MUSIC, dance, culture were on display as New Nigeria Foundation (NNF), a non-governmental organisation that promotes sustainable community development initiatives through public private partnerships, celebrated its 15th anniversary in Lagos recently.
The glamorous event, which held at Four Points by Sheraton, Victoria Island, Lagos, was attended by dignitaries from all walks of life. Those who graced the occasion included NNF Board Chairman, Dr. Pascal Dozie; former Vice Chancellor, University of Benin and NNF Vice Chairman, Prof. Grace Alele Williams; NNF Managing Director/CEO, Prof. Obafemi Ajibola, NNF Board member, Dr. Gabriel Soyoye, and former Vice Chancellor, Ekiti State University, Prof. Akin Oyebode, who was the keynote speaker.
Speaking at the dinner, Dozie reiterated the Foundation’s promise of maintaining a steady course to achieve its objective of promoting good causes to attain a better Nigeria. “The journey of NNF so far has been encouraging. Though, some efforts have been made and achievements have been recorded, there are still some dark spots such as youth unemployment made worse by the fact that many of them are unemployable. The population of youths between 18 and 25 is a time bomb waiting to explode,” he said.
Dozie explained that the current condition of the country provides the opportunity to lay a new foundation for education and that NNF would continue to promote new ways to attain a better Nigeria by pushing out illiteracy and poverty among other socio-economic ills.
“We are promoters of good causes and we are going to pursue our agenda until we see the change that we desire because we believe that continuous commitment after identifying your problem as a nation will bring about success,” Dozie said, adding, “We will spread the gospel until other Nigerians appreciate the decay in the educational system and collectively deal with it. We are building a new Nigeria that works.”
Prof Oyebode, who spoke on ‘Building a New Nigeria that Works’, said: “Nigeria is at a steep learning curve. That, however, will not deter us from transforming ourselves into proud members of the comity of nations and occupy our rightful place in the scheme of things.”
Continuing, he said: “It becomes more imperative to employ empirical and clinical approaches imbibed from other countries that have made the best of similar problems confronting their societies.”
In the past 15 years, NNF has promoted over 100 developmental projects in the areas of community development; development research and studies; social investment; infrastructural management; capacity and institutional building and administrative support services.
Specifically, NNF has reached hundreds of communities nationwide by undertaking healthcare delivery projects at community level; development of agricultural value chains and implemented initiatives designed to build peace in communities. The Foundation has also promoted campaigns for the elimination of violence against women and the adoption of best practices in corporate social responsibility as well as managed relationships among stakeholders to resolve conflicts and enhance development.
Guests were treated to sumptuous meals and choice wines amidst cultural performances from groups representing the three major tribes of Hausa, Yoruba and Igbo.
Wassa and Games Village Internally Displaced Persons (IDPs) camps in Abuja bubbled with life recently when the National Troupe of Nigeria performed to entertain them. Edozie Udeze was there
Dance has been discovered to be one of the best ways to reach out to people across cultures and climes. A lot of people feel more at home when some certain messages are disseminated to them through theatre. In most cases, dance-drama becomes the best way to do this. This indeed is what the National Troupe of Nigeria led by Akin Adejuwon has been doing in the past one year or so.
For every clime or terrain in Nigeria, the Troupe has discovered the kind of dance-drama that suits them. It is with this sort of approach that Adejuwon and the Troupe have been using to disseminate the message of love, oneness, peaceful co-existence and tolerance so as to curry for togetherness in the society. It is also for the youth to embrace dance.
With Murna which is an Hausa name for love, Adejuwon has just concluded a tour of two Internally Displaced Persons (IDPs) camps in Abuja, the nation’s capital. The two camps were Wassa and the Games village. At Wassa where about 4,600 IDPs are kept, most of who are from Borno and Yobe states, their joy knew no bounds when the artistes arrived with pomp and pageantry. The camp came alive as soon the first dance was introduced. The rustling and acclaim among the people showed how much they missed home. Murna epitomized love; love anchored around folklore, moonlight stories and the tendency for people to live in unity, where communality holds sway.
This was why Adejuwon told them that in spite of the Boko Haram crisis which caused their displacement, Nigeria has not forgotten them. “This dance is to let you know there is a future in dance-drama as a profession. Music is good, not only to make you happy, but for you to make it your means of livelihood. We are here today to dance to make you feel a sense of belonging. This dance therefore is for you, it is to show that we still appreciate you as fellow Nigerians”.
The Troupe danced with flourish, using different settings in the social lives of the people to manifest affection. For assistance, the drama of the classroom during which a session in school was depicted drew unprecedented attention from the crowd. Both mothers and children became part of it that at a stage, it appeared it was truly a classroom session. The enthusiasm was too much. The teacher taught in Hausa and English while the drums beat away to elucidate the scenes.
The hilarious responses of the people proved how close the drama was to their immediate needs. Beyond what the dances proved, both to the young and the old, they all swayed and moved their legs and waists to the rhythmic tunes of drums. Both the visit of the officials of government to douse the political development in the community and the basket dance to show love and communality, all proved the need to bring the people closer to one another. In this, music became a unifying factor.
This euphoria followed the Troupe to the Games village camp, Abuja, where the inmates equally staged their own dance. It was to show that they have not lost touch with home. As soon as the Troupe finished their own performances, they mounted the stage with a dance-drama tagged Mandras dance. Mandras dance is owned by both Gwoza and Gamboru indigenes who often use it to unwind when the farming season is over.
