Category: Midweek Magazine

The race to win this year’s Nigeria Prize for Literature has picked up steam. The 11 plays gunning for the $100,000 prize share strong themes and global concerns. They drew the attention of the audience at a book party hosted by Nigeria LNG Limited (NLNG) and the Committee for Relevant Arts (CORA) in honour of the playwrights in Lagos. EVELYN OSAGIE reports.

From power tussle to migration (surnamed Japa by Nigerian youths), climate change and conspiracy theories, the 11 plays gunning for this year’s The Nigeria Prize for Literature has revisited strong thematic preoccupation and global concerns that spark fresh conversation on the role of leadership and its citizenry.

Specifically, bad leadership and corruption on the continent came under fire when the Nigeria LNG Limited (NLNG) and Committee for Relevant Arts (CORA) feted the 11 playwrights whose works made the initial shortlist of the prestigious $100,000 prize at the MUSON Centre, Onikan, Lagos. 

The yearly book party brings NLNG, the sponsor of the prize, and the literary community together to promote excellence and creativity, and to project outstanding books to Nigerians and the world.

The event, in its 14th edition, brought together dignitaries from all walks of life, including writers, thespians, and literary enthusiasts.  Tributes were paid to the creative  art of storytelling, storytellers, theatre and thespians, like the acclaimed matriarch of Nigerian theatre, Chief Taiwo Ajai-Lycett.

In the wake of social/global concerns, Ajai-Lycett amplified the impact of drama, playwrights as agents of change. To the literati, particularly, the playwrights, she said: “We are in this business to change the paradigm and our world.’’

She, therefore, charged them to be aggressive in getting their words to the world.  She observed: “It is your job to motivate, galvanise, politicise and educate our people,” she praised the writers for interrogating the conditions of the common man in Nigeria and Africa.

“If you are to engage issues about the development of our country and reach out to our people, theatre is where you can do that because not many of us read. Our job is to change our world. In my time, I have performed in Mushin and Oshodi on the streets because the job of an actor is not just to bounce around on screen but to reach people. I commend you and even more NLNG for embarking on this project for many years.”

The event, which featured music, dance, readings from the long-listed plays, and a panel with playwrights, who participated in person or via Zoom (anchored by Mr Anote Ajeluorou), also emphasised the need for the government and literary institutions to invest in the development of female playwrights in the country as this year’s longlist is missing the presence of women. More needs to be done to ensure the next circle of the drama category of the prize features women playwrights.

On his part, the General Manager, External Relations and Sustainable Development, NLNG, Mr. Andy Odeh, stated that the company instituted the prize due to concerns that standards of reading, writing, editing, proof-reading and publishing were drastically falling in Nigeria, a country that is largely founded and dominated the African Writers Series; and a country that is also known to have produced reputable writers and winning works.

Odeh said: “We are just two steps away from announcing the winner of the $100,000 prize in October. We are glad that Nigeria can showcase great literary works published in Nigeria. Our library and bookshelves have been enriched with many great works by Nigerian writers. Nineteen years of successful administration have produced 17 winning works, and over $1 million has been won. We are happy that today presents an opportunity to interact with these 11 playwrights. The Nigeria Prize for Literature alone has received over 2,400 entries in the four genres, many of which are top-quality entries.”

A member of the CORA Board, Ropo Ewenla, who read CORA Secretary-General Toyin Akinosho’s speech, highlighted the importance of literary engagements and audience interaction, saying: “The prize is the biggest cash prize award for a literary competition on the continent. On the street, today, $100,000 will deliver N86million.”

The ‘longlist’ of playwrights, who attended the event, were Victor S. Dugga (Gidan Juju), Obari Gomba (Grit), Cheta Igbokwe (Home Coming), Christopher Anyokwu (The Boat People) and Abuchi Modilim (The Brigadiers of a Mad Tribe).

