is a must read for policy makers, critics of the media, teachers and students of history, education, sociology, anthropology, and political scientists at all levels. The book will no doubt give a fresh perspective and clear some doubts concerning this institution and at the same time arouse the very deep interest of the media in entrenching, deepening and sustaining democracy and good governance.

    The author deploys his powerful skill in political reporting to full effect and comes up with a captivating masterpiece that should enrich Nigeria’s literary establishment. The book does not pretend to be a study of the media thought process and involvement in Nigeria’s democratic experience, but it provides the basis for the study of emerging trends and paradigm shift of the use of the media in Africa’s biggest democracy.

    It is obvious that the book is going to set standards for media treatises that is bound to flow as Nigeria’s fledgling democracy finds firm footing in the years to come.

  • For the sake of visual art

    When the Guild of Professional Fine Artists of Nigeria (GFA) was formed 10 years ago, the primary concern of those behind it was to curry for the total promotion, protection and projection of professionalism in the visual art profession. The main objective was to bring together seasoned studio art practitioners who have given all their time and energy to the sustenance of fine arts.

    This set of professionals are those who toil day-in-day-out to ensure that the standard of art products are kept afloat and that the art market is ever kept alive for the purposes of attracting art patrons and seeking for government attention.

    Last weekend, the guild met to induct into its fold a set of new members. These members who were 20 well-tested artists went through series of tests and trials before they were accepted into the fold. The event, which was graced by the members of the board of trustees of the GFA led by Ede Dafinone, brought out the total beauty and place of the art industry in the economic spheres of the nation. It was an occasion to show the world that art has indeed come to occupy an integral part of the nation’s economy.

    Like Dafinone noted, the Nigerian art is doing well in both the local and international markets today. What it means is that more efforts need to be made to ensure that both the output and the standard of the profession reach its pinnacle.

    A seasoned art collector, Dafinone charged artists to be at their best in order to keep the tempo ever high. While inducting the new members he advised them not to be in a hurry to churn out art works. “Your works go a long way to say who you are. Creativity is an everyday affair and no society can ever do without its crops of creative minds. You’ve come this far because you’ve chosen to give the society what it needs. Your stories tell the history of our nation.”

    The chairman of the occasion, Toni Phido, was particularly intrigued by the crop of senior professionals who made the list of new members. He said that some of them had been elusive due to their busy schedule, “But today we have come face to face with you guys. It is such an impressive assemblage of the best in the sector. It is, therefore, time for you to give out the best you can to ensure that visual art continues to play a vital role in the economy of the nation”.

    Phido, however, reminded the artists that standard should not at any point be compromised. “Thanks for the good works you’ve been going. You are great artists. But don’t forget that to whom much is given much is expected. Therefore, strive to promote the level of professionalism and ethical standard for which the GFA was formed. If you continue to go on like a group, well committed to the profession, you’ll surely attain greater heights in the future”.

    In his welcome address, the president of the guild, Abraham Uyovbisere, commended members for being able to make the list. He noted that a journey that began few years ago has metamorphosed into a bigger dream where members have consistently given their all for the good of fine arts in Nigeria.

    “As much as the birth of GFA calls for celebration, it is not without its recurring encumbrances. Every sector of the economy is statutorily supported by the government to contribute for national development”. Uyovbisere noted, however, “that the visual art sub-sector has been badly neglected so far as if it has nothing substantial or relevant to offer. This inclement attitude, in itself, has to change because the visual art industry which could easily be a strong, alternative income earner for the country as recent history has revealed, in being slowly asphyxiated through the lack of implementation of existing government policies.”

    Uyovbisere’s utmost concern was for artists to work and also seek a plausible synergy with the private and public sectors for the sake of their works. “Yes, artistic glory and honour, as a matter of fact, do not depend only or entirely on talent. Facilitation equally plays an important role. Art has always needed sponsorship and patronage. Indeed without the generous support of corporate organisations and institutions, it is usually difficult for artists or art association to operate optimally.” His appeal was for those wealthy who love the art to invest in the sector since the value of the art appreciates as time goes on.

    Francis Uduh, one of the new members, confessed that the rigour of being a GFA member was tough, but that it is good to maintain the standard, so as to give artists an opportunity to showcase their best. It is remarkable to be a member because this is a platform to exhibit the highest level of professionalism in the usual art sector in Nigeria. And since it is meant for well-tested studio artists, we need to work harder to give the society what it needs. We need also to continue to make our own contributions towards the building of a better Nigerian society.”

    The event, which took place at the Terra Kulture, Lagos, had the likes of Kolade Oshinowo, Sam Olagbaju, Olu Ajayi, Sam Ovraiti, Ndidi Dike and others in attendance. Some of the new members included George Edozie, Gerry Nnubia, Tayo Olayode, Toni Okujcani, Tunde Ogunlaiye, Juliet Maja-Pearse. Others were Ken Adewuyi, Osagie Aimufia, Mufu Apooyin, Ben Ibebe, Emenike Ogwo and many others.