According to Tanko Bintu from Gwoza, “this is made up of the branches we carry in our hands. The tree branches symbolize peace. Then the cricket-like noises we make is to usher in the beauty of the dance itself. We dance to show love, to show that farming is over and it is time to relax. That is why you can see both the old and the young involved in it. Today we did it to show our appreciation to the National Troupe of Nigeria.” Bintu himself is also a dancer.
When the management of the Troupe donated food items to the IDPs, the joy in their hearts knew no end. The gesture was to help augment their maintenance and to ensure that the inmates do not really feel left out by Nigerians. Speaking on behalf of the Artistic Director of the Troupe, Bisi Ayodele praised the IDPs for their resilience in the face of hardship caused by Boko Haram. “But we are here to do the best we can,” he quickly added.
“Our being here today is part of the Federal government project to reach out to all of you to show that we care.”
And truly the government cared because even as the drums stopped beating and most people were set to go, the crowd still lingered on, expecting more shows to happen. Some of the children in the camp were pleased to watch the show. One of them by name Usman Halilu told The Nation that he would like to be a dancer in future.
He said “what the Troupe did today is good for the youth. Many of us did not realize the importance of dance as a profession until today. When I finish secondary school I would like to come to Lagos to enlist with the Troupe.” Halilu is just 12 years old but his eyes and attention are already focus on dance as a way of life. This is the whole essence of what the Troupe has been doing by using dance and drama to solicit for peace, unity, love and tolerance in Nigeria.
His music evoked memories of the 80s, same for his energetic dance which left many wondering how he was able to maintain such vigour over the years, but the Afro Juju creator, Shina Peters, has a ready-made answer – he can never be too old for the genre of music he originated.
He declared this at the much publicised Love Rendezvous event, hosted by Lagos Airport Hotel, to celebrate this year’s valentine season.
Ostensibly, responding to informal questions from the audience and especially, from a popular Nollywood actor who was also the MC of the night, Yomi Fash-Lanso, Shina Peters said his age can never stop him from the way he played the music several years ago.
“My age has nothing to do with the way I dance, it is in me, I can never stop doing it. I may be getting old by age but I am still young at heart. Afro Juju is what I initiated; it comprises high tempo music with rigorous dancing step and that is the way I will continue to dance it my age notwithstanding” he said.
As the veteran musician rendered some of the crowd’s favourite songs from the albums he released in his heydays, fun seekers, mostly couples, continued to ask for more.
It was indeed a night to remember as other musicians, including ‘This year’ crooner, Jaywon and popular female act, Onos, also added verve to the event.
The event also included a comedy dinner with GbengaAdeyinka which was another spectacular experience.
Speaking at the event, General Manager of the hotel, KayodeBakare, said that apart from the fact that the event was packaged by the hotel to reinforce its overall brand promise of providing its clients with hospitality with grand attention; it also stood out to promote celebration of love in a very exclusively mature and exquisite atmosphere.
“Bringing Sir Shina Peters and other notable musicians to celebrate love together in this cozy manner is another way of telling our numerous clients that we cherish their relationships,” said Bakare.
Nigerian dance queen, Kaffy, may be on her way to America as the new Hollywood dance coach, following tutorial she gave visiting American singer, Ciara, on some of Nigeria’s dance craze such as Kukere, Duro, Etigi and Shoki.
Ciara had excited fans during last week’s Darey Art-Alade’s Love Like A Movie concert in Lagos, where the singer was special guest and performer.
The American singer, producer and model who performed some of her award-winning hits, got more applause when she called on Kaffy to lead her on some of Nigeria’s dance steps, including Olamide‘s Shakitibobo, Iyanya‘s Kukere and Tekno‘s Duro.
There was loud ovation as Kaffy taught the singer and her backup dancers how to make these popular ‘steps’ which Ciara later took to the streets of Lagos.
On Tuesday, Ciara and her dancers stormed Dolphin Estate where they choreographed on the street, all she had learnt. She shared several videos of the head-turning show on Instagram.
She uploaded the videos with captions such as “UNREAL! #Dancing, Vibing, and Learning #Nigerian Dance In The Streets Of #Lagos! #DolphinEstates.
“I Couldn’t Leave Without Doing This! The Soul, The Culture, The Passion Here Is Unreal!! Thank You For Opening Up Your Neighborhood To Me and My Dancers and Letting Us Feel Your soul!”
She said in other posts: “It’s so cool how we put this together with very little time. God Is so Good!! THANK YOU!!
“Wind Dem Hips, Drop It Low… Aye.. #Duro,
“Watching These Girls Dance Give Me Chills! It’s Not Just A Dance. It’s A Feeling. Wow! #Nigeria.”
This was just as the singer visited a school in Lagos on Monday wearing the local adire fabric.
As a young actress, she acted and danced on the world stage. Her art carved a niche for her. At 75, internationally-acclaimed thespian Taiwo Ajai-Lycett is still dancing. She celebrated her 75th birthday on February 3, with a book launch in Lagos. EVELYN OSAGIE writes.
Ageless beauty at 75
She was born for the spotlight. For decades, she dazzled the world with her talents. At 75, the elegant widely-acclaimed thespian Taiwo Ajai-Lycett exudes a show-stopping mien that typifies her ageless beauty and warmth.
Little wonder that her 75th birthday stirred up emotions when dignitaries, consisting of family members, friends and fans flocked to the prestigious MUSON Centre in Lagos to celebrate the “birthday girl”. The event was marked with the unveiling of her book titled: Just Sharing.