Others were Olubunmi Familoni (When Big Masquerades Dance Naked), Olatunbosun Taofeek (Where Is Patient Zero) and Henry Akubuiro (Yamtarawala – The Warrior King). Abideen Abolaji Ojomu (Ojuelegba Crossroads), Ade Adeniji (Dance of The Sacred Feet) and Bode Sowande (The Spellbinder) joined the panel session via Zoom. It is the first public gathering of the writers on the longlist released by the panel of judges led by Ameh Dennis Akoh, a Drama and Critical Theory professor at the Alex Ekwueme Federal University, Ebonyi State.

Among others, the following plays: The Boat People, Where is Patient Zero, Homecoming, Yamtarawala – The Warrior King, Grit and When Big Masquerades Dance Naked,  caught the attention of guests due to their preoccupations.

Anyokwu is a Professor of English, University of Lagos (UNILAG). His play focuses on the socio-culturally relevant subject matter rich in techniques, an out-of-the-box crafting of the experiences referred to as “Japa”. It dramatises the extent of the global subject of mass migration from the global south from the south hemisphere, particularly African to where they feel the grass is greener and in this case the metropolitan centres in Western Europe and North America. While urging African leaders to fix their economy, he said: “Those in power/authority should have the interest of your citizenry at heart and be responsible to them in ensuring a favourable environment; but unfortunately that’s not what we find here in Africa. We want to see social amenities in place, let people have good schools, good hospitals, good roads, let there be jobs and if we have all of these things in place people will not have to migrate to Europe and America putting their lives at risk. That is exactly the point we are making.”

Another book that caught the attention of the audience is Where is Patient Zero by Olatubosun. It raises eyebrows over the conspiracy theory on the origin and spread of global viruses. It is a topical play that is full of humour, focusing on international politics of disease and economy. According to him, the book is born out of a COVID period.   A literary journalist since 2005, Akubuiro has been covering the LNG Nigeria Prize for Literature. Asked how it feels to be on the long- list, Akubuiro said: “It’s quite amazing. I have always been at the audience side, watching writers being celebrated and honoured. I have done my best all this while, showcasing, covering and reporting about writers. Meanwhile, I, too, have that talent myself. And now I am happy that I am on this stage being celebrated also.

His play is politically driven. Set in the 16th century Kanem Bornu empire, it shows how kingship tussle in pre-colonial Africa shaped that society. “There are so many lessons to learn. First of all, there was a succession tussle about who is going to be the next king of the empire so the elder son pulled out to go and set up his  empire. Despite his desire to become a king, the first son made a peaceful move. Political leaders now want to become president/governor, etc., not caring if they kill and maim others to get what they want,” Akubuiro said.

Like Akubuiro, Familoni’s play, When Big Masquerades Dance Naked, is also basically about power play – a tussle between the monarchy and the politicians. It highlights the systematic corruption and criminal alliance in traditional contemporary political space.  Dugga’s Gidan Juju sought to challenge the audience to look at our history and find creative ways of reinventing ourselves.

Playwright and theatre art teacher, Mr Cheta Igbokwe, a teaching assistant at the University of IOWA, has an attachment to the play as it was inspired by his sister’s ‘homecoming’ after over a decade living abroad.  He hopes to have theatre in his community if he wins. “I am very excited to have made it this far to be in the long list and also the fact that the play has gotten another validation,” he said.

Oxford University’s School of Archaeology and Museum of West African Art (MOWAA) are partnering to build a centre of excellence in West Africa. This is to tell the narrative of the region’s past from an African perspective and develop student pathways for the long-term benefit of research.

The archaeological, cultural and scientific research institute, according to a statement by the museum, will be housed in the Pavilion, the first building within MOWAA’s Creative District, located in the centre of Benin City. Through this joint initiative, students from West African countries, or who have demonstrated a strong academic interest in West African archaeology and heritage, will benefit from access to Oxford’s world-leading graduate courses in archaeological science.

