Category: Arts & Life

  • What’s alikeness got to do with it?

    I always thought love was love, no matter where you were in the world. I learned differently when I was based in New Delhi for two months in 2006.

    On my fifth day in the country, one of my new colleagues told me he was in love with me and had been from the moment I walked into the office.

    This conversation took place in a hotel room in Agra. I had mentioned on my third day at work that I wanted to see the Golden Triangle (the cities of New Delhi, Jaipur and Agra, home of the Taj Mahal) that weekend.

    My colleague volunteered to accompany me.

    Actually, he didn’t volunteer. He said: “I’ve never seen the Taj Mahal. I’ll go with you.”

    It was a little weird, but mostly I felt relieved. I’ve traveled on my own a lot, but India is a tricky place, especially for a single white female. Having a local accompany me on my first adventure sounded great.

    It wasn’t until we were in the train heading to Jaipur that I realized he might have motives other than seeing a monument an hour away that he hadn’t bothered to visit. But I wasn’t averse to a tryst. I had come to India in part to get past my last relationship, which had not ended well. A fling on my first weekend in the country seemed like a good start.

    Nothing happened the first night. On the second night, in Agra, we decided to split a room to save money. Before long we were kissing, and it occurred to me that we should discuss our relationship before things went further. We worked together, after all, and it could be awkward on Monday if we didn’t set some ground rules. So I stopped him and said we needed to talk.

    He said, “Yes,” and then, “I love you.”

    Needless to say, that wasn’t what I was expecting. I asked him how he could possibly love me when he didn’t know me. He said he didn’t need to know me.

    I said I was a difficult, complicated person. He said he didn’t care who I was.

    In retrospect, that admission should have bothered me more than it did. Instead it felt romantic and exotic and like something one didn’t say no to when one was in India for two months and trying to mend a broken heart.

    A week later I started to have reservations. When I told him I wasn’t sure this was going to work out, he looked distraught, drew me to him and said, “Don’t leave me.”

    Given how little time we had spent together, I didn’t even realize I was in a position to leave him, but I couldn’t do so then. I put my arms around him and told him not to worry, that everything would be O.K.

    And that’s how I ended up in a serious relationship with someone I barely knew, and who seemed to have little interest in really knowing me. And how I learned that love is not a universal language after all. It’s cultural and it’s specific.

    In India, at least for my new boyfriend, love didn’t lead to commitment; love was commitment. It was a leap of faith made by two people to stick it out no matter what.

    From that first conversation in Agra, it seemed like a crazy approach to me. And yet there I was: 40, single, a string of broken relationships. The wait-and-see strategy wasn’t exactly panning out. I decided to try it his way for a change.

    It was certainly more romantic, at least in the beginning. My Indian boyfriend fed me the loveliest lines, the ones only the heroines in movies get, that you never hear in real life. And though he may have borrowed every last one of them from Bollywood, or his pirated Hollywood DVDs, I think he meant them.

    That first night, for example, I told him I was probably too old to have children. He told me he didn’t care; families come in all shapes and sizes.

    (A little cheesy, perhaps, but my last serious relationship had ended over the child issue. He claimed he wasn’t ready. I felt like I was running out of time. I loved him, so I waited, and waited, until it finally dawned on me that running out of time, for him, was the whole point.)

    So I admit it, I was moved. The next morning we woke at 5 a.m. to see the Taj Mahal, a universal symbol of everlasting love, in the first light of day. Two months later I returned to the United States, and four months after that, drawn by a job offer and my Indian boyfriend, I moved to Mumbai, where he soon joined me in an apartment I had rented. Little by little, we got to know each other. In India, had we married, we would have been able to tell people ours was a “love marriage” as opposed to an arranged one (it is a surprisingly common question). But other than not having been introduced by our parents, I saw little difference.

    Living with this practical stranger, I felt like a character in a Jhumpa Lahiri story, slowly getting to know the likes, dislikes, habits, and quirks of this man who was sharing my bed, bathroom and life practically from the word hello.

    But had it been a Jhumpa Lahiri story, the budding knowledge would have morphed over time into a mutual fondness, and, incrementally, into love. This didn’t happen to me. Instead, as time wore on, I became increasingly aware of how different we were.

    When I went back to New York for a visit and realized that all of my friends, even the relatively recent ones, understood me better than my boyfriend, I knew there was a problem. But every time I broached the issues in our relationship, he wouldn’t hear it. In his mind, we had made our choice, we had made a commitment to each other, and he wasn’t going to let my shallow Western desire for a shared sense of humor or common way of seeing the world tear that apart.

    We started to fight a lot, and each time it came down to the same thing: Did we have enough in common? (That would be me.) Did it matter? (That would be him.)

    In the end, I always gave in. He made some good points. We had built a home together, one with pleasant routines and ample socializing. We got on with each other’s friends. We loved to travel and traveled well together. But more than anything he ever said, I think what made it so hard for me to leave was the sheer force of his commitment.

    In my whole life, nobody had ever fought so hard for me. It was unfortunate that the person doing so didn’t get my jokes or know what to say when I was down.

    On the other hand, to be able to do or say anything, no matter how horrible (and I was horrible — I said hateful things) and still be forgiven, and know I would be forgiven … I had never felt so secure in a relationship. He didn’t get me, but no matter what, he would never let me go.

    Until he did.

    To be fair, I pushed him away. After two years in India, I moved back to the United States. My mother’s health had taken a bad turn, and I wanted to be with her.

    He wanted to come too, of course, but I needed time away. I couldn’t sort through my feelings while he stood in all his absolute certainty right next to me. It was too seductive and too confusing. So I left him in India, with vague protestations about needing to clear my head and figure things out and all manner of clichés that made absolutely no sense to him.

    He said O.K. (what choice did he have?), but as soon as I arrived home, he was calling and sending text -messages, wanting to know where we stood and when would I get my head cleared out and what was going on anyway?

    With the distance, and back in my own cultural landscape, his determination came to feel more obsessive than romantic. I cut his calls short, refused to talk about our relationship. When he forced the discussion, I told him it wasn’t working. I started to contemplate other men, and fantasize about his meeting someone else, just so he would back down.

    I wanted it to be over. But on a deeper level, I must have believed that wasn’t an option and that he would be there no matter what I said or did.