“It is not every day that you’d see a beautiful woman at 75,” began former top executive of Mobil, Mr Pat Okpuzor, who chaired the event. “So Sister TAL, congratulations. And you are combining it with a book launch. The way you know a good writer is the spontaneity with which the writer writes. I have read a thousand words from the book and I say TAL is a great and superlative writer. People don’t write book at 75, congratulations. That tells us that in you God has implanted something very unique. We pray that years from now, you would still be writing books and remain beautiful.”
At the event were her son, Mr Debo Adefolaju, and her elder brother, Mr Akintola Ajai, who turned 80, last month. Also there were Oba Gbenga Sonuga, represented by his wife, Olori Peju; former Ogun State Governor Aremo Segun Osoba; Chief Vincent Maduka; political economist, Prof Pat Utomi; Helen Ovbiagele; Executive Editor/Director, The NEWS/PM NEWS, Kunle Ajibade; Princess Folake Marcus-Bello; Francesca Emanuel; veteran actor, Dejumo Lewis and ace filmmaker, Tunde Kelani. Desanya Sax and TK Okobia entertained guests with musical performances.
Given her impeccable beauty at 75, guests dubbed her a variety of exotic names. Aremo Osoba described her as “elegant”. Utomi called her “a gift to the nation of such a time like this”. Olori Sonuga called an “inspiration”.
Others called her “Idi ileke”, the “famed beauty of Idi-Odo” to ageless beauty”, “elegant queen” and “face of African beauty”, the list was inexhaustive. The secret of her beauty, she said, lies in making oneself happy and dance against the odds. While emphasising the virtue of positive thinking, she urged them to dare to play their music.
“I am dancing through life. I am dancing to mine and the music is sweeter and sweeter with age. Life is a university. I am going from one class to another. And somebody asked me, “How I feel at being 75? How does a child feel? I am only just beginning. The best is yet to come,” the gaily dressed thespian said.
Indeed, if life is music, given her achievements, Ajai-Lycett could be said to be dancing beautifully to its tune. Her contributions to the arts, music and development of theatre in Nigeria, in Africa and in the world, guests said were worthy of note. They also exchanged notes on the virtues that have earned her a place with the stars, spotting determination, consistence and integrity as the bedrocks of her lifelong achievements.
Meet Ajai-Lycett
Born in 1941, the renowned actress, whose creativity and contributions to the creative art has earned her several awards, has performed in many leading theatres in the United Kingdom (UK) and stage appearances in Nigeria and on Nigerian national television, including J.P Clark’s Song of a Goat and Wole Soyinka’s Death and the King’s Horseman and The Lion and the Jewel; Fred Agbeyegbe’s The King Must Dance Naked; Arnold Weskers’ Shylock and Laolu Ogunniyi’s television series, Winds Against My Soul.
Her TV appearances include popular British sitcoms of the 1970s and comedy, such as For Better For Worse and Some Mothers Do Have ‘Em by Michael Crawford, who played Frank Spencer, which is on YouTube. Also, in the Hollywood film, A Warm December, she appeared alongside the iconic African American actor, Sidney Poitier.
Ajai-Lycett, who holds the Order of the Niger (OON), is a member of several professional bodies in Nigeria and abroad.
Her list of her achievements goes on. But Ajai-Lycett told guests, with humility that her feats are inspired by the support of family members, friends and fans.
She said: “You affirm me. Your presence here tells me that, perchance, I’m walking the right path. I’m not there yet, of course. You are helping me navigate this world, gloriously, tenderly, courageously, sometimes arrogantly. But that is because you gave me power to feel that I can be what I want to be. You me the focus you give me the joy. You make me dance. And I am dancing through life. And to me, this world is all about music. May your life be more musical; be more stable; happier full of joy. Thank you for coming here today and making my 75th birthday a dream.
“Mahatma Ghandi said: “The change begins with you”. We tend here to blame everything on the government or somebody else but we make our world. And it is our responsibility to make this country remain great because it is a blessed country. We can do better. It has got all the resources anybody needs to live a successful national life. I am 75. I am looking at what I am going to be doing and being when I am 80. I am beginning to work.”
Ajai-Lycett’s book on life
Her book, Just Sharing, which the reviewer, Ms Samantha Iwowo, called “a nourishing food for the soul”, is a compendium of 57 essays, containing her thoughts and ideas. Published by CGN Books, Ajai-Lycett’s book focuses on diverse issues, ranging from love, music, health, aging, fitness, beauty tips and dance, among others. In it, the thespian urges her reader to rise up to the challenges of life with a positive outlook to things.
Some dignitaries read excerpts from the book. The first was Mr Akin Fatunke, who read from the first essay, titled: Controlling your Body. In it, Ajai-Lycett advises folks to play, have fun, laugh and enjoy, urging them to “Find the playful inner child and allow it to come to the surface…”
Mrs Iretiola Doyle read from the piece that asserts that “gratitude is the best attitude”, while Mr Dele Atiba read on the piece on positive thinking.
The Publishing Consultant of CGN Books, Dr Omolola Omoteso said her company is out to celebrate Ajai-Lycett in diverse ways, saying she is a project that goes beyond the book’s unveiling. She said: “At a time when the country is going through a lot, her person spells wisdom, ethics, good process, beauty, national development. She is a bundle of beauty. I call her ‘Elegant Mama TAL’. At 75, a lot of people retired and long forgotten; to still be going at 75, is amazing. What inspires me to want to go all the way for mama is she is my mentor. She came into my life at a mentorship programme Aspiring Entrepreneurs programme by Fate Foundation. We cliqued and this was the genesis of the marriage of minds and a lifelong friendship. At the end of that programme, she threw a party for me. I have been touched greatly by her, so this is me giving back.