  • Achebe’s Arrow of God in Jonathan’s hometown

    Achebe’s Arrow of God in Jonathan’s hometown

    The late Prof Chinua Achebe’s Arrow of God is a political satire on leadership. The novel’s 50th anniversary is being celebrated in some parts of the world. The celebration train was in President Goodluck Ebele Jonathan’s Otuoke, Bayelsa State hometown. At the ceremony, leaders were advised to heed the book’s message to save the country from going under. Evelyn Osagie reports.

    A mid tight security and the scorching sun, writers from across the country thronged President Goodluck Jonathan’s Otuoke hometown in Bayelsa State for the anniversary of the late Prof Chinua Achebe’s book Arrow of God.

    The event was held at the Federal University, Otuoke (FUO).

    It no coincidence that the epochal event, which is being marked across the globe, passed through Mr President’s town.

    As a novel which literary scholars say holds lots of lessons for contemporary political, it is fitting that the train of literary festivities, including symposia, dramatic performances (stage adaptations of Arrow Of God) and quiz competitions, should land in the town, the organisers said.

    With the theme: Literature, Leadership and National Unity, the celebrations began in Ibadan, the Oyo State capital, where United States Political Scientist and expert on Nigeria politics Prof Darren Kew was the keynote speaker. The event will also hold in Abuja, Lagos, Awka, the Anambra State capital, Ogidi, the Anambra hometown of the late author, Sokoto and Port Harcourt, Rivers State, according to the National Organising Committee Chair, Dr Wale Okediran.

    Just as in Ibadan, the Otuoke scholars examined the political significance of the novel, published in 1964, alongside its historical, cultural and environmental relevance.

    In her keynote paper titled: Beyond the Boundary: Leadership and Abuse of Power in Achebe’s Arrow of God, Prof Akachi Adimora-Ezeigbo said the work contains lessons for Nigerian leadership. She highlighted the negative effect of poor leadership skills and the abuse of power in society which the novel, Arrow of God, depicts, saying the novel also upholds that good leadership and proper management and use of power are indispensable to the well-being and development of the family and the nation at large.

    Although the book, which was written at a time when political rivalry made the question of responsible leadership an urgent one to warn future Nigerians to avoid rancour and embrace peace and harmony, she observed that they do not seem to have heeded the warning at any given time. She urged the leaders to heed the warning to save Nigeria from dissolution.

    She said: “Consider, for instance, the numerous disasters that have overtaken the country – civil war, military dictatorship, continued marginalisation and violation of women, militancy and terrorism in the form of political and religious violence and Boko Haram insurgency.

    “It is not too late to heed Achebe’s wise advice and save Nigeria from disintegration. Some Nigerians see the present National Conference as a way out of the woods. As the conference gathers momentum, the delegates who represent the different zones of the country must see the exercise as a viable way to salvage the country.”

    Prof Adimora-Ezeigbo also underscored gender and patriarchy preoccupations in the work, saying the oppression and the marginalisation of women in the novel constitute Achebe’s critique of Nigeria’s male-dominated society, saying: “Nigeria and its people must realise that the enhancement of women’s status in the society would not in any way reduce the social, economic and political standing of men. It is therefore in humanity’s interest to encourage rather than resist change”.

    According to Prof. Diri I. Teilanyo of the FUO and the University of Benin (UNIBEN), “present-day political leaders have some lessons to learn from the implications and consequences of certain rhetorical utterances in the fictional world of Arrow of God, noting that the use and acting out of such could result in much loss both to status and to life.

    While drawing parallels between the utterances of characters, such as Ezeulu, Nwaka and Ezidemili in Arrow of God and those of Nigerian political personalities like Olusegun Obasanjo, Goodluck Jonathan, Ibrahim Babangida and Atiku Abubakar (the statements of the Nigerian politicians having been gathered from the mass media), she noted that literary works such as Arrow of God constitute a source of political wit and wisdom for politicians.

    Dr Chris Onyema, who directed Emeka Nwabueze’s When the Arrow Rebounds, a dramatic adaptation of Arrow of God, spoke on environmental rights implications, the dislocation and trauma that the clash of cultures brings about in the work.

    The Arrow of God Quiz Competition added an interesting twist to the event. The struggle for the first position was between 10 students, from the initial competition among 35 students from seven secondary schools across Bayelsa State, said the state chairman of Association of Nigerian Authors, Mr Emmanuel Frank-Opigo, who presided over the quiz.

    At the end of the heated quiz, Aniso Teddy from Ayama Montessori won the N40,000 prize. Teddy said he hopes to set up a reading club with the proceeds of the quiz, saying: “I had sleepless nights trying to prepare for the competition. And so, I am happy that I eventually won. There should be more of this to help motivate us, the young ones to read and concentrate on our studies instead of watching films or playing games. As a prefect, the novel has taught me to take recognition of the plights of those I am leading. I think our leaders need to read the book, too, because they don’t seem to care about the masses.”