    I guess in some way I was relying on that fact. Because when his e-mail arrived one morning saying he had met another woman and was ready to move on, I felt punched.

    Did I ever love my Indian boyfriend? I don’t know. I do know that I was smitten with his love for me.

  • Playing on love

    Two Plays written by Femi Onileagbon situates two plays that took place in a society where love is neither true nor false. Each story plays on love in a funny way as to lampoon a people who do not really understand the true concept of love. While in the first play entitled Killed Love, we see Marie, Ife’s fiancée killing love in a family where there was peace before her arrival. In the second play entitled The Marriage, love moves from the arena of the common man to the palace.

    Marie is a modern day woman whose love is not only to win and take over, she goes all out there to take over Ife, line, hook and sinker, bewitching him and sucking his blood in the process. As love progresses in their day-to-day activities, Marie is not content with love alone but how to hoodwink Ife to forget his people or even forget himself to be hers completely and unrestrainedly.

    Even when people around them are not convinced about this type of love, Marie is hell bent on ensuring that no one ever interferes in her love affair with Ife. In the end, Ife loses his life in the process. Then the playwright asks: “Is it true the love that kills to live? Marie says so too after Ife has given up the ghost: “Now he is completely mine”! Now no one can take him away from me. Not his family, not the women, not the supermarket, not the phone calls, not the rain, not even you can take him away now. Love is forever mine now!”

    In The Marriage, Princess Faderera falls in love after many years of being too choosey. But it is the palace jester who makes the play a pleasant one. He tells the King about the suitor and how the Princess manipulated him to submission. Yet is delights the King, Ipadeola, that his precious daughter has now chosen to settle down to start her own home. However, the way the clown or palace jester goes about the story intrigues the King to no end. The spicing gives life to the play.

    This is a total story of love where there is a conviction that a Princess has finally discovered love. Akanni, the jester surmises it like this: “In the end, there is plenty to eat and drink. Oh, by the way, you too are invited to come and chop’. This is a story of a people long engaged in wars, but again true love has conquered all that now. Princess Federera’s marriage has now ushered in moments of peace for the Kingdom.

    Onileagbon, a poet and playwright says the play is done to help encourage the rebirth of dramas in secondary and primary schools in Nigeria. “This is the highway to getting the standard of education back on track,” he says.

  • Egbin, a community living at the edge

    Egbin, a community living at the edge

    Egbin community in Ikorodu, Lagos State is home to Nigeria’s biggest thermal electricity plant. The community sees rays of light on a daily basis but does not enjoy the luxury. Taiwo Abiodun visit the community and reports

    On the streets of Egbin, a semi rural community on the outskirts of Lagos, electric cables dangle on poles while transformers dot the landscape. Going further into the community, the splashing sound of the lagoon sounds as natural music for the environment. There is no doubt that the thermal station has made the community famous. But beyond the fame and despite hosting a large thermal station it lives in pitch darkness.

    At night residents see rays of light illuminating surrounding high brow communities such as Lekki, Ajah, Victoria Island and some others in bright illuminating lights while they live in darkness. They have resorted to purchasing generators to power their electric gadgets.

    The darkness has made residents to cry out for attention to save them from perpetual darkness. A few said they have resigned themselves to fate. “For weeks our bulbs did not blink. In fact, we don’t seem to be living in the 21st century. We are still living in a Stone Age”, a mechanic who begged for anonymity said amidst roars of laughter. He added “I don’t know when last I ironed my clothes. Our foodstuff in the fridge have spoilt while we have exhausted our purse from buying fuel everyday for those who can afford it. This is no thanks to lack of electricity.”

    Ironically, at night they see bright ray of light at the other end of the lagoon, while the town that supplies the light is in pitch darkness! Egbin Thermal Power Station supplies light to others but cannot do same to its host community.

    A tale of two settlements

    Egbin fate reminds one of Kainji Dam, Niger State the dam which is located in New Bussa did not supply its host town light for many years but was supplying other towns, cities and countries.

    In Egbin, according to Ade Ahmed, artisans have turned into Okada riders, while those who cannot afford to buy one have become idle or turned to crimes. “Those running restaurants have either abandoned the business while generators of all sizes and make are competing with one another. We are battling with their noise and air pollution here, the air is polluted, and the question on everybody ‘s lips are what is Egbin thermal doing here? We are being cheated as they are killing the goose that lays the golden egg,” he lamented.

    Mama Chukwudi, a hair dresser said, “We are really suffering and here we are complaining, nobody has listened to our plight. That is the situation in Egbin, a suburb that distributes power but has never enjoyed it even for a day!” She added, “They did not give us meter yet they collect meter maintenance and I don’t know what they are maintaining.”

    She believes the community is neglected because the authorities think more money can be generated from other surrounding communities than in Egbin.

    Mr Ibrahim Malomo in annoyance said, “When we see the vast mass of water one would be seeing Lekki with full electricity at night at the other side. It is just the opposite while we who generate light do not see any to consume, the mighty ones at the other end are consuming it, is this fair?”

    Another hair dresser who identified herself simply as Mama Caroline said the neglect of the community was due to the fact that they are poor. “Lekki, Ikoyi and Ajah axis always have electricity supply because of the rate of their consumption of the power. There, they have companies that can consume the electricity and that is why they give them light always but here in Egbin we only have our television sets , radios and few things that could consume power, so we are not very important to be given light!”

    “Artisans are suffering mothers are feeling the heat while the town is in total darkness. This same Egbin few years ago was supplying neighbouring countries such as Ghana, Cameroon and Togo light” lamented Toyin Akin who said she sells bags in the area. “Although I sell bags and don’t need electricity for that but what of when I get home? This is too bad. Yet there’s nobody out there to pity us.”

    Mrs. Iyabo Ologundudu who runs a restaurant in the town said “we suffer from lack of light here. There has been no electricity for three weeks. In fact, all what we have in the freezer have all been destroyed. My sales have dropped. Before I used to make over N35,000 a day but now with lack of light I make only N5,000! Whereas the Egbin PHCN would have light for 24 hours. It was funny when few weeks ago they came out with their megaphone to announce to the public that there is no light in their compound , and that we should bear with them as if we had light before. Few hours later when their light was restored they did not say anything again and we were left in total darkness “

    Kehinde Muritala , a welder said , “we are at a loss when there is no light in this community we are really suffering, when there is light I don’t make much gain not to talk of when there is no light. The type of generator I can use for my job costs about N1.2million and I cannot afford to buy such.”