“Mrs Ajai-Lycett is beyond description, so much so that her son refers to her as deity. The TAL vision is not about rebranding her. She stands tall as a brand, worthy household name. to fully tap into this bundle of talent, we intend to celebrate this icon of inestimable value and her journey into the septuagenarian fame through the publishing of her works in book form, launching of the work and exhibition of photos and stories about her, Touch (a planned cruise where people who have been touched by her would have a an opportunity to step on stage with her), publishing of her biography, establishing of an office and museum to house her works and photos to serve as tourist spot, among others.”
All hail Ajai-Lycett at 75
Like Dr Omoteso, guests and family had kind words for the birthday girl. They also included Executive Director of iREP, Femi Odugbemi; founder of Omenka Gallery, Oliver Enwonwu; Founder, Terra Kulture, Mrs Bolanle Austen-Peters; Taiwo Odugbesan and Uche Obaseki of Radio One. Excerpts.
Aremo Osoba:
The celebrant of today, our own respected, beautiful and ever elegant, is very dear to my wife. She says is one lady who is not only the most beautiful but one living a good example that “black is beautiful”. She is a lady who has contributed so much to art, music and development of theatre, not only in Nigeria, in Africa and in the world. We are very proud of Ajai-Lycett. And as her senior brother, because I was 77 this year, I welcome her to the club of 75.
At 75, she is still looking so radiant and so young. We belong to a chat group and all the men there are struggling to be the boyfriends of Taiwo. At 75, you are still being chased; even abroad, people are still falling over each other. At the chat room we give ourselves all kinds of nicknames, such as Agrikpa I, Agrikpa II and Igrikpa I. and the day we met Ajai-Lycett, they couldn’t gripkpa her. I greet you warmly; I pray for longer life for her, in good health.
Olori Sonuga:
Aunty Taiwo is my paddy sister. She has been since 1979. She is an inspiration and I love her. The young ones should meet with her and discuss on what it means to be a better artiste. She is also so close to the Kabiyesi, my husband. We pray for her to live long.
Emanuel:
I admire her a lot. She is a trouper: when I want to congratulate you on your 75th birthday. I want to thank God for you and the contributions you are making to our society. From the excerpts, we have read today, that book is a must read book. I wish long life. She ever so graceful, caring and elegant. So I wasn’t surprise when Governor Osoba said she is still being chased.
Culture Specialist, United States Consulate, Bene Uche
May you continue to be an inspiration towards all.
Adefolaju (Ajai-Lycett’s son):
My secret is people not knowing I am mama’s son. I can be who I want to be without the spotlight. Ajai-Lycett telling us that there is a greatness in us, so we should appreciate ourselves more.
Ajai (Ajai-Lycett’s brother):
I have been privileged of having seen her from day Number One. From birth, everything about her had been dramatic. And I am delighted that all the rascalities she had in her earlier years have evolved to something worthwhile. Taiwo has always been very outspoken, very bold and very adventurous. She got into a number of troubles, especially during the days when Lagos was serviced, “waterwise”, by what they called “Idi Odo”, public taps. A number of children exercised their physical expertise at such junctures.
I am not saying she is one of them, but at the end of the day, I am particularly delighted, what she has evolved into what has given pleasure to many people. On behalf of the Ajai family, we thank everybody for having given her all the support. She is 75, I congratulate her.
The Supreme Court ruling validating Governor Chekwas Okorocha’s election was not only his to savour. Residents also took to the streets to celebrate. OKODILI NDIDI reports
The entire state erupted into jubilation shortly after the news of Governor Rochas Okorocha’s Supreme Court victory filtered in. Women, youths, politicians and clergymen alike, took to the street, singing and dancing.
The reason for the wild jubilation may not be unconnected to the suspense that had trailed the suit brought against the state Governor’s victory by the People’s Democratic Party’s (PDP) candidate, Chief Emeka Ihedioha.
Right from the moment the petition was filed at the Governorship Election Petition Tribunal, sitting in Owerri, the Imo State capital, PDP supporters had openly told whoever cared to listen that the governor’s victory will only last for as long as it takes the Tribunal to give its ruling.
But after the Tribunal and the Appeal Court threw out the petition on technical grounds, the battle ground was shifted to the Supreme Court, where it was to be decided if the petition will be returned to the Tribunal for hearing, thus the Governor’s supporters waited with berthed breath for the judgment.
Leading the jubilant women on the victory dance, Mrs. Gertrude Oduka said that the Supreme Court judgment has affirmed the people’s mandate and put to rest the distractions the PDP’s petition had caused the state government and the entire people of the state.
She noted that the people voted massively for the governor in the last election because of his unprecedented achievements, adding that the women are now relaxed and optimistic that with the “petition now laid to rest,” the governor will concentrate on his Rescue Mission Agenda for the state.
Mrs. Oduka who is also the Chairman of the Imo State Universal Basic Education Board (IMSUBEB), said that the large turnout of women and youths who gathered to celebrate the Supreme Court judgment was an indication that it affirmed the people’s mandate.
Meanwhile the governor acknowledged Court judgement with gladness.
A statement signed by the governor’s Chief Press Secretary Sam Onwuemeodo said, “With this remarkable judgment of the Supreme Court, Chief Ihedioha had exhausted all his legal entitlements with regard to the 2015 gubernatorial election. And since he was the only governorship candidate who challenged Governor Okorocha’s victory at the Court, and with the Supreme Court judgment, the legal chapter of the 2015 governorship poll in the state has been finally closed and for better too.