    Like Teddy, other contenders were not left out. The second prize winner went home with N20,000 while the third person got N10,000. All 10 contenders went home with a dictionary each.

    The FUO Vice Chancellor, Prof Mobolaji Ebenezer Aluko, said he was impressed by the efforts and commitment of the pupils and the organisers of the event. According to him, it is a thing of pride and joy that FUO and Otuoke are part of the celebration train honouring Achebe’s work posthumously. Though the institution is a very young one, he said: “It is determined to support literature in no small way as best as it can.”

    From the cocktail, a night before the symposium, to the farewell dinner that evening, the university treated guests to lots of feasting.

    For him, it was not just another event but a celebration of many firsts. He said it was the first international event in the town and the university and the first time both would host that number of writers. He added that it was also the first time they were using the auditorium of its adjoining Skills Acquisition Centre, which, he said, was quickly completed for the event.

    And to show his commitment to promoting literature, Aluko, who is a lover of arts and one-time ‘student’ actor, directed the Yoruba choreography of the University Dance Troupe that was constituted chiefly for the event alongside the Theatre Troupe, which had only two weeks to prepare. “I am also a lover of arts and acted in many stage plays as a student,” he said.

    In attendance were Bayelsa State Secretary General Prof Edmond Allison-Oguru; the Amananaowei Otuoke, HRH Lott Ogiasa, Oke X, who was represented by the Amananaowei of Imiringi, HRH Augustus Osomu; the Amananaowei of Tombia, HRH Christain Otobotere; Chief Simon Ambakederemo (ANA Bayelsa Patron); Elder Comish Ekiye (ANA Bayelsa Patron); Mr David Suowari (FUO Registrar); Mr Atonbara Ombu (FUO Bursar); Prof Philomena Ejele (FUO Dean, Humanities & Social Sciences) and Dr Okeke (FUO HOD, Humanities), among others.

  • X-raying a literary amazon

    X-raying a literary amazon

    The pain and horror of the killing of some University of Port Harcourt (UNIPORT) students referred to as ‘Aluu Four’ were brought home when the literati and scholars gathered in Lagos to celebrate a literature doyenne, Prof Akachi Adimora-Ezeigbo, at the Association of Nigerian Authors (ANA)Vintage Wine and Flesh Blends, reports Evelyn Osagie.

    They came protesting. Teenagers- boys and girls. They raised their voices and placards to protest the 2012 carnage that took place in Aluu, a Rivers State community.

    “It was a day dream died/Faith withered in the furnace of unbelief… Adieu, oh hapless victims of Aluu…”they chanted.

    It was no protest rally but the performance of the poem Season of Carnage from the collection Dancing Masks written by seasoned writer Prof AkachiAdimora-Ezeigbo.

    There were mixed emotions as the kids, from four secondary schools, took turns to give theatrical interpretation of the poem on stage. Their reaction was not far-fetched. It was weeks after several bombings and killings in the northern part of the country.

    Emotions were high.While fueling audience’s emotion, the diverse interpretations and costumes added spice to the poem’s preoccupation. The poetic lines, which the poet said was borne out of the hideousness of the act, and the theatrics not only re-enacted the scenes, but also called for firm action against such inhuman acts.

    The Lagos City College’s performance, which was the most expressive of the four schools that included National College, Gbagada; Ikosi Senior High School and Gretech Educational Foundation, clinched the first place position.

    The teen-actors with budding passion for literature, were the “Fresh Blends” while the poet was the “Vintage Wine”, explained the Chairman, Association of Nigerian Authors (ANA), Lagos Branch, Mrs Femi Onileagbon.

    She was one woman wearing many hats. She is a prolific writer, with over 50 publications, including 14 books and numerous journal articles. She is one of Lantern books award-winning authors, who has won diverse literary prizes such as the NLNG Prize for Literature Prize and ANA prizes for Prose Fiction and Women Writing; and has judged several others.

    Her achievements are not limited to the literary front alone. She is an English Language professor and was the head of department of English at the University of Lagos (UNILAG) where the event was held. In the home-front, Adimora-Ezeigbo is also a success as wife, mother and grandmother. She was there with her hubby Prof ChristainEzeigbo, their children and granddaughter, bright Chinemenma. And on the traditional front, she is a chief with thetitle UgonwanyiEdemedeNdi Igbo.

    With a large portfolio of accomplishments that serves as inspiration for the young and for her contributions to the advancement of the course of Literature, Onileagbon said,Adimora-Ezeigbo earned a spotlight atthe Second Vintage Wine and Fresh Blends. The event was organised in conjunction with Literamed Publications Nigeria Limited who donated books and prizes to the schools.