    Uncooperative attitude of Egbin Staff

    However, a staff of the Egbin Thermal Station confided in this reporter that the station only generates power while Ikorodu, Ikeja and some stations are those that distribute what is generated from there. He added, “The power to distribute the light lies on the distributors. These distributors are directed by the ogas at the top where to distribute their light to. The command is from the top. Do you know that some of these senior bosses here are just figure heads as they have no power to either complain or react to many issues like where they should supply power?”

    This is not the first time the community members are complaining. Last year the youths, chiefs and community leaders protested against not having light and did not allow members of House of Representatives Committee on Power on inspection tour led by the chairman Patrick Ikhariale in order to examine the state of the plant and the level of implementation of the project earmarked in the 2012 project thermal, the irate youths stopped them from entering the town saying the station has for a long time not given them light while Mike Uzoigwe, an engineer and chief executive officer of the station escaped being lynched by the irate mob.

    When The Nation reporter visited the station, he was directed to see the Public Relations Officer but she said she has no power to talk to the press and directed the reporter back to the CEO.

    However, when the reporter contacted the CEO’s secretary in his office she again directed him back to the PRO, who in turn insisted that her boss is in charge. After series of telephone messages and phone calls to the CEO without any response, the reporter left the premises in frustration.

    Meanwhile, residents of Egbin continue to live in darkness, a classical case of living at the bank of a river and washing the hand with spittle.

  • Zeleza’s testament on bad leadership

    In Smouldering Charcoal, Tiyambe Zeleza, a Malawian, born in Harare, Zimbabwe, tells a compelling story of life under a corrupt regime in Africa. He deliberately chose two families – one poor, the other rich, to let people into the obnoxious political system that dogged the life of most African nations soon after independence.

    Newly independent African nations had bigger hopes of attaining both economic and social status to help the citizens live a better life. Everywhere people turned to, there was that zeal and vigour to work to build a new nation. Industries and factories were taken over by the local people themselves. The civil service was manned by young Africans who had only returned from overseas with bags of degrees to grapple with the new dispensation at home.

    It was within this momentous mood and setting that Chola found himself after returning home from the US to be part of the people to rebuild his young nation. As a journalist, he found himself engulfed by people in leadership who did not want him to report the truth.

    Obviously, dictatorship was in vogue, everyone sang the praises of the president, who was seen to be infallible, ubiquitous and untouchable.

    Those who wished to say the truth were branded terrorists and saboteurs; they were either killed or maimed for life. Dambo, a young lawyer and an activist and a friend of Chola, was murdered and thrown into a river. It was done to serve as a deterrent to others who were gingering to foment more trouble for the government. It was from that moment that Chola decided to sit up to assert his own rights as a citizen.

    Mchere was poor, indigent and as a factory worker, hardly ever had enough to cater for his family. As he struggled to actualise his dreams, the stark realities of a nation in the bowel of poverty stared him squarely in the face. And so, due to poor remunerations and salaries, they preferred to go on strike. It was such a heavy blow on government that a lot of them were hounded in prison. Thus, the hope and dreams of a lot of vibrant youths hitherto eager to serve their nation hung in the balance.

    Zeleza, indeed, chronicles the story of two families from different social and political classes to demonstrate what happens in a draconian regime to all the people. It was purposely done to draw together the very issue of what bad government can do to the psyche of the people irrespective of class or education. The story is told with deep precision and passion to show why African nations and societies still remain behind in terms of development; in terms of respect for human dignity.

    The story of Malawi invariably is also the story of Zimbabwe, Nigeria, Mali or Angola. All African nations have been made to live bellow poverty level due to bad leadership. As you go through the book, all you feel and perceive are injustices, wickedness, victimisation and all the bad examples of people at the helm of affairs which are not too far from what you also feel wherever you are in the African continent.

    The story is so real and provocative, so close to the people who are usually at the receiving end. In other words, Zeleza’s world is our world. It is our own story, the story of inept and corrupt leadership, depicting a people suffering in the midst of plenty and in the hands of their own brothers and sisters.

    In the end, the people were wont to persist, fighting diligently to regain their self esteem; to reclaim their own commonwealth. Zeleza did not fail to point that out – this is our own and we must redeem it and move forward to the next level.

  • Portraying Nigeria through paintings

    To celebrate the children this year, the National Gallery of Art (NGA) in collaboration with other art foundations in Nigeria, put together drawing and painting competition to help students appreciate and understand Nigeria better through the visual art. Edozie Udeze reports.

     

    Painting and drawing and the usage of imageries of diverse forms to demonstrate and depict the state of the nation formed the centre-piece of the National Gallery of Art’s (NGA) Children in Art talent hunt exhibition which took place last week in Lagos. With the theme, Hope and Creativity Through the Eyes of Children, the NGA asked the students both in secondary and primary schools to draw and paint any aspect of the nation’s myriad of social and political landscapes.

    The idea was to see how the kids could perceive, interpret, inculcate and understand the society in which they live through images, forms, palettes and water colours. Incidentally, a lot of them were able to depict Nigeria in varied forms, ranging from the ordinary, to the serious and then proffered solutions. The topical issues of the moment bordered essentially on how to use the art, as it were, to portray a better Nigeria where love, peace and progress predominate.

    Ekene Okoroma, the head of the Lagos office of NGA, charged the students to pursue their dreams at all times. She said: “A nation without hope is like a lost one, a society at a cross roads, chasing shadows, groping in the dark. It is like a man who has lost the zeal to live. But when we believe and have faith in ourselves, then we can tap into our inner strength even in the face of mounting disillusions, looking for that silver lining behind the clouds.”

    To her, it is proper to begin on time to inculcate in the children, a society where there are no ethnic or sentimental barriers, where tongue may differ, but in brotherhood we stand. Therefore, through different media – painting, textiles, ceramics, graphics and sculpture, they were able to show a new Nigeria where issues of hatred have no place.

    The overall winner in the senior category, Joshua Idiaria of Imoye High School, Lagos, said the competition gave impetus to his love for the art. “You see, I began to draw when I was five years old. This was why when the competition was announced, my art teachers quickly asked me to enroll for it,” Idiaria explained.