“The Rescue Mission government in the state has highly commended the Supreme Court for respecting and endorsing the electoral and civic rights of Imo people to choose who would govern them. We have always held the judiciary in high esteem and shall continue to do so because that arm of government has continued to earn the confidence of Imo people.
“And for Chief Ihedioha, we would only advise him and his PDP supporters to now give peace a chance in the state. Time has come for them to drop the toga of war which they had put on since the 2015 election and all through the time they were in court against Governor Okorocha.
“It is on record that when the election petition tribunal that sat in Owerri gave its judgment dismissing the petition of Chief Ihedioha against the victory of governor Okorocha, we pleaded with him with every sense of responsibility to allow the matter end at that level and to join hands with Governor Okorocha to work for the progress of the state and her people. But that passionate appeal was neither acknowledged nor heeded to.”
The statement continued: “Again when Chief Ihedioha proceeded to the Court of Appeal in absolute disregard of our earlier entreaty to allow the sleeping dog lie and at the end of the day, the Court of Appeal also threw away his case by upholding the judgment of the election petition tribunal, we equally pleaded with him again to stop the matter at that stage in the interest of the state and her people. He also did not consider that candid appeal, and went to the Supreme Court.
“Now, having lost at the Supreme Court, we would only call on him to give peace a chance and advise his PDP supporters who have continued to threaten the peace of the state with their actions and utterances to also know that the matter is over, and they should now decide to be partners in progress.
“The governor thanks Imo people for all their support and prayers that had seen him victorious from the tribunal to the Supreme Court. The governor, as a matter of fact, would remain thankful to God almighty and to Imo people in general”.
Reacting to the judgment, Ihedioha, said, “Today the apex Court of our nation’s judicial system, the Supreme Court of Nigeria delivered judgement striking out my legal challenge of the declaration of His Excellency, Chief Ethelbert Anayo Okorocha OON, as Governor elect by the INEC following the 2015 Governorship election in our dear Imo State.
“Having been privileged to preside over an arm of our national legislature and being a firm believer in the trinity of the arms of our democratic governance and constitutionalism, I accept the outcome of the matter and restate that the contest which was never personal is now over.
“I must reiterate that although the factual complaints we made over the irregularities that bedevilled the governorship election were never heard or determined on the merits by any level of the Court’s hierarchy, our matter was struck out on technical grounds, I hold no grudges”.
He continued that, “I consequently express my heartfelt appreciation to the teeming Imo citizens who supported our project and desire to “rebuild Imo together” Let us all be reassured that by the grace of Almighty God in whichever circumstance or capacity, I remain committed to putting our dear Imo State first and contributing my quota to achieving the hope of an Imo State of our collective dream.
“I wish therefore to thank the leadership, membership of our great party, the PDP and her teeming supporters in the state for their continued support and prayers especially those unsung heroes of our team who toiled day and night while promoting our vision and candidacy.
“Finally, I wish Governor Okorocha well, while urging him to take into account the apparently dwindling fortunes of Imo State and the avoidable economic hardship confronting our people under his watch.”
Sani Abu is a Canada-based Nigerian professional dancer. He runs a professional dance company, Ijo Vudu African Dance Company. He does not only perform African dances, he also teaches African dance through the concept he created, Afro-robic. He speaks with OKORIE UGURU and BANWO FAGBEMI about his experience as a dancer in America trying to carve a niche for himself, the challenges of trying to build a career as a dancer.
Which part of Nigeria are you from?
My dad is from Niger State while my mum is from Edo; Agenebode, to be specific.
That makes you Gwari or Nupe…
I am Nupe. But we were all born in Benin City. I grew up in Lagos before I left the country with a dance company from Benin. My mum used to be a talking drummer. It is something passed from generation to generation. That was how I ventured into arts in Benin. When I was young, I always went to shows with my mum.
How was life in Benin before you left the country?
I grew up with a single mum. I think when I was seven years, my parents got divorced, but the vision was there.
How do you mean?
The goal of what I wanted to do; because my mum was somebody in the arts. It was like all the time I was always with her. That was how it really started.
What kind of performance was your mum into and where was she performing?
If there was any family gathering, if they had a wedding ceremony and mostly things like annual general meetings and local meetings from the villages, we were there. So, I was the only son and I had four elder sisters. I was like mummy’s boy. I would always go with her. From time to time, I had wooden percussion that I played, also maracas and the gong.
Did she force you to do it?
No, my mum never forced me to do it. It was something I went into. Even my son is gradually toeing the line. It is just like when I go on shows and my son goes with me and wants to play a particular instrument. That was how it started. She never forced me into it.
You are a child of two cultures: North and South South. How was growing up in Benin?
Benin was the only place we knew very well at that time because my dad stayed in Benin. That was where he got married to my mum. All their kids were born there. So, Benin was more of our home. Any time we went to the North, it was just for holidays, and it was not often. I did my nursery/primary before I left to Lagos.
How was the cultural scene then?
Well, at that time, it wasn’t as serious as this. What I mean by serious is that it wasn’t talked about like people do now. Now you can use it to make money a lot. At that time, it was, maybe, a particular cultural troupe from here, mostly schools.
At what point did you decide to go out from Nigeria?
When I left Benin to come to Lagos…
Was there any reason for leaving?
My uncle wanted me to come and stay with him in the military barracks. When he graduated from the Nigerian Defence Academy, he relocated to Lagos and he wanted somebody to stay with. My mum trained him. It was like it was time to help me. That was how I came to Lagos. We lived at the Ikeja Military Cantonment.
So, at what point did the dance thing start?