    According to the ANA Lagos Chair, the programme aims at creating a mentorship environment for new and budding writers. “It invites the best of established literary figures, publishers and political figures (Vintage Wine), whose experiences and life paths have the weight to influence positively the creative development of new, young or aspiring writers (Fresh Blends) with the aim to nurture them. This edition we chose to celebrate Prof Adimora-Ezeigbo and work withLiteramed Publications Nigeria Limited that has published and promoted scholarship for 45 years.”

    Impressed by the efforts of the teen-actors, Adimora-Ezeigbo, who started literary voyage early as a member of Debating and Dramatic Society where she wrote her first play, encouraged the children to keep at their passion, saying she started many years ago like them. She advised parentsand schools to encourage the budding talents in their wards, saying: “Encourage your children to imbibe the culture of reading and writing early. Schools should identify talents in their wards and begin to nurture them”.

    To her quiet mien are her vocal and activist sides that came alive during the interactive session with the reporter and a representative of Literamed Publications Nigeria Limited, Ms Busayo Sawyerr (Editor-in-Charge). To Ms Sawyerr’s observation of low quality of manuscripts being a reason behind fall in the number of works by budding writers published Literamed, the author advised to them not to lose faith but to engage the services of book editors.

    Adimora-Ezeigbo “the advocate” kicked against destructive criticism that seeks to damage the writer, observing that “sometimes critics can damage writers”. She opined that Nigeria has an abundance of destructive criticisms that are highly subjective. “I would wish we have more of the constructive criticism. Some so-called critics would begin to attack the writer instead of the book. Critics should look at the good and bad things about a book,”she said.

    Her novels promote African culture and cultural tolerance; the school of feminism that accommodates men. In a world that is often said to be ruled by men, the author canvassed for negotiation and cooperation between the sexes, while throwing her weight behind what she calls “Snail-sense feminism”. She said: “The Snail-sense feminism is based on the Igbo cultural belief that advocates that men and women should negotiate and work together. The snail negotiates and dialogues with its environment and other objects around it. I think that is what African women are and should be doing.

    “Some described it as an accommodative stand. Feminism is culture-based and is constrained by our social and cultural beliefs. In Africa, we believe we have to work with the men to move the society forward. If you watch women who are successful, it is not through aggression but through negotiation. You have to work together with the men. If you notice the home that is successful, it is where the man and woman work together.”

    Her novels often promote women empowerment with female lead characters with strong personalities, who wield influence and cause positive change.

    Coming from a background of strong and independent women, she hammered on the importance of women empowerment, saying it is the inspiration behind her advocacy.

    No doubt, African cultures are patriarchy and women are often at the disadvantage, however, Adimora-Ezeigbo said,the continent still prides itself of men who support and believes in the progress of their wives and daughters.

    “My husband is that kind of man. When we are talking about the best woman activist, encouraging women, he is Number One. Right from home, all the women in my family were strong, independentwomen, who are empowered. I grew up in a background of strong women. My two grandmothers were strong, independent women, who believe in the empowering of women. We were encouraged to be strong and independent. My parents empowered me and that is what I believe and encourage. And I am blessed to have a husband that also believes and encourages it,” she said.

    And how does it feel have a wife with such a lofty portfolio, Prof Christian Ezeigbo was asked. Hear him: “If you are lucky to have somebody who is successful, the least you can do is to encourage that person to the utmost because your joy and that person’s joy will multiply.”

  • That the giver may not die

    That the giver may not die

    Kindness and giving come naturally to Mrs Motunlayo Adefunke Sofowote, founder/president, Glowing Channels’ Foundation. In the past 15 years, she has been providing succour for the less privileged. Now, the 67-year-old woman, who is battling with cervical cancer, needs help to live. RAYMOND MORDI reports that her friends are organising a photo exhibition to raise funds for her treatment.

    A photo exhibition is being put together to raise funds to save the live of Mrs. Motunlayo Adefunke Sofowote, founder/president of Glowing Channels Foundation, a non-profit organization that has been providing succour to the less privileged in the society in the last 15 years. The exhibition, which is taking place under the theme, ‘She Lives On’, would open on May 4, 2014, at Freedom Park, Broad Street, Lagos, at 4 pm prompt and would run for one week. It is being organized by a group known as ‘Mrs Adefunke Sofowote Cancer-Fighting Fund Team’.

    The woman has been critically ill since August last year and requires urgent financial assistance, to continue her treatment at the University Teaching Hospital, Lübeck (otherwise known as the UniversitatsKlinikum Schleswig-Holstein, UKSH), in the northern part of Germany, where she has been hospitalized. It was at the close of the year 2011, when she was preparing for her Glowing Channels Foundation annual charity concert, that she was diagnosed with cervical cancer, a deadly ailment that is said to be responsible for the death of one woman in every hour in Nigeria. As her treatment at the EKO Hospital, Ikeja, Lagos, progressed just before Christmas, she found that she was getting weaker.