    It was amazing how 17 year, old Idiaria could gather the woods and irons to do his sculpting and had such a perfect work. “Oh yes,” he enthused, “it is my joy to study Fine Arts in the University. My parents have already given me the go-ahead to do so,” he said.

    The winning work will be one of those to receive national attention at the NGA. Thereafter, Idiaria will be taken round the world to hobnob with other children artists in his category.

    Thirteen year old Chisom Nnerika of Vivian Fowler Memorial College, Lagos who emerged the overall winner in the junior category, was excited and also surprised when she was announced the winner. “But when the topic was given to me I was confused at first. I then retired into my room, prayed and asked God to give me an idea of what to paint. Thereafter, the issue of the environment came into my mind and I pursued it. Although I want to study engineering, I still love painting,” she said.

    For Iwalola Akin-Jimoh, of Ovie Brume Art Foundation, one of the sponsors of the competition, art generally should be given its due place in the scheme of things in Nigeria. The foundation, she said, has been into art promotion in the past ten years.

    Akin-Jimoh, explained their involvement thus: “Our primary role is to encourage the development of arts, drama and so on in children generally, particularly in public schools. We have been doing this for the past 10 years or so. We try to let students and parents realise that it is not being a success in academic that matters most. Just let the student be who he is by developing his natural and inherent talent. Thereafter, let him be allowed to pursue it.”

    To her, when a kid is allowed to develop and exhibit his talent, he will come tops in whatever he does. And that indeed is the beauty of what NGA is doing in collaboration with other arts foundations in Nigeria. It was interesting too to note that most of these schools have well-structured Fine Arts departments and studios where the students are taught the rudiments of the subject. Nnerika said, “In my school, we have two Fine Arts teachers. And they find time to teach us all aspects of the subject. It is such an interesting subject.”

    The ceremony, which took place in Lagos, saw winners getting awards and prizes in different categories. “We have been on this for sometime now. And we have been able to discover and encourage many talents in this regard,” Okoroma said. “It is still our joy to do more to ensure that more new talents are discovered and projected to the limelight,” she concluded.

  • Ronke Aina-Scott holds first solo exhibition

    An exhibition of 50 artworks rendered in various art forms of pointillism, Acrylic, Pastel and Pen & Ink, mostly abstracts, is to open at the Mydrim Gallery, Ikoyi, on June 22, 2013 at 1pm. The 50 works to be displayed at the exhibition are the works of Ronke Aina-Scott, a graduate (Second Class Upper Division) of Fine Arts of the Obafemi Awolowo University, Ile-Ife.

    The theme of the exhibition is “Colours on my Mind.”

    The Special Guest of Honour and Chairman of the event is Mr. Reginald Ihejiahi, Managing Director & CEO of Fidelity Bank Plc.

    According to Aina-Scott, “As a little girl, my coloured pencils were the most prized of my earthly possessions, whenever they got missing, which was very often, I was usually reduced to tears. Painting fills me with a sense of accomplishment and I am most at peace with myself when I am at work on my canvas. Art for me has proven a most amenable vehicle for translating inner vision to outer reality.”

    Other dignitaries expected at the opening ceremony are IK Mbagwu; Onome Olaolu; John Obi; Chijioke Ugochukwu; Nnamdi Okonkwo; and Mohammed Balarabe; who are all Executive Directors of Fidelity Bank Plc.

    Aina-Scott was born in the seventies and encouraged by her mother to take interest in the art. She began drawing with coloured pencils and crayon as a young girl at home. Her talent blossomed in primary school and while in secondary school she won many awards in Art.

    She has in the past participated in other exhibitions such as: Best of Ife ’95 (1995), MinajTV Exhibition (1997) and Naija Woman Exhibition by Tourshop in 2007.

    Before she joined the corporate world, Aina-Scott was one of the founding Graphic Artists at the Daily Independent Newspapers, from where she moved to FSB International Bank. She currently heads the Design & Production arm of the Marketing & Communications Group, Fidelity Bank Plc.

    She is a very prolific artist whose works tend to be simple, yet with a mass ‘African’ appeal. Her subjects are diversified, but mostly she is inspired by the role of the African woman in society. As an artist, Aina-Scott is very versatile, she is able to exhibit dexterity in the use of oil paints, pastel, acrylic, gouache and even pen and ink as a medium and her technique leans towards the abstract.

    She is a mother of twins (a girl and boy).

     

  • Caine becomes a Nigerian affair

    With four Nigerian writers making this year’s shortlist for the Caine Prize for African Writing, Edozie Udeze takes a look at the genesis of the prize, why it strikes a chord in Africa and what it means to both the losers and the winners.

    It was first awarded in 2000 to a Sudanese writer, Leila Aboulela whose short strory, The Museum, arrested the interest of the judges. When the Caine Prize for African Writing for short stories was instituted in 2000, the primary focus was to encourage African writers to use the prize to get to greater heights in their writing career.

    It was meant as an annual literary award for the best original short story by an African, whether he was living in Africa or in the Diaspora. In the first place, the story has to be written and published in English Language and the story itself ought to have an insight into the ways Africans live, perceive and conceptualise their environment and other issues in and around them.

    History

    When the prize was founded in England, it was named in memory of Sir Michael Harris Caine, a former chairman of the Booker Group, owners and founder of both the Booker prize and the Booker International. Owing to this connection, however, the Caine Prize has come to be known in some quarters as the African Booker. And it is made so in order to help writers in the short story genre to find true expressions in their muse.

    Every July, the winner is usually announced at a bumper dinner party in Oxford, England. There, all the shortlisted candidates are invited to be part of the show during which also their stories are read, autographs are signed while there are press interviews to let the public know who the writers are and what motivates them to write.

    To date, the prize has been supported and encouraged by four African winners of the Nobel Prize for Literature. Apart from acting as patrons of the award, their presence often gives credence to the prize. They include Wole Soyinka, Nadine Gordimer, Naguib Mahfouz and J. M. Coetzee. These big writers, like the Caine Chair has often described them, have shown the light for other African authors to follow.

    Criticism

    A lot of close watchers of the prize have often descended hard on the conditions for selecting winners and the type of stories they write. In 2011, Ikhide Ikheloa, a Nigerian writer criticised the prise, saying that “many writers are skewing their written perspectives to fit what they imagine will sell to the West and the judges of the Caine Prize.”

