Category: Sports

On 5th and 6th December, the Czech Republic presented its first film festival at the premises of the National Film Institute (NFI) in Jos. A set of four best rated Czech films from the 60’s- called the Czech New Wave movement was screened within two afternoons.

The event was launched by an opening speech of Afolabi Adesanya, Managing Director (CEO) of the Nigerian Film Corporation. Adesanya, in his speech, encouraged students of the NFI to look closely at the internationally acclaimed Czech films and get inspiration from other cultural milieu.

“We must know the classics of world cinema to be able to produce our own outstanding films,” he said.

The event was attended by a representative of the Plateau State Government, Hon. Sylvanus L. Dongtoe, Commissioner for Tourism, Culture and Hospitality, who appreciated that a representative of the Czech Embassy came to Jos, a place where many artistic Nigerians live, and expressed his hope that the reputation of Jos as a safe and friendly city to visitors will expand, thanks to events like the Czech film festival.

The representative of the Czech Embassy, Ms. Eliška Koláøová, cultural attaché, delivered a speech on behalf of the Ambassador of the Czech Republic, putting the Czech New Wave movement in context. She also spoke about its most important director – Miloš Forman– who later emigrated to the U.S, where two of his later films, One Flew Over the Cuckoo’s Nest and Amadeus are among the most honoured movies in Academy Award history.

Films screened at the festival included Firemen’s Ball directed by Milos Forman, The Cremator by Juraj Herz, and Closely Watched Trains by Jiri Menzel.

FIREMEN’S BALL

Milos Forman is one of the most rewarded directors in Academy Award history- two of his films having won a combined 14 Oscars at the world’s most prestigious film award ceremony. Yet, outside film schools and discussions between cinema buffs, it is unlikely the name is met with more than a faint recognition, which makes the decision to screen his last film before emigrating to the United States a wise one.

Years before the filmmaker directed Hollywood great, Jack Nicholson, in One Flew Over Cuckoo’s Nest (adapted from the Ken Kesey novel,) which gave the actor his first of three Oscars, he directed this oddball comedy acknowledged as one of the best films from the Czech New Wave, a film movement with a short span but lasting legacy. Firemen’s Ball is the story of a fire department’s preparation for an event to honour the cancer stricken ex-president and a beauty pageant. Despite good intentions, the event crumbles under the weight of its own bureaucracy and general ineptitude of the organisers: gifts are stolen by the guests; when young women coerced for the pageant abscond, an unattractive older woman is crowned; an officer of the department gets a heart attack when lights, switched off to encourage guests return their loot, abruptly comes back on and he is caught returning an item; a fire breaks out and the department it turns out to be as ineffectual at putting out fires as it is at organising a ball.

Immensely popular upon release, its peculiar manner of mocking officialdom led the Communist regime in place at the time to ban the film the year after it was released. Today, it may be puzzling a government banned such a hearty comedy. upon reflection, however, it is not strange: absolutist regimes of inflexible configurations cannot allow its power structures laughed at: laughter can be dissent.

Director Milos Forman denied any suggestion he made the film to satirise the workings and effectiveness of the Communist government’s bureaucracies, saying he knew, “…if I be real, if I’ll be true, the film will reveal an allegorical sense.”

The world is full of artists who deny a deeper reading of their work. However, if it be true, we can only be grateful, for in this case the product functions both as a regular offbeat comedy as well as a criticism of its time; a time replete with corruption, needless structures, official ineptitude and above all, human stupidity. Nonetheless, none of these is peculiar to the 60’s or to Czechoslovakia – every Nigerian has witnessed or experienced slight variations of the events of Firemen’s Ball at least thrice in his/her lifetime.

Makes you wonder: who’d have thought the closest thing to a film on the socio-political milieu in contemporary Nigeria was made by a Czech director, in 1967? Not you? Me neither.

Aigbokhaevbolo is film critic based in Asokoro, Abuja

Promising music artist, King Oogbodo, has thoroughly lashed Nigeria in his latest song, Inu N Bi Mi. According to King Oogbodo who is signed on to Blood Entertainment, Inu N Bi Mi is a no-holds-barred attack on the deplorable situation in the country “because things are getting worse by the day and if we musicians don’t expose the wrongs in the country, we won’t move forward.

“It’s time for us to face the reality which is that Nigeria is not yet a good country and I don’t beat about the bush about that in Inu N Bi Mi. Without mincing words, I expose the terrible condition of Nigeria and especially the wickedness of our leaders. Hypocrites and sycophants might not like it but the masses definitely will.”

It wasn’t only Nigeria and its leaders that he lashed in the song, though, going by his disclosure. “I also took time out to lash traders, teachers, expatriates in Nigeria, craftsmen, the NYSC and the terrorists. These are all people who are contributing negatively to the nation so I let them know of their wrong ways through Inu N Bi Mi.”