    For a woman who has been very active over the past few decades, as a writer, motivational speaker, philanthropist and a regular volunteer in a number of activities in the upliftment of humanity, it was a telling sign to slow down or shut down. The one fondly called ‘Mummy Sofowote’ has since found herself in life-threatening situations repeatedly.

    She is currently receiving a series of medical treatment at the German hospital. Close friends and family have rallied round her so far, by constantly providing money to cater for her treatment. As a result, some measure of success has been achieved.

    But a bigger amount of money, which is far beyond the scope of what her immediate family and friends can afford, is now required. The turn that her medical treatment has taken since August last year has taken the capacity beyond the scope of her immediate family and friends. According to her husband, Mr. Segun Sofowote, the renowned dramatist, writer and veteran broadcaster, “Every session of treatment she undergoes costs the equivalent of well over a million naira. We need now N25 million to pay for her hospital bills, another N5 million to pay for her medications and prescriptions and another N5 million to take care of her living expenses in Germany.” The costs themselves are threatened by the fluctuating rates of the foreign exchange market.

    Mrs. Sofowote’s predicament is somewhat awkward. Not getting the required financial support at the right tie to continue her treatment seamlessly could be critical. She is being taken through a series of treatment regimes that would span over a long period of time. As a result, she is not expected back to Nigeria till about the end of next year.

    “The exhibition is a creative way of raising the necessary funds for her treatment,” Mr. Charles Ayo Dada noted. Mr. Dada is the coordinator of the exhibition. “The idea is to give back something to the patrons,” he added. In his view, those who would support the cause of this exhibition would come in different categories. In his words: “Those pictures have their own appeal, so there are those who would buy because they love art. But there are those who may be moved to give more than the cost of those pictures, if they see it as a fundraising activity. There would also be those who would buy because of the theme of the activity, particularly because they know the woman at the centre of it all and they want to identify with the project.”

    As a dedicated part-time photographer with longstanding experience, Mrs. Sofowote has quite a unique collection of photographs, out of which 40 have been selected for the exhibition. “We have had to go through a collection of photographs she had taken over the years, to select the ones we would put on display,” Dada noted.

    Mrs. Sofowote, 67, is a passionate giver. Every December since 1998 (with the exception of the last one), she has remained committed to her annual Glowing Channels concerts, primarily to give succour to the needy and provide wholesome entertainment for families. Over the years, the likes of Kayode Olajide, the late Benjamin Aderounmu (better known as Kokoro), Bright Chimezie (a.k.a. Okoro Junior), Therese D’Avila, superior soprano from Ivory Coast, and groups like Notes and Tones, Seye Aluko’s Sound Foundation and Professor Mosun Obidike’s The Symphonic Voice from Ibadan, Oyo State, have featured at the concert. Glowing Channels, the humanitarian organization, was inspired by the memory of the late Chief Adeyemi Olusola Lawson, to revamp wholesome entertainment for the spiritual upliftment of people, as well as a vehicle to raise funds for the succour of the less-privileged in society.

    As those who know her very well would readily attest, Mrs. Adefunke Sofowote is a warm, modest and elegant woman. As a writer, she provides rare insights. “I’m motivated to write from the deep well and wealth inside of me,” she told this writer after the launching of her fourth book, ‘366 Days of Soulful Planting’ in May 2009.

  • ‘Harness women’s potential for development’

    ‘Harness women’s potential for development’

    A Non-Governmental Organisation (NGO), the Women’s Optimum Development Foundation (wodef), has urged leaders to harness the potential of women for social development. The group held a Rare Gems Award ceremony in Lagos. Evelyn Osagie reports.

    The role of women in nation-building was a major concern at the Rare Gems award organised by the Women’s Optimum Development Foundation, (wodef), a non-governmental organisation, that focuses on women empowerment and economic development.

    The event, which was held at the Sam Shonibare Community Centre in Lagos, was used to celebrate individuals who have impacted on their communities.

    For Nigeria to meet up with expectations of the Millennium Development Goals (MDG), leaders were urged to take advantage of the potential of women to bring about change. wodef National Coordinator and ace broadcaster Mrs Bimbo Oloyede described women as “change agents” that are essential key to achieving “equality and progress”, which was UN Women’s theme for 2014.

    With the theme, Women As Peacemakers,she condemned the killings in the northern part of the country in addition violent against women across the globe, describing such inhuman acts as “senseless and inhuman”.

    She said: “Let’s spare a thought for women around the world who are challenged with fear, poverty and hunger, whose children cannot determine their fate or future. We must also turn our minds to the children of of Buni Yadi in Yobe State and other children and women whose lives have been cut short by senseless violence and I ask you to stand in their honour because that is the least we can do.”

    Mrs Oloyede said the efforts of the women should be backed up by that of the youth. While charging them to be involved in the quest for the changeand progress,she urged that theypay more attention to current happenings. “We must therefore encourage young people to key into post 2015 gender concerns by engaging them in various activities that expose them to development initiatives in Nigeria.