    He went on to say that the creation of a prize for African writing may have inadvertently created the un-intended effect of breeding writers who are willing to be stereotype for African glory. So far, the 2011 edition has been singled out as the most poorly judged in terms of storyline, structure, texture and orthodoxy. It was apparently skewed in absolute absurdity and mediocrity where the whole stories that made the shortlist were deliberately tailored and patterned to suit and satisfy the whims of the West.

    2013 edition:

    For the first time in the history of the prize, four out of the five shortlist are Nigerians. Daggar Tolar, chairman of Lagos chapter of the Association of Nigerian Authors (ANA), says it is a sign of the commitment of Nigerian writers towards creativity. “Yes it shows the outside world how much our literature is valued. Even in the face of mounting pressures, uncertainties, difficulties and the like, people still find the discipline to write. It is really impossible to silence or disrupt the resilient spirit of an average Nigerian who is determined to prove himself.” Tolar asserted.

    Taking a critical look at the stories for this year, the chairman of the judges, Gus Casely-Hayford, said: “It has been gripping for us… The shortlist was selected from 96 entries from 16 African countries. They are all outstanding African stories that were drawn from an extra ordinary body of high quality submissions.

    The lucky ones

    Besides the fact that the £10,000 prize is to challenge writers, these five contrasting titles for this year interrogate aspects of things that people feel and know about Africa. They range from violence, thuggery, religion, corruption, family, community, ethnicity and so on. However, all these are subjects that are deconstructed, represented and beautifully remade and repackaged to entice readers.

    The stories are refreshing, challenging, intriguing, provocative, suffusing, ambitious and breathtaking in many diverse respects. For this and more, Gus said: “we can see through them Africa, a continent and its descendants captured at a time of burgeoning change.”

    These authors are: Tope Folarin (Nigerian) whose work Miracle was published in Bloomington last year. He was educated at the Morehouse College and the University of Oxford, where he obtained two Master’s degrees: He is a Rhodes Scholar and a recipient of writing fellowships from the Institute for Policy Studies and Callaloo. Folarin lives and works in Washington DC, USA, where he also devotes time to writing.

    Elnathan John’s (Nigerian) work is entitled Bayan Layi and has its setting in Nigeria. John is not only a full time writer, he is equally a lawyer and lives in Nigeria. His works have appeared in Per Contra, Zam Magazine, Evergreen Review, Sentinel Nigeria and lots more.

    Abubakar Adam Ibrahim (Nigerian) is based in Abuja, Nigeria. His entry, The Whispering Trees published by Parresia Press seems to have the most arresting title and a lot of people have even tipped it to win if an intriguing title has a way of doing it for the author. Besides, he is a Gabriel Garcia Marquez fellow who in 2007 won the BBC African Performance Prize.

    Chinelo Okparanta (Nigerian) was born in Port Harcourt, Rivers State and educated at Pennsylvania State University and Rutgers University, both in the USA where she studied for her two degrees.

    Her entry work, America, has been dissected from different perspectives by critics as being pro-west. Yet, she is a profound and conscientious writer whose works have appeared in many publications in the United States of America and beyond. She currently teaches at Colgate University in the US where she is an Olive B. O’Connor Fellow in Fiction.

    Pede Hollist (Sierra Leonean) has the title of his work as Foreign Aid, a work that is obviously pro-West, yet he sees it from the point of view of the ‘homeland.’ He is an Associate Professor of English at the University of Tampa, Florida. There, his areas of interest cover the literature of the African imagination, literary expressions in African continent in the Diaspora.

    Notably, the winner will be given the opportunity to take up a month’s residence at the Georgetown University. The award will cover all travel and living expenses, including an invitation to take part in the Open Book Festival in Cape Town, South Africa in September this year.

  • ‘I met Haile Selassie and his lions’

    ‘I met Haile Selassie and his lions’

    Ganiyu Bolaji Davies was a cameraman who covered the Nigeria civil war and three former heads of state. He also met the late Emperor Haile Selassie of Ethiopia during one of his trips. Now, despite his bad eyesight he is happy that he is still alive. Taiwo Abiodun met him.

    At the entrance to his Gabovies Events Centre at Ojodu, Lagos are several cameras of different makes and sizes. They are safely and neatly arranged in a small museum for everyone to see. They are the various shapes of the tool he used in the 50s, 60s, and 70s to capture the history of the world in a hurry; the good, the bad and the ugly. He had with this tool covered wars, world conferences, meetings and events within and outside the country. He had covered various assignments on land, sea and air. He had through his lens dined and wined with the mighty such as Sir Ahmadu Bello, the Sardauna of Sokoto and Premier of the Northern Region, Generals Yakubu Gowon, the late Murtala Muhammed and Olusegun Obasanjo, who all at different times presided over the affairs of the country.

    With his facing beaming with smiles, he said, “Those cameras you are seeing are my working tool I used in the 50s to 70s before I retired in 1978 and became a business man. I am keeping the cameras for posterity and it is the evidence that I was once a national photographer.”

    Davies covered the civil war with his ‘guns’ (read cameras) to ‘shoot’ while soldiers too went with their riffles. He has set up a mini museum where he stores all the cameras he used. It is made of glass at the gate to his Events Centre so everyone can have a glimpse.

    Gabovies Events Centre is located at Ojodu – Berger. According to him, he retired from the Army in 1978 and went into real estate , Oil and Gas business, among other things.

    Although he is a Muslim, he also practices Christianity no wonder on the walls of his office are both Biblical and Quranic quotations such as: This place is the Fair Heavens, Act 27 :8,The fear of the Lord is the beginning of wisdom -Proverbs 9:10, among others. So also are quotations from the Holy Koran: Then Allah will accept repentance and Allah is forgiving and merciful (Surat at Tauba 9-27).

    According to Davies, “I practise all religions and I believe in God.”

    In his office are framed photographs with some former heads of state such as Gen Gowon, Gen Muhammed, and Gen Obasanjo, as well as former Prime Minister, the late Abubakar Tafawa Balewa and others at various functions. Although he can no longer see well, he could tell with exactitude which photograph he took at which function and in what year! They are all at his finger tips.