Director of the Pavilion, Ore Disu,  said: “This partnership with Oxford University sets us on an ambitious path to establish a center of excellence for archaeological science, materials science and conservation in West Africa. Our collaboration will strengthen the pipeline for African-centered scholarship, with the view to unearth the sophistication of our shared past and power new ideas about our possible futures.”

The research programme will be led by Prof. Shadreck Chirikure, Oxford’s Edward Hall Professor of Archaeological Science, who also serves as an Advisor to MOWAA. This partnership will help build a strong foundation for the future of the Pavilion through three core elements:

By creating a bespoke scholarship programme on the MSc and DPhil (Archaeological Science) degrees, the partnership will help create a pipeline to meet the staffing needs of the Pavilion and provide opportunities for those interested in the archaeology of West Africa to conduct studies with access to resources from both institutions.

Chirikure said: “This partnership sets an example of how transformative collaboration in research and capacity building can establish a centre of excellence with equal benefits to everyone. Unlike other partnerships, which only extract archaeology samples from Africa and leave the continent with no training and no access to publications by local scholars, this initiative provides an enriching and mutually beneficial relationship that will sustain both institutions into the future.”

The partnership launches the West African Empires Archaeological project, a multi-year interdisciplinary investigation that brings together archaeology, art history and biological conservation. The findings from excavations and supportive studies are expected to underpin exhibitions, publications and community dialogue to enhance the global profile and advance the academic field of West African ecological and cultural heritage.

Ultimately, the Pavilion will provide a cutting-edge facility for the benefit of all West Africa and beyond. The first set of equipment for the materials lab is being provided through the support of the Gerda Henkel Foundation in Germany. While the Pavilion is being established Oxford’s School of Archaeology research laboratories will help MOWAA get a head-start on archaeological analysis by utilising the capacity within the school. The Pavilion’s research leads will draw on the expertise and first-hand experience of their Oxford counterparts to develop and manage their upcoming lab facilities.

Over the next five years, the school will act as a hub for the advanced analysis requirements of the Pavilion, associated archaeological investigations and the museum. Included in the project will be leading specialists in the fields of Paleoenvironmental science, Material Science,  Bioarchaeology,  Precision chronology and  Specialist mapping. 

Head the School of Archaeology, Prof Amy Bogaard said, “This is an exciting opportunity for the School of Archaeology to engage with new research in Benin and West Africa and to help train a new generation of archaeologists working in the region.”

• From Taiwo Abiodun

The ancient town of Owo, in Ondo State has celebrated this year’s Kolanut Festival.

  Expectedly, kolanut was given its pride of place at the event. 

 The Olowo of Owo, Oba Gbadegesin Ajibade Ogunoye III, said the festival is part of the people and it ushers in new kolanuts into Owo Kingdom before it is taken to the market for sale.  He added: “Sharing of kolanut symbolises unity, love, peace, kindness and gratitude.”

According to the monarch, kolanut has its season and the fresh ones should not be displayed in the market until after its celebration. The festival precedes Igogo festival. At the festival, fresh kolanuts are prepared in their hundreds  in a traditional calabash and through procession  and taken to Uli Ode where the  past Obas  ‘slept’ (hallowed chamber).

This was led by Chiefs like the Aworos, Osowe and others accompanied by aides and sacrificial dance by the female traditional orchestral, the Ukoju Olowo.

‘’I, the Olowo of Owo, danced to the seven different traditional/historical performances, and the music is rooted in traditional songs. I danced to Umoba Olowo traditional Orchestra meant for the Olowo. 

“After a song, there were prayers for me, my family, well-wishers and friends. I picked the kolanuts.Then was ushered into Uli Odi and sat on a special chair where I then prayed for the departed souls of all the Olowos in the inner chamber.

“I went to various shrines in Ugha Nla (big courtyard) and prayed. Later, men and women, chiefs, youth leader, trumpeters, and market women, knelt down and paid  obeisance to me, the  Oba.’’