    “They also confront factors with which their contemporaries contend daily in other parts of the country and indeed other parts of the world. In addition, this is a very potent way of not only bringing public attention to the Millennium Development Goals but also to the individuals that promote and actualise them,”she said.

    To encourage youths, she said, WODEF chose to involve the pupils selected from 16 public, military, missionary and private schools in the nomination process of the rare gem awards.

    She said: “Our strategy is to involve them directly in the Rare Gems project which WODEF has been organised nine times since the year 2000 and through which 85 awards have already been presented to those who have impacted on their communities.

    “Eight schools were asked to create original presentations based on each the MDGs and our stated theme, while the other eight were each given a list of 10 criteria and asked to research and nominate a total of three women, men or organisations for awards in specific areas, also relating their findings to the achievement of the millennium development goals in Nigeria. The list of 24 nominees was presented to the judges who were given the criteria to study prior to choosing the final eight winners.”

    This aspect of the project, according to Mrs Oloyede, started last November during the 16 Days of Activism Against Gender Violence.

    The recipients included: Rochas Foundation (Imo/Abuja); Hajia Salamatu Garba of Women Farmers Adancement Network (Kano); Dorothy Esangbedo (Lagos); Mrs Grace Omotosho (Lagos); Action Health Incorporated (Lagos); Mrs Joanna Maduka (Lagos); Mr Rotimi Olawale (Abuja).

  • Church holds concert in UNILAG

    The Breath of Life Ministry will hold a musical concert on April 13 at the University of Lagos (UNILAG) main auditorium. The theme of the programme is UNILAG Mega Praise Summit/ Gospel Swagger. The morning session will run between 9:00 to 11:30 am and the evening between 3:00 to 8:00pm. The programme will feature song ministration, instrumental performance, dance, comedy and preaching.

     

  • Royal tunes for the legend

    Royal tunes for the legend

    Title: ORANMIYAN: WHAT IS IN A NAME?:

    Osile, Oke – Ona, Egba’s Involvement.

    Author: Oba Adedapo Adewale Tejuoso

    Page: 212

    Publisher: Pumark Nigeria limited

    Reviewer: Qasim Olalere Akinreti

     

    In Yoruba mythology, a name is given to symbolise circumstances of birth in a home, posterity, sense of character and projection into the future. The author, Oba Adedapo Adewale Tejuoso, added Oranmiyan to his coronation title, and the governor of Osun State, Ogbeni Rauf Adesoji Aregbesola, heralded his political prowess with the name Oranmiyan. Both leaders today have changed the course of history, adding value to lives of the people in their respective domain. And that is the premise on which this historical book will radiate. The word Oranmiyan and Oranyan are used interchangeably to underscore the intonation of the Yoruba dialect of undiluted Oyo and others forms of Yoruba language. It also reinforces the connection of both Oyo and Ile Ife to the story line.

    The 212-page book is divided into two main chapters. The origin of the Yoruba and Egba roots traced. Appendix takes major segments of the book providing basis for the authenticity of the Oba Adedapo Tejuoso, the Osile Oke Ona’s storyline. Pointedly too, it acts as the major plank of the title of the book.

    The chapters are sub divided into the following headings, brief history of Oke – Ona Egba, Mythological Kings, Queen of Sheba, A Lesson for Yoruba Leaders from Yoruba history. Others are Oranmiyan Movement, Traditional Heritage, A Lesson from Japanese History, Nigerian Women Award, Biography of Chief Mrs Bisoye Tejuoso, A Brief Citation of Oba Dr Adedapo Tejuoso, and Photo Panorama.

    The heights of the book are locked in the sub headings on, Oranmiyan: Ile Ife Involvement, Oranmiyan: Oyo’s Involvement, Oranmiyan Oko’s Oke Ona Egba’s Involvement. The last part of the content are an extract from a book Omoluwabi, And the King Praise God and lastly, Kings’ Day of Praise.

    The book will go down in history as a compendium linking tradition and modernity to underscore the mythology surrounding the status of Oranmiyan in Yorubaland. Oranmiyan was the progenitor of the Oko, present day Oke Ona Egba, he reigned in Oko and moved the seat of government of Yorubaland there for a while, pages 37 and 179. The obelisk monument in Ile Ife had resemblance with the Washington monument obelisk.

    That the Alaafin of Oyo, Alake of Egba and Owa Obokun of Ijesaland and other major Obas in Yorubaland cannot properly be installed until the sword of state was brought from Ile Ife, page 50. 1903 landmark event on the clarification of 22 great obas wearing of beaded crown in Yorubaland finally put in perspective the authority of the Ooni of Ife , as the undisputed leader of Yoruba obas as well as the pre-eminence role of Ile Ife as the spiritual head of Yoruba nation, pages 71 to 78 makes an interesting read.

    The Yorubas link to the Middle East, precisely Egypt was noted by two distinct features, the writings on scroll in the Holy Bible in reference to the Egyptian writings of hieroglyphics page as well as “Ife Marble” sculptures and those seen in the Egyptian court of the British museum, pages 7, 8 and 46.