     

    A glowing career

    Davies said his love for photography made him to go for training and seized the opportunity of knowing more of the country and travelling around the world. “I was trained as a photographer, and I was using Omega 120 still camera in 1954. I covered Queen Elizabeth’s visit to Nigeria and that was during the Macpherson Constitution. After Independence, Dr. Nnamdi Azikiwe (Zik ) became the President of Nigeria.

    “ When the Nigeria Television Service started I was the first chief cameraman under the late Chief TOS Benson who was the then minister of information. I was picked to cover Prime Ministers’ Conference attended by the late Tafawa Balewa at Marlborough, Britain. I was later to travel to New York to cover the United Nations Summit. I remember some journalists that went with us such as Peter Enahoro, the late Marshal Kebby, with Nuhu Bamali.

    He continued, “When we came back I also covered the late Ahmadu Bello to lay the foundation of the Kainji Dam and again to lay the foundation of Onitsha Bridge. I used to cover the Apapa Wharf. I used to take photograph of those travelling abroad by sea, not many travelled by air then and any passenger who had to travel by air had to pay 40pounds as transportation fee, but during my time I did not go by ship but by air. The only place I travelled to by ship then was to Calabar. I used to cover assignments for Daily Times, Daily Service, and West African Pilot as a freelancer.”

    He also worked with Paramount Studio, Olojo Soyo Studio till 1960 when he joined Palladin, a film company which specialised in documentary films.

    Recruitment into the Army

    During the Nigeria, civil war, Davies was recruited into the Nigerian Army. He was given uniform to wear. According to him, the job was interesting but bloody. In a fearless voice typical of the military, he said, “We had accepted whatever comes our way. I was with the late Murtala Muhammed covering his activities during the war. He was a gentle and calm man. He was a GOC. I travelled with him from Ore to Onitsha.”

    Asked how true it was the rumour that the late Muhammed was among those who looted banks during the war, he said emphatically, “No, not at all. He did not loot. He handed over the rein of government to Ogbemudia in Benin. All what was in his mind was the civil war. Generals Alani Akinrinade, Ike Nwachukwu , and Musa Yar’ Adua were all there. And we thank God that nobody lost his life in Benin when the rebel force of the late Emeka Ojukwu broke the Onitsha bridge. When Ojukwu saw us coming he sent some of his soldiers to go and break down the Onitsha bridge. When we asked some of our soldiers to drive through the bridge and they could not we knew something had happened. We later took a boat to cross the river. I remember that a reporter, Jide Akinbiyi, was with us then, he is still alive to testify to it. I cannot forget that in a hurry !” He also dismissed as unfounded and mythical the saying that the late army general killed many Igbo in Asaba.

    He confessed that due to the nature of his job, he was very close to Gen Gowon. On the demeanour of the former head of state, Davies testified that: “He was a very quiet man, a gentleman with precision. I covered his wedding to his wife Victoria at Christ Cathedral Church, Marina. The bishop who officiated then was a Kwale.”

    On the criticisms that followed Gen Gowon’s wedding when the civil war was going on, Davies said he did not see anything wrong in getting married at that time. “I don’t think anything is wrong with that. Many people got married during the war. Esuene, a senior soldier wedded during the war. His aide also wedded, I covered it in Port Harcourt. I see nothing wrong in that.”

    Having been close to the military, was it not dangerous for him as he could be a security risk? He said: “No, No. They all knew I faced my job. I am disciplined. I don’t do two things at a time. I follow assignments given to me; they all called, me Bob Davies.”

    Life without eyesight

    How does he feel now that the eyes with which he had travelled round the world and beheld beautiful sights could no longer see his framed pictures on the wall, he said he does not feel anything. He said confidently, “I know I would regain my sight one day,” He added “I will say it is a natural thing that somebody would pass through his own life. I still feel good and I am sure I will regain my sight one day by the grace of God.”Tracing the genesis of his eye defect, he said, “The eye problem started in 1986 gradually. I had operated it but I had to stop operation as instructed by the doctor. I am okay, since I am still alive life continues”.

    He is, however, pained that he was duped by a developer. According to him, “The man collected N30 million from tenants and bolted away. The prospective tenants started trooping here but the man had bolted away. He should have told me that he collected money from prospective tenants, and should have refunded those money but he wanted to smear my image. I believe I have good reputation to protect, nobody should spoil my name at this stage of my life. The developer convinced me not to sell my building and I gave him the go ahead and he started building it but he messed up in the end. He is now on the run.”

    A soldier without rank

    A very interesting thing is that Pa Davies who said he was recruited into the officer corps of the military while covering the war never knew his rank till he retired. According to him, “I cannot say whether I was a General or Brigadier since my purpose was to go there to cover the war. I had to be in uniform to allow me have the privilege all officers had, so they gave me a uniform too. I don’t know whether it was a Major or Brigadier or an officer with special grade. A documentary officer has any rank.”

    Memories of Haile Selasie

    Travelling is part of education and an opportunity of meeting high profile people, thus he had the opportunity to meet the king of kings and the conquering Lion of Judah who Reggae musicians adore as their living messiah, the late Emperor Haile Selasie. He brims with satisfaction, “Yes, I met the late Emperor Haile Selasie. It was after the civil war. I went with Gen Gowon to see him. He (Gowon) was the chairman of OAU.” He described the Emperor as “a normal human being. He was a short and calm man. People respected him a lot.”

    On whether the Emperor truly had live lions, he affirmed, “Yes, he had lions, and he used to pat them on the head. Nobody could touch the lions except him.”

    Close shaves with death

    He said the moment one entered the Army one had signed for whatever would come. “We had given up our lives. Anything could happen. A bomb exploded opposite a textile company not far from Catholic Church in Asaba before the Onitsha bridge. The rebels threw bomb at us there. I was there with Gens. Ike Nwachukwu, the late Musa Yar’Adua, and Alani Akinrinade but we were lucky because it only emitted smoke. It could have killed all of us. Another case was at Ayafu 14 miles to Enugu where Brigadier Apollo was in charge. We were asked to go and make inquiries on what was going on in Markurdi. We experienced heavy shelling from the rebels, thank God General Theophilus Danjuma escaped

    His many regrets

    The septuagenarian said he has some regrets in life. One of these was what the developer who duped people did. “I fell for him not knowing he was a crook. I have promised to pay those he duped. I don’t want anybody to tarnish my name.”