Olunaun of Unaun, Prince Olanrewaju Abegunde dismissed the insinuation that the celebration is fetish, noting ‘to those saying the celebration is fetish did not know what culture entails. Kola nut symbolizes peace, unity, hospitality, acceptance, togetherness, trust and equity. Kolanut is given to those who know its value. Without Kolanuts in a gathering nothing is complete.’ Abegunde added ‘during naming ceremonies, wedding ceremonies or social gatherings or Town Hall meetings, kolanut is a must. We use it to pray and it cuts across religion. So those saying it is fetish are funny. We should praise the Olowo of Owo Oba Ogunoye III for upholding the tradition and taking it to a higher sphere. By this time next year it will be a carnival as the present Olowo wants to make it bigger.’

Mrs. Idowu Omolayo (Abiodun) a retired Yoruba Language teacher said: ‘’The issue of kolanut is very important in Yoruba culture, if you observe very well there is no tribe in Nigeria that does not know the social/cultural value of Kolanut’’. Omolayo praised the Olowo of Owo for showcasing the importance of Kolanuts to the world adding that Olowo has made us proud by doing this. ‘In Yoruba culture the issue of Kolanut breaking has become a global thing and the world is embracing it.’

No fewer than 20 emerging artists’ artworks were recently exhibited at the sixth The Artists Commune at One Art Gallery, Lagos.

  The artworks on display included eight digital and 12 non-digital artpieces.

The exhibition is themed, Into The Multiverse. The Artists Commune is a gallery and community  for emerging artists to showcase their works.

On display were pieces of artworks by Abdulazeez Ganiyat oil on canvas entitled: The healer also needs healing, Akingbade Adeniyi’s Realest One, a sculpture of a man on locks made with toothpicks and wooden skewers.

Others were Claire Oluwaseun George’s paintings on Ankara, and Nwankwo Uchenna’s paradoxical painting on canvas,  entitled, Curiosity did not kill the cat.

According to the Director, One Art Gallery, Mr Abiola Bodunrin, the artworks were selected from the out of 150 entries.

He said: “We had no clear criteria. We were looking for exceptional works and didn’t want to leave anyone out. The exhibition is called The Artists Commune, and the idea is to get different arts enthusiasts and art lovers to gather in the same space and have a conversation.

“We did an open call, and about 150 artists applied to showcase their works, and we were able to select 20. And out of the 20, we had to divide them into digital and non-digital artists and collections from female and male artists,” he said.

Bodunrin said: “Digital art is not entirely new; it’s just that we have evolved, especially during the COVID-19 period when NFT (online marketplace for artists) became very big. That propelled digital artists to reach wider audiences and sell their works big.’’

“The internet has made everything more accessible; more opportunities have arisen because of the internet. We have brilliant Nigerian Artists that are displayed all over the world. It’s a lot easier now because galleries abroad- in the Middle East, the Indian market, and the rest of them can easily reach artists because of social media. Tech has been a major player in making African artists visible worldwide.”

Speaking on what informed the setting up of the gallery, Bodunrin, who is also known as Peniel The Artist explained that the decision was borne out of his struggles as a young artist.

He said that his journey as an artist was not an easy one and resonates with some of the struggles many young artists face, hence, the need to create a space to support and encourage artists with exceptional crafts.

“I have been an artist professionally for half a decade. There have been a lot of challenges. It was some of the things I experienced personally that made me set up this place to give opportunities to young artists. Some of the challenges are funds, platforms, and PR,” he said.

What would you do after graduating as one of the best in your school and many years later, others are going abroad for further studies and you are not. Should you remain discouraged or follow the bandwagon?

Not everyone could brace the challenge to make a success of their life without allowing peer pressure to set in like the determined young lawyer, Ayodele Ashiata Kadiri, who recently turned a lover of animals. She had at one point considered becoming a veterinary doctor, but chose to make a name as a legal luminary of high repute, and prayerfully embrace her vulnerabilities. Years down the line, her choice helped define her path as a young lawyer, one that gave birth to her book, The First Five Years (From Book Smart to Street Wise). 