    It is noteworthy that this historical publication equally substantiated Oranmiyan as a king in Ile Ife, Oko in Egbaland, Oyo Ile, and Oyo Ajaka, with influence on the entire Oyo Empire in the days of yore. These claims support the efficacy of Reverend Johnson’s record on Yoruba history, pages 14 and 179. Pages 56 to 66 was an expose of the founders of Yoruba nation from Oduduwa, to Oranmiyan, the remarkable roles of Moremi, the two sons of Oranyan, Ajaka and Sango were exhaustively highlighted.

    Going by the analysis of the book, the Egba roots were traced to August 5 1830 when warriors and their families settled in Abeokuta under the Olumo rock.

    A lesson for Yoruba leaders from historical perspective is quite instructive for new crop of leaders, who must eschew bitterness and be united for the common good of the people, pages 86 to 88.

    The story of Oranmiyan movement revived by Rauf Aregbesola, the present governor of Osun State brought into the fore the achievement and focus of King Oranmiyan in Yoruba history . This consummate in the six -point agenda of the Oranmiyan group namely, banish hunger, poverty, unemployment, promote functional education, restoring healthy living and enhance communal peace and progress.

    The absolute love and commitment to a race by good leadership are great lessons the Yoruba land could learn from Japan, who had almost the same attributes with the Yoruba nation. With Yoruba people level of education and civilisation in all spheres, the author believes, his beloved race can make it.

    For his passionate love for her late mother , an industrialist per excellence, Oba Adedapo Tejuoso, the Osile Oke Ona Of Egba, devoted a chapter to eulogise his mother, the Iyalode of Egbaland, late Chief (Mrs.) Bisoye Tejuoso, the first woman industrialist in Nigeria, “…. an enterprising woman, wealthy in her modest form, respectable and living a comfortable life…” . If one had listened to the lyrics of evergreen songs of legendary Chief Ebenezer Obey in the 70’s, the apt description and contributions of Madam Tejuoso would be well appreciated on pages 102-109.

    To further justify the title of the book, the celebration of Oranmiyan festival brought into fore the cherished cultural heritage of an average Yoruba. Ooni of Ife, Oba Okunade Sijuade’s goodwill message on the celebration of Oranmiyan festival contextualised this essence “…..no one can celebrate Oranmiyan without reference and obeisance to the Opa Oranmiyan domiciled in Ile Ife, the source…the underpinnings of our civilisation, history and cultural heritage have been the tradition of tolerance, openness to new ideas, respect for ancient wisdom, intellectual pursuit and abhorrence of violence. The Yoruba people are loving testimony to the noble tradition of blending the old and the new.” (page 139-143). There lies the traditional heritage of the Yorubas of the South western Nigeria and beyond.

     

    Language

     

    The language is simple, fluid and self explanatory. It helps the reader to follow the sequence of historical facts and reinforce the authority of the author as a quintessential Yoruba Oba imbued with candour and grace of royalty.

    His use of proverbs, or local idioms of Yoruba Language, pieced with appropriate translation in English, enhanced the quality of the publication for children yet unborn to tap from Oba Adedapo Tejuoso’s, logical analysis and writing prowess. As a medical doctor and traditional ruler of note, he has surely raised the bar in contributing his quota to the literary world.

     

    Aesthetics

     

    Here, effective use of picture both coloured and white pictures to sign post and enhance the quality of the publication as historical reference piece.

    The opening coloured picture on the cover page lifted up the beauty of the book, while the relevant pictures therein confirme the uniqueness of the book. The quality of the print and lettering generally are commendable, makes the book pleasurable to read.

     

    Shortfalls

     

    The most prominent shortfalls of the book are arrangement of contents, the inclusions of invitation letters and award ceremonies. At best they could be edited for the usage of the book. The appendix at the opening pages and within the book should have come at the end of the chapters. The referencing does not follow the APA style.

     

    Recommendation

     

    For anyone genuinely interested in the authentic story of Yorubaland and the per-eminent role of Oranmiyan in annals of Yoruba, must get a copy of this book, read and digest the rich contents. It’s classical work of arts which generations of Nigerians and more importantly historians and researchers will find worthy of reading and suing for research work on Yoruba history.

     

  • ‘I can’t work without music’

    ‘I can’t work without music’

    How did your artistic journey begin, who inspired you to become an artist and who were your mentors?

    I specifically remember one occasion when I was very young, when my dad noticed that I was becoming more and more “visually expressive”, literally painting and drawing on the walls! So he sat me down and took a plain sheet of paper and we had our first art lesson. Right in front of me, with just a few strokes, I saw a horse and its rider manifest with pristine accuracy. From that moment on, I saw my dad in a different light and it continues till today. So you can say my Dad was the trigger that started my quest through art.