    Another episode he remembers was the meeting held in Addis Ababa, Ethiopia in the early 70s. “I went with the late Anthony Enahoro, we first went to Uganda and that was where the personal secretary of Enahoro was kidnapped and was not seen till today! (during the civil war). There was another meeting between Ojukwu and the federal government which was led by Enahoro, the chairman of the meeting was Haile Selassie .

    At 79 and having lost his wife 37 years ago he said he is now considering marrying another wife. He said “I have not been willing to marry these years. But that has changed now as I will soon be fully married again.”

    Advent of electronic cameras

    Davies said the old method of taking pictures and of using camera has become obsolete. “In the past, you had to spend four years as apprentice before you could be qualified as a good cameraman. Before these ones you had to be sure of what film you were sending before you could send your films to the laboratories for processing. In 1974 I shot a feature film for Star Films led by now Olowu of Owu, Oba Adesanya Dosumu. The film was Dinner with the Devil. I was the first Nigerian to shoot 35mm film at the National Theatre. The chairman of the occasion was General Ibrahim Haruna who was then the Commissioner of Information under Gen Obasanjo.”

    According to him, all former heads of state still recognise him if he meets any of them. “I remember that I met President Olusegun Obasanjo in December 1998 at a marriage ceremony in Catholic Church, Oyingbo. I was standing with some people when they said he was coming and when he sighted me he greeted me first before any other person. Who will not recognise Bob? “ he intoned, as he burst into laughter.

    On whether another war could break out in the country, he said, “Not at all. It is very, very dangerous but then we cannot help it when it comes but nobody should pray for civil war because, it is not good for any country. “

    Epitaph

    On what should be his epitaph, the old man did not think twice and without mincing words, he said in a croaked voice: “I want to be remembered for my good name. I want them to remember me as a man who had helped a lot of people and with a good name!” Simple.

  • ‘The novelist who came fully made’

    ‘The novelist who came fully made’

    Chimamanda Ngozi Adichie has once more dazzled the world with her stunning new novel, Americanah, which explores the world of America and Nigeria. With two young Nigerian lovers, Ifemelu and Obinze, at the centre of this epic tale, Adichie has further shown the world that she is indeed “a new writer endowed with the gift of ancient story telling.” Edozie Udeze explores her style, her world, her technique and why she has truly made a name for herself in world literary circle

     

     

    With rich tapestry of this story weaved around Ifemelu and Obinze, two Nigerian youths who fell in love at a time when the country was experiencing its worst military dictatorship, Chimamanda Ngozi Adichie has indeed set an incredibly readable novel that traversed the depth of social life both in Nigeria and in the United States of America. In this latest book, Americanah, she explores, for the first time, both worlds using the two vivid characters to demonstrate common issues that affect people in the two societies.

    But beyond Adichie’s ability in bringing to the fore the reasons why these two characters hovered between the two societies, she is not really crazy about life in the West. This is why she frequents home more often, not only to interact with her people but to also be involved in issues that affect the people. This frequent interaction and her uncanny ability to be in touch with her roots have contributed immensely to the success of Americanah and her other works.

    It also shows the travails of these lovers and what it took them to eventually become full human beings. The novel Americanah has been aptly described as a dazzling new novel, witty, powerful and depicting true love within the contest of a decaying society. The story goes beyond race and class, tracing the history of Ifemelu a young lady who defied all odds to fall in love with Obinze, even when they obviously faced terrifying challenges and mounting difficulties in Nigeria where draconian and inhuman laws were in place.

    The author’s deliberate attention to details here shows her as someone in total grasp of the social conundrum in Nigeria, East Coast of America and England. Her penchant for details marks her out as someone with omnivorous eyes, even when all situations seem to stare her in the face. This was why she cleverly opened the story with the vivid description of some cities and their locations in the USA. Some tranquil; while others absorb or badly planned.

    It is a story tailored to open people’s eyes to the world beyond Nigeria, a world where love has no hindrance or limitations. And so even in Brooklyn where there is sun-warmed garbage or Princeton which has no smell, America harbours its own peculiar social ills. It is a lesson to show the world that no matter where you are, some ills embedded in that clime can also dog your heels. But above all, love has a way of conquering everything.

    As teenagers in a Lagos public school, Obinze and Ifemelu found out that they could not stay apart from each other. It was such a story full of love that they both decided to damn cynics to be true to what they believed in. At a critical stage in that relationship, Ifemelu, very beautiful, self-assured and eager to overcome the world, departed for America to study. There, she discovered new trials, new triumphs, new people, new friendship and so on. Her new exposures opened her eyes to racism, to class differentials and other issues that troubled her fragile mind. Consequently, she became unsettled.

    On his own part, Obinze remained here in Nigeria after several attempts to join her did not materialise. In-spite of the difficulties of the moment, he was able to establish himself as a new democratic dispensation was ushered into the nation. Adichie did not also fail to highlight the brief undocumented life Obinze had in England before he finally set sail to Nigeria to become a ‘big man’ in due course. He realised, however, that East or West home is the best.

    Eventually, the two love birds met in Nigeria when Ifemelu came home to the gripping hold of Obinze. Yet even in the face of this renewed affair, the two still had some other very tough decision of their lives. This is why the story is fearlessly funny, tender, passionate, spanning three continents with various set of people who richly enrich and widen its contents and scope.

    However, the question that arises is this: Can an author easily detach herself from the story she tells. Adichie can not, in the strictest sense of the word distance herself from the details of the story. But with the ability to chronicle a rich story set across three continents, she has succeeded in opening new leeway and vistas of hope to a lot of immigrants and seekers of greener pastures. The story also mirrors her excursion into life.

    Adichie’s unique approach to details in her works, singles her out from the rest. This was why the late master storyteller, Professor Chinua Achebe described her as a writer who came almost fully made. In 2003 when she came out with her first book, Purple Hibiscus, she made it clear that her style and approach were meant to be different from the rest.

    The story of 15 year-old Kambili, circumscribed by the thick walls and trees of her family compound was given fresh zest by Adichie. While Kambili and her brother were sent away due to the fear in the community, there, they discovered that there was plenty of freedom and love in the society. With their strict Catholic upbringing to which the author was also exposed as a child, critics quickly linked her to the story.