The book, which was recently unveiled in Lagos documents the author’s life story while taking its audience into a journey the first five years of her career, beginning from her days in queen’s school.

The unveiling drew dignitaries from the legal and creative writing worlds, led by NLNG prize winner, Prof. Cheluchi Onyemelukwe.

In a world that has become a global village, Onyemelukwe, who won the prestigious prize in 2021, charged youths to define their success by redefining their identity. According to her, young people should not be afraid to embrace their truths and experiences.

Describing the book as “unputdownable”,  Onyemelukwe, who is also Managing Partner, Health Ethics and Consulting, commended the author’s honesty and proper representation. “In the book, she was not judgmental even if in her story, there were times when she was faced with challenges, and felt like she was far behind. It’s a difficult thing to write a book and the book is rich in content and she did a great job there. It especially exposes young students to the right path to take, whether the path of academics or otherwise. What the author has done is inspiring, much of what is written in book is targeted at both the young and old will remember those things, not being able to discover oneself, not being able to understand the terrain, she has showcased this in accessible writing, in vulnerable writing, giving expression to those things that some of us go through. It’s an amazing thing that she has done it at such an early stage. I could remember at this stage, not being very clear about what to do, where to go, seeing your mates doing different things, and not knowing what to do. So she has put all of this in an interesting and engaging writing so that people can read and learn how to properly define success – your own success,” she said.

Others guests included Dr. Ifeoma Oluwasemilore (Lecturer, Faculty of Law, University of Lagos, UNILAG); Mr. Bisi Sanda (Governance Manager, Oando Energy Resources); Mrs. Nana Dare (Chief Operating Officer, G. Elias) and Kofoworola Toriola (author, Love Notes).

For Oluwasemilore, who was Kadiri’s project supervisor, the book is a representation of the author. According to her teacher, throughout her education she has always strived to be the best. “In her secondary school days in Queen’s College, she graduated as the best student, with an outstanding and resonating result in her WASSCE with distinctions.

Also, she graduated as one of the top students from the Faculty of Law, UNILAG and in Nigerian Law School, she also graduated as one of the best which attracted awards.

Apart from being a lawyer, Kadiri is the outgoing African representative of the Young International Arbitration Group (YIAG).

Reiterating Onyemelukwe words, Oluwasemilore was of the view that the strength in Kadiri’s biography is the sincerity of purpose, saying: “Vulnerable is strength in writing.”

But for Kadiri, being the best comes with a lot of expectations. And it is not all that the time that one has clarity of what next phase to embark on. In the book Kadiri tells it all. According to her, she had made decisive decisions and stand by her choices against the odds of what others, like her mates, thought of her.  

Hear her: “I was faced with so many things. We live in a world where one gets easily discouraged about their life probably because there is no speed or they are not doing what they want to do at a particular time, especially the fact that many of my friends in school are already in Harvard doing their Masters. But for me, I didn’t even have an idea of where I wanted to do mine. It was a whole lot for me to deal with and to sail through that phase. There was basically nothing I didn’t talk about.

“For instance, When I graduated, people asked me, I would be going for graduate studies, abroad and some persons feel, I want to be glued to G. Elias to become a partner. And I ask myself, what’s wrong with being a partner in a law firm. And also, from a Christian perspective, there are times when we would actually fast and pray and the rest would be the opposite of what you prayed for. So, I wanted to document all these experiences so that people can read and have an idea of what life entails. So you must have to define your own success. I’ve to realise that balance is important: life is a process and accepting me is also important.” 

For many years, Makoko, a floating community of fishermen across the Third Mainland Bridge along the lagoon remains a slum in Lagos State that has been threatened by environmental and health challenges.