That was when I was in Junior Secondary School. I was always a class prefect when I was growing up. When I got into JSS 1, there was a debating society and a cultural club; I joined because I had the passion. I started attending the rehearsals. When I got to Senior Secondary School, I started performing outside. At that time, I was going more to the National Theatre because a couple auditioned would come to schools to look for young talents, dancers. By then I started going outside, doing a lot of school shows.
You had a couple of auditions at the National Theatre. Who were were your mates then?
The guy that owns Ijodee Dance Company, the guy in Olori Oko video, Dayo, we started together. So, a couple of those big guys, that was where they started. Our first dance company outside…like a big dance companies then, there was one called Sunny Wonder Cultural Dance Group. Their base was at Oshodi, close to Bolade. That was where we started and I was going to school at the military cantonment.
abu
Some of these your colleagues, are they still in the dance business?
You see this dance thing, just like when I say there is a lot of money in it, at that time, people got a lot of discouragement. Some parents would discourage their children, telling them you have to go and read to be a lawyer and so on.
How about now, do you still have contemporaries around?
Some people left dance and went into acting…
Like?
There is a guy called Chidi Nwosu who is directing. About 75 per cent of them are not in the country. A lot of them are in Europe.
How do you manage the freedom of being an artist vis-a-vis the regimental life you were supposed to live in the barracks then? Did your uncle understand?
No, never. It was tough, very tough. A lot of the time, I slept outside because I was kicked out of the house.
Because you went for a rehearsal?
Yes. Many times, I got abused.
Was there actually something your uncle wanted you to be?
Not really. He just didn’t want to hear that dance thing. The only reason I am still standing is my mum. She never one day said oh, don’t dance, or why did you want to dance?
Was it because she was an artiste?
Yes.
At what point did you start making money from dance here in Nigeria?
I think way before I travelled out. When I left Lagos, I went back to Benin. I had finished my school and everything.
You refused to proceed to the university?
I was in the University of Benin, Theatre Arts Department. I was supposed to be there for four years, but I left when I was in year two.
So, why did you decide to leave Nigeria? Was it because you believed that there were no opportunities?
No. When I left Lagos for Benin to be with my mum, being somebody from Lagos who knew a lot about dance in Benin, it was like I was a hot cake; everybody wanted to use me. There was a guy in my school who introduced me to a dance company in Benin called Uyi-Edo. It was a local dance company, one of the best then in 1990. So, I joined them. We were doing a lot of shows. It was not only the money that started coming in, being somebody from Lagos with exposure, I became one of the dance captains. I was involved in training and teaching new styles, new choreography and creating new dance steps. The company was like a national dance company that did dances from all parts of the country, not just Edo dance. That made them more popular in Benin.
They performed for the big guys in Benin, like the Oba. That was where money started coming in. Then I had an opportunity to travel to the United States of America. I was one out of a 16-member crew. When we got there, the person who sponsored the company wanted us to work for him there, promoting his group, Afrique Trading Company. We were there doing these dances.
How popular was it? And your target, was it Africans in the Diaspora or what?
For that company, it was like more of the Africo-Carribeans. After two years with that company in the U.S., I left them in Dallas, Texas to Los Angeles, California. From there, I went to New Jersey…it was when I left the company for New Jersey that I started dancing with other American dance companies. It was not that I left the company for good. When there is a big show, everybody is called from wherever they are, up till this day. It was when I left the company that I started other dances with American company, doing more of outside Nigerian or African culture. I was learning more of western culture from them, they were learning more of West African traditional culture from me. So, that was how it was.
One would have thought that having crossed to America, you would think of doing something ‘more concrete’ than dance. Also what is your concept of the dance in the U.S. and what made you decide that you wanted to concentrate on African dance?
I see the demand for African culture because that was one of the reasons I left the U.S. for Canada. First of all, I started teaching African dance as a fitness routine-Africa-robic. I am strictly traditional. That is why I am very different from them, and they need that. They like something new. That was one of my biggest advantages. We did a lot of tours. I think I was performing with about five different companies. There is Brighton Ballet, there is Zawadi Dance, which is more African. The Brighton is more of classical ballet. There is Michael Mao, a Chinese dance company. There is also Seventh Principle, an African-American dance company, plus other private dance companies that would just call you to do a one man or be a guest artiste. That was how I got into it.
It was in the year 2000 I started my own company called Ijo Vudu African Dance Company. In 2005, I had the opportunity to work with the Canadian Board of Education, teaching African culture. I didn’t want to go at that time because I didn’t know anybody there. It was a new country. I took the chance and went, I liked it and stayed.
You really didn’t have much there in terms of dance. The only thing you have is a lot Caribbean dance. So, I said let me take this chance. That 2005, I got to Toronto in March. That year, by December, I had made a lot of contacts, especially with the festivals here and there. I would just go and dance and they would see the difference. That was how I got a lot of help to start my own dance company. They would ask, ‘Are you new? Welcome!’ All these questions. That was how I got a lot of help to start my own dance company. I got a lot things for free, like do my website for me free of charge. I would teach you how to dance; you be my writer, I will teach you how to dance; you be my photographer and I will teach you how to dance. That was how I started.
A kind of trade by barter?
Yes.
How do you conceptualise the dances, be it Afro-robic or others?
For me, once I know this is what I want to do, I mean I am now more professional. You know in North America, there are a lot of obese people and they just want to have fun. When you ask them to come and pay for dance class, they don’t want to do that. So, I created the dance concept. It is a way of having a good time, and a way of exercise and also learning the traditional culture. All they want do is having a good time.
So, your concept is like three in one fun, exercise and learning about African culture?
Yes.
How easy is it for an African going to America to make a living through dance?