He, however, added that “though there are many more people for me to actually lash with my acid tongue but I can’t lash everyone in just one song so I lashed all those I could and I’m reserving my whipping lash for the others later.”

With his descriptive re-rendering of famous biblical stories, sacred truths can, once again, serve as the guiding posts of society’s conscience. Never more than now has a truly Christian worldview, necessary for the moral affirmation of society and professing church-goers, been needed in our age. By using a relaxing and conversational approach, which is reminiscent of American writer, Max Lucado, Ayo Stilo Oni is able to connect with his readers, and bring to them gems of wisdom and tales of faith and survival as contained in the different reconstructions of bible narratives. From Old Testament events to the Gospel, Oni, relying on a postmodern infusion of lyricism and prose, presents a pastiche of bible themes that are most relevant for the agitations of a troubled planet.

In the first story, “Floating Rock” the author re-situates Peter’s experience on the sea within Peter’s self-narrative space. In this story, Oni gives readers the opportunity to hear directly from Peter himself:

I was sinking! So, I screamed, “Lord, save me!” He heard my cries and came. I saw Him move gently yet swiftly and held my arm, when I thought it was finally over. Smiling as He brought me up with His faith, he said, ‘So little faith, Peter, so little. Why did you doubt?’ (Pg.14)

In terms of style therefore, Oni’s language is replete with vivid metaphors overflowing with messages for every careful reader. His diction is direct, assuring and unhindered. This will definitely set Ayo Stilo Oni apart in a Christian genre dominated in Nigeria by mostly popular televangelists and notable preachers. Now, Ayo Stilo Oni gives readers, whether Christians or non-Christians, the rare privilege of not only having biblical accounts refreshingly re-told but also with a pertinent elucidation of critical gaps in some of the original stories.

From “Cries of Tears” to “Angel Tears”, the author erects a stage for bible characters and unnamed relatives to relieve their experiences in such a way that readers are moved to cathartic participations. In these and other stories like “The Water Changer” and “I am Less”, Oni takes us through the sandy routes of Palestine, with Jericho and Jerusalem coming alive through graphical imageries and apt illustrations of the instructional themes of Holy writs. In “Proud Love”, for instance, Oni reminds us, through the participatory voice of Uriah, of a soldier’s dedication and loyalty to God and His cause. In this particular narrative, the story of the tragic death of Uriah is re-captured in so pungent a manner that compels readers to desire the many profound lessons of the true biblical account.

In “WIJD” (What if Jesus did?) – an obvious re-interrogation of the popular WWJD (What would Jesus do?) mantra among middle-class Christians -, Oni raises significant issues about the attitude and life of Christians, and their preparedness to meet the Saviour. In a way that surmises the authorial tenor of the entire collection, Oni asks:

Now, what if this is just a dream, a story, something that flashed by? But what if this is real? Would the trumpet blow, first, in your heart and then ears? Would you recognise him, if he walked again among men? (Pg. 53)

It is possible for conservative readers of the bible to view Oni’s efforts as re-writing the canons; with arguments that no prophecy of scripture must be subject to personal interpretation. This, in my opinion, will be a welcome debate, as it will go a long way to validate the significance of the author’s well-intended efforts. This is not the Gospel according to Ayo Stilo Oni! Rather it is a re-telling of famous bible stories with an imaginative meticulousness and writing style that account for silent issues inferable from the contexts of original scriptural delivery, as inspired in the heart of the author.

The 20 narratives in this collection, whether prosaic or poetic, will, no doubt, challenge readers to view the bible from new and exciting perspectives, such that their own journey with God is inspired.

James Yeku; Graduate Student, Cultural and Media Studies; Institute of African Studies, University of Ibadan

GAPS: Ayo Stilo Oni, Gracehill and Milestone Publishing: LAGOS. 2012, 161 pp.

The Nigeria Football Federation (NFF) is giving little away as regards the appointment of a new coach for the women’s national team, the Super Falcons.

Former coach, Kadiri Ikhana resigned after leading the Falcons to a dismal outing at the 2012 Africa Women’s Championships (AWC) in Equatorial Guinea.

Nigeria finished in 4th place, the worst in their history in the competition, and Ikhana duly fell on his sword.

Speculation and name-dropping have been the order of the day as regards Ikhana’s replacement and the NFF is playing its card close to its chest.

Chairperson of the Nigeria Women’s League and member of the Executive Committee of the NFF, Dilichukwu Onyedinma said the new coach will be appointed soon.

“We are working on it. I know that the executive board and the technical committee will live up to expectations. We will also give our input to make sure that we get the best for our Super Falcons,” Onyednma exclusively told supersport.com.

Onyedinma also took the time to react to speculation linking several ex-internationals to the vacant position. “All you have been hearing are rumours and rumours are rumours,” she said.

Quizzed on when the federation would appoint a new coach, she said: “I cannot give that information at the moment.”