  Makoko is a nightmare for the Lagos government, whose residents also live under the threat of eviction. However, various administrations in Lagos as well as non-governmental-organisations (NGOs) in the past have initiated many interventions to improve the plight of the residents.

One such NGOs is Upward African Woman (UAW), a group of professional women from Nigeria, Eritrea and the United States, led by its Programme Development Director, Aineakho Ojior.

In continuation of its intervention programmes for the empowerment and sustenance of long term solutions for women in Africa, UAW is organising its  10th  anniversary events  to raise funds, network and partner corporate bodies to execute its educational programmes, vocational training, mentorship initiatives, entrepreneurship development and access to healthcare and essential resources.

According to her, Upward African Woman has been organising various events such as charity galas, benefit concerts, and community campaigns to engage individuals and raise funds for its programmes. She noted that these events, not only provide financial support, but also help raise awareness about its cause and attract more supporters to the organisation.

Recalling the group’s experiences in funding one of its major projects-Makoko Scholarship, she said the children from Makoko were given scholarships to attend Our Lady of Apostle School in Yaba, Lagos.

“Their parents are uneducated fishermen and petty traders who did not have the means to send their children to school. They did not have the experience of a formal education so could not prepare their children for the challenges ahead.

“These amazing children had a very difficult time adjusting to their new environment, coming from the slums of Makoko having never been in a classroom setting. From their language to their mannerisms, and even their ability to keep up with teaching, all of it was hard and they were teased by their classmates,” she added.  UAW’s youth empowerment programmes include promoting economic prosperity for underserved and underrepresented communities by providing equitable economic development opportunities.

Ojior, who is a telecoms and information engineer, hinted that the fundraiser tagged The Black-Tie Gala, will hold on October 28 in Beverly Hills, California, US.., noting that it is one of the highlights of UAW’s efforts to bring awareness to the organisation as well as commitments from those who wish to become sponsors and partners.

She stated that such support, whether through donations, sponsorships, or collaborations, will make a significant difference in the lives of countless women and communities across Africa.

On the anniversary, she said: “We are looking forward to raise $150,000, which will enable Upward African Woman to continue to build and increase its impact. The popularity of this event has grown tremendously over the years with guests from the fields of music, film, healthcare, business and government attending. Attendees have also enjoyed the opportunity to experience authentic African cuisine and music. By giving to Upward African Woman, you will be able to help us sustain our education programs both here in Los Angeles, California and in Africa.

 “We are actively seeking corporate sponsorships, collaborations, and partnerships with like-minded organisations and businesses. By establishing strategic alliances, we can combine our efforts and resources to create more sustainable and long-term solutions for women empowerment in Africa.

“To achieve our goals effectively, we need increased financial support. This includes funding for educational programs, vocational training, mentorship initiatives, entrepreneurship development, and access to healthcare and essential resources. With additional funds, we can expand our programs to reach more women in remote areas, offer comprehensive support services, and provide resources to empower them to lead self-sufficient lives,” Ojior said.

Perilous Journeys: Reflections on Migration, a solo exhibition by one of Nigeria’s renowned artists Enotie Ogbebor opened last Thursday at the prestigious British Museum, Room 3 located in the heart of London. The exhibition which features the artist’s latest collection explores the depths of human experiences and will run till September 24.

Inspired by the complexities and challenges faced by migrants across the world, Enotie Ogbebor’s collection delves deep into the emotional and physical landscapes of their perilous journeys. Through a masterful blend of visual mediums, the artist offers a poignant and thought-provoking exploration of migration, its causes, and its consequences.

The British Museum, renowned for its commitment to showcasing art that sparks dialogue and creates awareness, is honored to host this groundbreaking exhibition. The collection provides a captivating environment for visitors to engage with the artwork.

The body of works invites viewers to embark on a visual expedition, unraveling the multifaceted narratives of migrants worldwide. It intertwines themes of hope, resilience, loss, and the human spirit’s indomitable strength. Each artwork encapsulates a unique story, offering a glimpse into the personal experiences of those who have undertaken arduous journeys in search of safety, freedom, and a better life.