    In the midst of the unexpected, the author explored the possibilities of freedom, hatred and love even in the throes of dark moments in people’s lives. “Here indeed,” in the words of Achebe, “is a new writer endowed with the gift of ancient storytelling.” She knows what is at stake and what to do about it. She is truly fearless and deep and efficacious and this is why the rest of the world has adopted her so. To the world, she is a fearless and towering literary figure.

    Having won the Commonwealth Literature prize with the Purple Hibiscus in 2003 and the orange prize with Half of a Yellow Sun in 2006, she has finally become a serious sensational writer in the world literary circle. The book went on to sell over 650,000 copies in England in the first few months of publication. Today it has been translated into 30 languages globally. Half of a Yellow Sun is a harrowing experience which transports readers into a war-ravaged Biafra, a war fought long before the author was born.

    Searing and profound, most critics of her works still try to see how Adichie was able to deftly handle events that predate her birth. It was that approach that finally signposted her into the inner-circle of serious and committed storytelling technique.

    Yet in The Thing Around Your Neck published in 2009, she turned her penetrating attention to the stories of her peers both at home and in the Diaspora. The 12 witty short stories were vividly told by a natural and gifted storyteller in a way to depict the mastery of her environment and her people. The New York Times described it “as a resounding confirmation of a prodigious literary powers of one of our most essential writers.”

    A native of Abba in Dunukofia Local government area of Anambra State, Adichie was born in 1977 and studied Communication and Political Science at the Eastern Connecticut State University in 2001. Later in 2003, she obtained an M. A. at John Hopkins University, Baltimore, USA. In 2008, she went to the Yale University where she studied for an M. A. in African Studies.

    She had an intriguing opinion on writing and politics.

    To her, “I don’t think all writers should have political roles. But I, as a person who writes realist fiction set in Africa, almost automatically have a political role to play.”

  • The lost children of Oshodi

    The lost children of Oshodi

    MAY 27 SPECIAL As the country marks Children’s Day tomorrow, Hannah Ojo ran into children who call themselves ‘Jungle Kids’. They have lost their innocence and amid watching out for men of the task force and smoking marijuana in the sun, they managed to share their experiences with her.

     

    They come across as child soldiers; their innocence stripped, their voices hoarse, their lips darkened. Their breath reek of locally brewed alcohol, ogogoro. Their teeth are decorated with tooth plaques and stained, an indication that brushing daily may appear to be a far-fetched luxury. Torn and weather-beaten bathroom slippers adorn their legs. All these combine to give their appearance as rough and unkempt. They betray no sense of pity as they appear to be in charge of themselves. Tomorrow, some of their peers will march to the stadia across the country to celebrate the Children’s Day, others would simply take shelter under the cocoon of their parents to savour the pleasure of the holiday. But for these street kids at the Ilupeju side of the Oshodi motor park, life would be the same, the celebration notwithstanding.

    It took a rehearsed line of persuasion as a sympathiser and a ‘small change’ to court their attention. Even at that, some of them did not care. They just looked away, casting empty look of despair and nonchalance while once in a while, fixing their gaze on the reporter’s bag. The pavements on the railway lines in Oshodi serve as their place of ease to answer the call of nature. For them, home is anywhere available. This is a ‘church for minors’, one of them chipped in. we are here to jamajama (a term in the local parlance for hustling to make ends meet).

    Do they know it’s Children’s Day?

    How do they manage to cope with this kind of life? was the first question posed to one of them. “A nmu shadow. We sleep under the bridge, in the mosque, and anywhere we see. Fashola’s government is ruthless. The taskforce are always hunting us. They have taken some of us to welfare (homes) several times but we always find a way to come back.” This was the submission of Qudus Ibrahim, 14, from Awori land. For his age, he appears advanced as he handles the weed (Indian hemp) in his hand with seasoned expertise as he puffs into the air. Qudus comes across as amiable in his manner of approach. Asked if he would like to go to school, he said ‘no’! “My father is a police man but we have family issues. I am here to hustle and work on my own. I am doing omo igboro (boy around town) here.” For him, his future is what comes by chance as he seems to have resigned to fate. “It is what God said I would become that I will be”, he said.

    Hustling for them means working as conductors or alaaru (load carriers) for passengers in the park. They also engage in acts such as picking pockets, snatching phones and other social vices as they see it as part of the survival game. They believe, as one of them loudly pronounced, that, “epe o nmu omo ita” (area boys cannot be affected by curses). It may be a surprise to know that some of them came from Ibadan. The case of Ajibola, 13, who is a runaway kid from Ibadan is most pathetic. He does not know his parents and his foster family maltreated him, so he simply decided to run away. His peers call him ‘small’ because he looks stunted for his age. He also brandishes a weed while clutching protectively to something in his pocket during the course of the discourse.

    For Moshood Adebayo, another minor from Akure, in Ondo State, the trip to a rough life as an area boy was a choice forced on him by hunger. Although one can sense that his decision was with a touch of waywardness. According to him, “I went to school. I had to stop at SS2 because there was no money to continue. He confessed that life as a jungle kid is tough. I learnt a trade: shoe making. I couldn’t use it to work because I ran from home since there is no work to do. He says he had to join the ‘boys’ when he came to Lagos because there is no one to help him settle. He does not hide the fact that he is not coping well here since according to him, “he is restless” and he says the money they make is barely enough for them to survive. In fact, he gives the appearance of one who is tired of life as his cooperation during the talk was exceptionally noticeable.

    When asked what can be done for them; one of them dismissively says he wants ‘them’ to buy a bomb for him, giving the undertone that these kids can also be ready tools in the hands of terrorists and candidates for militia groups.

    One of them who gave his name as Atenu, who others fondly call enu eja referrs to himself as a deity and choose not to talk. He only showed a scar on his belly when he was hit by a BRT bus while at ‘work’.

    Even though they give themselves away as not being afraid of anything, they are children after all. They talk about the fear of kidney problems which they learnt could be derived from weed smoking. “Smoking igbo (weed) scatters the brain but we cannot stop, it is the devil’s work.”

    They meet every day in Oshodi and other places across Lagos and the country and as the nation marks the Children’s Day tomorrow many of them are starkly unaware that it is their day. Are they in the country’s statistics of the number of children out of school, does the government know they exist? Are they the future time bomb as children of discontent? The answer hovers in the wind…