    With regards mentors, I must say a big thank you to Professor Abayomi Barber, who is one of the best cultivators of talent. His dedication to patience and ensuring students’ mastery of the core skills of art helped me find structure during a very unstable part of my creative journey. Part of what drives me is the power to create new things in a variety of ways.

    Does having a father who was a very successful artist put pressure on you?

    There is always the false expectation that the son of a great artist will be like his father. Unfortunately, yes there is pressure that comes from being compared to him. However, today there are fewer people who know him, much less link us together, until it is referenced either in my work or in a write-up. A very odd form of responsibility has arisen where, I have to also re-educate people about who he was.

    How do you begin your artistic process? How do you prepare for a new piece?

    Ah well! The first thing I usually do when I get that itch is to say a quick prayer and then play music. I cannot work without music: Randy Crawford, Maxwell, Marvin Gaye, Terence Trent D’arby, Jessie Ware, Asa, Ali Farka Toure, Enya are just a few of the people I’d have on my playlist. Then I write about what I want to create or how I feel, this allows me to put a more unbiased context to what I will eventually create. Then I make a small sketch, from then on its mixing colours and prepping surfaces. All this time spent allows me to fine tune my burst of creativity; eventually if I can “tame” it to some extent, then I can control and ultimately hone the energy to suit my vision.

    Was it hard to make the transition from fine art to photography?

    No it was not hard to branch out into photography. My Dad was a “closet” photographer same as my Grandfather. There were photographs taken everyday of almost every aspect of daily life so photography was second nature for every one in the Emokpae household. My sojourn into photography started simply because I needed references for my painting work. Initially I used magazine photos but it affected my work, because most of the models were white — and my paintings looked like black women with Caucasian features. Eventually I started taking photos myself and got hooked, and the rest is history. (PS, whatever pays the bills)

    How do you hope people respond to your work?

    Positively and with proper thought. It is not just about what you see, it is also about what you feel. Too many people do not allow themselves the pleasure of an experience for the sake of the experience and this limits how much we appreciate art. Before you say yes or no to something, THINK.

    How has your work evolved over the years? What prompted these changes?

    Over the years, I have gone from realist to romanticism, to surrealist, to expressionist and still I continue to venture. I cannot say for sure what prompts every one of these changes, however I know that each time I get restless in a medium or style it is driven by the sense that I have told this story before and I don’t need to re tell it, basically “on-to-the-next-one”.

    How could the Nigerian artistic environment be improved?

    We need funding and enlightenment. Funding in the sense that, too many artists are thinking laterally. They create only to survive; this simply means that if they become comfortable, they lose the edge that drove them initially. We need bursaries and grants to foster pure artistic pursuits devoid of the need for profit. Then we will see an age of true genius in the visual arts sector. Now what you see is that a lot of artists get stuck within a well paying rut for too long and they wind up creatively stagnant. The enlightenment comes with less encumbered artistic expression

    What advice do you have for young artists?

    Be patient and think – Why would I buy/approve of/like/enjoy what I’m about to create? How will I be remembered? Beyond these, have fun and don’t just focus on material gain.

  • Message of World Theatre Day 2014

    Wherever there is human society, the irrepressible spirit of performance manifests – Brett Bailey.

    Under trees in tiny villages, and on high tech stages in global metropolis; in school halls and in fields and in temples; in slums, in urban plazas, community centres and inner-city basements, people are drawn together to commune in the ephemeral theatrical worlds that we create to express our human complexity, our diversity, our vulnerability, in living flesh, and breath, and voice.

    We gather to weep and to remember; to laugh and to contemplate; to learn and to affirm and to imagine. To wonder at technical dexterity, and to incarnate gods. To catch our collective breath at our capacity for beauty and compassion and monstrosity. We come to be energised, and to be empowered. To celebrate the wealth of our various cultures and to dissolve the boundaries that divide us.

    Wherever there is human society, the irrepressible Spirit of Performance manifests. Born of community, it wears the masks and the costumes of our varied traditions. It harnesses our languages and rhythms and gestures, and clears a space in our midst. And we, the artists that work with this ancient spirit, feel compelled to channel it through our hearts, our ideas and our bodies to reveal our realities in all their mundanely and glittering mystery.

    But, in this era in which so many millions are struggling to survive, are suffering under oppressive regimes and predatory capitalism, are fleeing conflict and hardship; in which our privacy is invaded by secret services and our words are censored by intrusive governments; in which forests are being annihilated, species exterminated, and oceans poisoned: what do we feel compelled to reveal?

    In this world of unequal power, in which various hegemonic orders try to convince us that one nation, one race, one gender, one sexual preference, one religion, one ideology, one cultural framework is superior to all others, is it really defensible to insist that the arts should be unshackled from social agendas?

    Are we, the artists of arenas and stages, conforming to the sanitised demands of the market, or seizing the power that we have: to clear a space in the hearts and minds of society, to gather people around us, to inspire, enchant and inform, and to create a world of hope and open-hearted collaboration?