Instructively, the solo exhibition marks an extraordinary opportunity for art enthusiasts and collectors to witness Enotie Ogbebor’s evocative and powerful creations. The artist’s ability to blend aesthetics with social consciousness has garnered international acclaim, and Perilous Journeys: Reflections on Migration will remain an unforgettable experience for art enthusiasts, scholars, and the general public alike.

Settled Dust, a literary work by Titi Horsfall was unveiled at Times Square, in New York City, United States last Thursday.

  The unveiling enjoyed a Times Square billboard display bearing the image of the author and her book, and over-looking Broadway, at the ever busy city centre of Manhattan.

This came on the heels of a similar unveiling in London two weeks ago during the African Achievers Awards of which Horsfall held at the House of Lords, Westminster Parliament. Horsfall read from her latest work.

Settled Dust is an African story inspired by the infamous Trans-Atlantic Slave Trade, and set in the early 1800s. The heroine, Loma, bearing the weight of global history and identity on her slender shoulders, is determined to raise her head despite the odds, to seek for her chance at life. Settled Dust tells her story through the aftermath of life-altering experiences that intersect race, ethnicity, gender, love and faith. 

Another layer is evident within Loma’s own story, the heavy burden of femininity in a patriarchal world, and how life is lived in a lineage of women that reaches far into antiquity. Even with the weight of history and identity on her shoulders, Loma takes a stand for her freedom and recovery.

It is upon this expectation of renewal that Settled Dust made its berth in New York. Moreso, the United Nations International Decade for People of African Descent (2015-2024) is intended to put global focus on the experiences, challenges, and victories of people of African descent. Horsfall, in her literary work, weighs in on themes exploring identity, resiliency and the pursuit of love.

He spoke on what the unveiling in New York means for her and Settled Dust, when she said, “This is timing for Settled Dust. I only recently became aware of the UN International Decade for People of African Descent (2015-2024). Quite timing. New York holds many intersections for Settled Dust. The iconic Statue of Liberty, for example, reflects humanity’s collective dreams of being freed from what chains – mental and physical – that hold majority down all over the world. ‘Settled Dust’ is literature that speaks to humanity the universal language of freedom, of love.”

Horsfall also commended her US publisher, Deep Rivers Book, saying, “I appreciate my publisher, Deep River Books (Oregon) for supporting my journey as a writer. Andrew made the process of publishing Settled Dust such a memorable and exciting journey.”

Novelist and poet, Horsfall is the recipient of the African Achievers Award 2023. With several published works of fiction, non-fiction, and poetry, Horsfall is fascinated by the concept of purpose and seeks to convey it through her writing. 

For two days, Àbàtàbútú, a rare exhibition of Yoruba Aso-Oke dating back to 150 years, was held at Harbour Point, Victoria Island, Lagos, Assistant Editor (Arts) OZOLUA UHAKHEME reports.

The Harbour Point, venue of the exhibition of vintage Yoruba Aso-Oke tagged: Abatabutu, was not one of the familiar spaces for the promotion of visual art in Lagos. Equally rare were the collections put up for exhibition for two days. Expectedly, the organisers displayed no fewer than 250 vintage traditional Aso-Òke dating back to 150 years.

Àbàtàbútú (Ondo word for prestigious agbada) aims at showcasing the intricate beauty and cultural significance of this traditional Nigerian textile that is native to the Yorùbá people. Aso-Òke, which is the main textile product in making Àbàtàbútú, holds great importance in Yorùbá culture and it represents history, craftsmanship and identity.

The exhibition was curated by founder, Mydrim Art Gallery, Mrs. Sinmidele Adesanya, as a tribute to the craftsmanship of weavers who have preserved the unique cultural heritage for generations.

It was a history-making event that attracted art collectors, patrons, artists and enthusiasts.