You have to believe in yourself. You have to know what you want, because a lot of Nigerians, I don’t want to talk about other African countries, are there just wasting away in terms of either they can’t come back home, or if they come back home, what are they going to do? Some are there without their stay permit. Some people went there just to play. In America, it is very easy to get swallowed. Everything you want is there. Even the ones that you don’t want are there. So, it is very easy to get carried away because everything you want is around you.
In the light of coming from a broken home, a very strong-willed uncle that did not see your vision and where you were going, how did you manage to remain focused to carve out a pathway for yourself?
Honestly, I really don’t know how that happened, because people think that because of all that I have gone through, I am supposed to be a tough person. In a way, I am happy now that these things happened because they kind of sharpened me up… But after all that, it was like ‘thank you Lord for keeping him.’ He can now see what I have become. When he knew that I was out of the country, I called him, and up till this time, he is happy. He is seeing the other side of me now. I am glad that I did not harbour hatred. I did not use it to disturb somebody else. I am a very simple person.
Until recently, in Nigeria, we never saw dance as a profession. How do you think Nigerians should see professional dancers or dancing?
I think it has to start from people liking their culture, people accepting who they are. Like before Christianity came into the country, what did we do? We have to start embracing travelling out of the country; it makes us distinct. So, we have to start first of all embracing our culture, then start to put money into it. There are lots of dance programmes in the universities and maybe 50 per cent of those who go into it do it because they don’t have any other choice. Maybe because they just want to be in the university.
In general, I think the government should try to pump in money because there is a lot of money to be made from it in the Western world. I will give you an example: during President Sekou Toure’s era, one of the African dance troupes that is known all over the world was Guinea. Guinea is one of the poorest countries in the world but one of the richest in terms of culture. During the Sekou Toure era, wherever he went to in the world, the dance company always went with him at that time. That was one out of many ways that the country’s culture exploded. A lot foreigners from North America and Europe travelled to Guinea just to learn drumming or dancing. That is one of their sources of income.
So, when I started doing a lot of other African dances, I never did Nigerian dance because they didn’t know that. They were not interested. What I did was that I learnt a lot of Guinean dances. I travelled to Guinea and learnt from traditional dance teachers, came to the United States and learnt, and then started teaching those styles to get my audience. So now, there is too much Guinea. I am slowly introducing Nigerian dances, Ghanaian dances, dances that are not common.
With the more than 300 ethnic groups in Nigeria, how can you create the Nigerian dance?
First, the dances are there already. The real steps are there; you can’t change it, then create the choreography and infuse a little modern technique to make it enjoyable. It also depends on the audience. But for me, I do more of the traditional, high energy type, because when you look at Guinean dances, they are more on the highest level, and 85 per cent of North Americans or Europeans who studied African dance are more on that. So, as a Nigerian, I have to teach a dance on that level or above.
Do the exploits of Nigerian musicians help in creating awareness for you among your audience?
It is the other way round. A lot of Nigerians there are not really into this. My targets are non-Nigerians, Carribbeans, African-Americans, Caucasians and Asians.
What is your advice for young Nigerians who may wish to take dance as a profession?
They have to believe in themselves. You know, people will always talk. They will always want to pull you down. I found out that a lot of Nigerians like to do what people say, not what they want to do. Maybe this generation is changing. They have to believe in themselves. They have to say yes, I can; yes, I want to do it. It doesn’t come sweet all the time. In riches and poverty, you have to be there. You have to make an impact. You have to make a difference. You have to let people know why they have to come and watch you. You have to put your story together for me to say okay, I will sit down and watch you. I have some dancers here. I have a company here in Nigeria. So, they are the same full-time dancers and I support them a lot.
Are you married?
Yes, I am. I am married to a Nigerian and I have two boys.
Is your wife a dancer too?
No, she is not.
How did you meet her?
Well, I met her in Benin. I initially told my mum to look for a good woman for me. I had a lot of girlfriends in the US, but those ones were on the side. So, I went home and met her. We dated and I liked her. I said to her: ‘Listen, dance is my first wife…
You told your wife to be that she would be the second wife?
Yes.
And what did she say?
I told her to go think about it. She is in full support. She sometimes does the make-up. I got married since 2007.
You have a programme called FESTACC. Are you trying to bring back FESTAC?
Well, I would say yes I am, and the reason the other ‘C’ is there is to add the Caribbean to it. The other FESTAC will be celebrating the 40th year in 2017. Next year, we will be having a Caribbean tour. So, this year, I am bringing a FESTACC international dance conference in Ibadan. That is from November 29 to December 6. It is a one-week programme. A couple of people will be coming from the US., Canada, Côte d’Ivoire, Guinea, Mali, and Burkina Faso. These are dance teachers coming to Nigeria to teach traditional dance to people who will be coming from other parts of the world. Then next year, I will now select people to do FESTACC dance in Caribbean tours, hopefully to Jamaica, Trinidad and Tobago, Guyana, Haiti, Cuba and Barbados. That will be next year.
In 2017, I will want to involve the government. The countries that we went to, next year, we will all be inviting them for FESTACC.
IT was a day for ladies to shine as the Gol sponsored Dance with Peter audition visited Port Harcourt recently.
The ladies came out stronger in the Garden City, proving that they could do better what the men could, even as their effort was applauded by one of the judges, Dance star, Kaffy.
The Port Harcourt audition, the last in a series of auditions, saw the contestants from Lagos performed brilliantly and were the first to be cleared to go into the next round of the competition by the judges.
The audition also featured a group of talented dancers who believed that dancing at the audition served as the ticket to get their families out of poverty.
Tunde Olaleye of Expression, said the poor conditions of their individual families made them come together to earn a living through dancing.
“I am from a very humble background. My parents are from Osun State, but are in Port Harcourt to hustle and we also need to put in our own efforts to ensure that we are alive and well,” he said.
Olaleye said the group was determined to focus on dance as a means of surviving with their families, adding that members of the group performed at private and public functions and sustained themselves and their families with whatever they received as payments, while they do menial jobs as well to add to their income.
With the Port Harcourt auditions over, the stage is now set for 30 contestants from the five auditions who will assemble in Lagos where they will slug it out for the star prize of N3million, a Rav4 SUV and a rare opportunity to feature in PSquare’s next music video. Other prizes to be won are a Honda City plus two million naira as well as a Kia Rio with one million naira for the first and second runners-up respectively. The first and second runners up will also have the grace to dance with a Glo ambassador each in their next music videos.
Winners of the Sprite-sponsored 2015 edition of the Battle of the Year (BOTY) dance contest, Space Unlimited, will be representing Nigeria at the International BOTY World Finals in Braunshwieg, Germany, later this year.
The Lagos-based B-Boy Crew emerged winner last weekend during the contest which held at the Indoor Sports Hall of the University of Lagos Sports Center, ýAkoka, Lagos.
The three-time winners who had consecutively won the 2011, 2012, and 2013 editions defeated defending champions, 619 Crew in a keenly contested show of Break Dance skills and artistry to clinch the number one spot..
Speaking at the event, Senior Brand Manager, Flavours, Coca-Cola Nigeria Limited, Toyin Nnodi expressed delight at the number of highly talented youths who participated in this year’s contest, saying; “What we have seen at this year’s competition clearly attests to the fact that there are many youths in Nigeria with amazing talent. Sprite’s commitment is to be the spark that fuels the passions of Nigerian Youths, and we are happy to have brought this to life at this year’s edition of the BOTY event.”
Of the 13 Crews who participated in this year’s edition of the contest, four crews made it to the semi-final round – 619, Floorworkz, Space Unlimited and Squad One. The keenly contested semi-finals saw Space Unlimited and 619 progress to the Finale where Space Unlimited emerged as the judges’ favourites for this year’s competition.
Excited about their win and the upcoming trip to Germany, the members of Space Unlimited crew thanked Sprite and the organizers of the event, House of Royalty, for the opportunity to represent Nigeria at the international competition.
Speaking on behalf of the crew, Vikbone said; “We are grateful for this amazing opportunity once more to represent Nigeria at the International BOTY World Finals in Germany. This time we promise to bring home the crown.”
The competition which held between 22nd and 23rd of August kicked off with the individual competitions in the Locking, Popping, Krumping and B-boy one-on-one battle categories. 24-year old Michael Obi and Victor Amanjo emerged winners of the Locking and Popping categories respectively, while 16-year old Bolu Ewedemi and Adesanya Bolaji came tops in the Krumping and B-Boy One-on-One categories, respectively.
The event also featured guest performances from budding talents, Mz Kiss, Zyno Spice, Hof and C-Boy who entertained the audience in between the dance competition rounds. Vector Tha Viper, star performance of the event got the audience on their feet, rocking and singing along to his well-known lyrics.
The judges for the event were A-list dancers, B-Boy Red 1 of Pockemon Crew in France, B-Boy Poxy from Cameroon, B-Boy Boon from Texas, USA, Franc Okwara and B-Boy Maxbuck. DJ Mekzy and DJ OZ were on the wheels of steel to provide the beats for the event.
There has been much buzz about the planned Dance with Peter reality show, and as audition is scheduled to begin on August 28, in the Federal Capital Territory, there is no doubt that skilled dancers and fans of Peter Okoye, one-half of the PSquare group in whose name the show is patterned, will storm the venue en masse.
Touted as the Africa’s hottest dance Reality TV show, Dance with Peter is packaged by Peter, and sponsored by telecommunication company, Globacom.
The Abuja audition is scheduled to hold at the Shehu Musa Yar’adua Centre, Central Business District. The second leg of the auditions, according to organizers, will take place in Accra, Ghana, at the National Theatre, South Liberia Road, on Tuesday, September 1.
“This will be followed by Benin, Edo State, on Friday, September 4, at the Oba Akenzua Cultural Center, Airport Road, Benin City. Lagos is next in line on for the audition on Tuesday, September 8, at Bamako Studios, 1 Bamako Street, Ojodu, Lagos.
“The final audition for “Dance with Peter” will be held in Port Harcourt on Thursday, September 10, where prospective dancers in the show will be auditioned at the Atrium Event Centre, Stadium Road,” Globacom said in a statement.
According to the company, “those who want to participate in the show can register by sending ‘DANCE’ to the short code 55517 in Nigeria and 3030 in Ghana through their Glo lines.”
It adds that “Registration costs N100 for Nigeria and 0.5GHc for Ghana. “Once they send the SMS to the short code, they will then be requested to send their details such as Name and Location at no extra charge. All successful registrations will get a confirmatory SMS with instructions on what to do next.”
The show promises a mouth-watering prize of brand new Toyota RAV 4 with N3million for the best dancer, including the rare opportunity of featuring in P-Square’s next music video.
Organisers say the first and second runners-up will receive a brand new Honda Civic car, N2million and a brand new Kia Rio car with N1million respectively. They too will have the chance to feature in a top Glo Ambassador’s music videos.
Supporting Peter on the show are dance experts such as Peter, Kaffy and Flex who will feature in the show as judges, while Ehis Okoegule of MTV Base will be the host.