The opening ceremony was organised in a relaxed atmosphere without a guest of honour or chairperson. But the event was spiced with dance-drama presentations by the Obitun Dancers from Ondo Town, Ondo State, who wore colourful Aso-Oke and beads.

In her remark, Mrs. Adesanya stated that her main mentor in Aso-Oke appreciation was Yé’m Durodëla Iluyemi, who is one of the biggest dealers in vintage Aso-Oke in Ondo Town. She noted that her mother was however her greatest teacher in the appreciation of Aso-Oke, adding that she was always at their service when in need of it.

Of the 250 exhibits on display, about 99 per cent were sourced from her personal collection.  

“My mother was our greatest teacher. She would provide us with the appropriate Aso-Oke from her collection and would patiently educate us on the provenance of the pieces. As a seasoned administrator, she kept a book with details of AcÍ-òke lent out and returned. Such was the value she placed on her vintage AcÍ-òke pieces,” she said.

According to Mrs. Adesanya who is working on a book on Aso-oke, (that will be out end of the year) while interacting with family members in Ondo ‘we saw them elegantly wear the traditional AcÍ-òke with pride… We were also told the stories behind the t’atijë (vintage) and understood that these prized Aso-okes were inherited from our forebears. Wearing them was an indication of noble ancestry. The Ondo people value antique acÍ-òke. The older it is, the more prestigious. Our awareness of our rich Ondo cultural heritage has instilled conûdence in us.’

The exhibition, she said, is a culmination of years of collecting and preserving the cloth, some over 100 years old. But, she noted that sadly, a lot of its history has not been documented. Àbatabutu therefore seeks to play

its part in the visual exposure of those who have woven, traded in and worn this precious cloth for centuries.

She disclosed that while planning the exhibition, she encountered lots of challenges, which left her with many unanswered questions about those who designed, made, commissioned, bought and wore the clothes then.  

“Aso-oke continues to play an important role in all major

traditional ceremonies such as birthdays, weddings, chieftaincy conferements and coronations. Àbatabutu marks the beginning of this new phase in my over three decades of promoting the visual arts at Mydrim Gallery.”

Recalling her early contact with Aso-Oke, she said: “Today, I tell the story of my main Aso-oke mentor Yé’m Durodëla Iluyemi, one of the biggest dealers in vintage Aso-oke in Ondo. Her amazing collection was stocked in the most unconventional manner in sacks, bags and on shelves. Her home was a treasure trove and my aunties, cousins and I loved to rummage through her sacks for exquisite pieces. Though not educated, Ye’m Durodëla had a brilliant mind and was very knowledgeable about her trade. All the information regarding her sale transactions were clearly etched in her memory.

“As we rummaged through her sacks, she would recite our oriki and regale us with stories of our forebears. Today, many of my mentors are gone. The task has fallen on me to tell our children and grandchildren the stories of our ancestry. They now understand the value of the vintage acÍ-òke. They wear it with pride as I now recite their orikis.’’

On how she is preserving and promoting Aso-Oke, Adesanya said: “I have also opened my own book in which I keep records of movements of my AcÍ-òke. I am teaching our grandchildren songs composed around this great cloth – songs that illustrate the richness of our heritage. Today with pride, I watch the conûdent adults our children have grown into, proud of their Yorùbá identity and the Ondo blood in their veins.”

Last August, Adesanya’s Mydrim Gallery hosted Generation: The Future Masters, one of the annual juried exhibitions in summer for 16 days. Among the exhibited artists were Emmanuel Samuel, Olaitan Olasunkanmi Daniel, Ekpokpobe Oghenetega, Wahab Aromire, Edward Samuel, Ayooluwa Akirinola and Folashade Fagoruse.

According to Adesanya, Mydrim Gallery seeks to reproduce a generation of artists who can fit into the shoes of the older generation artists such as Kolade Oshinowo, Yusuf Grillo, Bruce Onobrakpeya among others who have made their marks in arts both at local and international levels.