The Nation Newspaper

Tag: Funmilayo

  • Funmilayo Ransome-Kuti rekindles fight for justice, equality

    Funmilayo Ransome-Kuti rekindles fight for justice, equality

    • BAP eyes Oscar award

    Frontline activist Funmilayo Ransome-Kuti aka Lioness of Lishabi, who died in April 1978 following the invasion of Kalakuta Republic by unknown soldiers, is being honoured with a biopic by Bolanle Austen-Peters Productions (BAP). The film, Funmilayo Ransome-Kuti, was screened last week to a select audience at Terra Kulture Arena, Lagos, Assistant Editor (Arts) OZOLUA UHAKHEME reports.

    For over an hour, guests at the 400-sitter Terra Kulture Arena on Victoria Island, Lagos last Tuesday night were treated to another cinematic masterpiece Funmilayo Ransome-Kuti, a biographical film that pays tribute to one of the most influential figures in African history. Directed by Bolanle Austen-Peters, Bolanle Austen-Peters Productions (BAP), as follow up to her films such as The Bling Lagosians, Collision Course and Man of God, the film takes the viewers on an epic journey through the life and times of Funmilayo Ransome-Kuti, a woman who defied the odds and challenged the status quo in her quest for freedom, equality, and dignity.

    Funmilayo, who was nicknamed Lioness of Lisabi for her outstanding role in leading the 1948 tax revolt by the Egba women against the burden of income tax, was not only an activist, but also an educator, a philanthropist, and a mother, whose legacy lives on in her children and grandchildren, especially the renowned Afrobeat pioneer Fela Kuti. In fact, the film is a stunning portrayal of Funmilayo’s courage, vision, and impact that will captivate and inspire everyone who watches the film.

    The film follows the story of Fela’s mother, Funmilayo Ransome-Kuti, from her pioneering days as the first female student at Abeokuta Grammar School to her marriage to Israel Oludotun Ransome-Kuti. Together with her husband, they challenged oppression and created the Abeokuta Women’s Union, igniting a fierce battle against colonial and traditional rulers who stood in the way if fairness and justice.

    As a throwback, the film opens with a scene showing the ignoble unknown soldiers invading Fela’s home at Kalakuta Republic resulting in his 77-year-old mother, Funmilayo being thrown from a two-storey building. From that moment, the attention of the audience got captured, especially the Gen Zs, a refreshing opportunity for them. The narrative of the life and times of Funmilayo were now being told by Joke Silva who acted Funmilayo, while fielding questions from Reuters News reporter, Isabelle.  Indeed, the narrative artfully contrasts Funmilayo’s tireless activism with her delicate balancing act as a wife and mother, revealing the indomitable spirit of a woman who changed the course of history.”I was known as Frances Thomas, but changed to my Yoruba name Olufunmilayo instead as a protest against colonialism. I learnt to soak up the oil, not just the stew,’ she admitted of her doggedness.

    From her encounter with the District Officer (DO) over the tax imposed on market women, to physical challenges she had with the Parakoyi, the Alake Palace security or dogs, and the mobilization of the women into pressure group like Abeokuta Ladies Club, which later transformed into Abeokuta Women Union, in order to connect the market women, Funmilayo demonstrates rare commitment to the course of women in Abeokuta.

    She charges the women to be resolute in the protest against the income tax imposed by Oba Oladapo Ademola (Adebayo Salami (Oga Bello), the Alake of Egba then. “They said we should pay for water….It is fine for us to up the ante. It is a journey,” she said, while mobilized the women to Alaka Palace, where she gave the traditional ruler three conditions that will make the women put an end to the protest: stop the taxation of market women, stop the 10 percent increase in taxation and reverse the salaries of the Parakoyis, palace security.

    All through the film, the cast features groundbreaking performances from Joke Silva, Kehinde Bankole, Ibrahim Suleiman, Jide Kosoko, Dele Odule, Adebayo Salami, Keppy Ekpeyong, Adunni Ade, Omowunmi Dada, Patrick Diabuah among others.

    Read Also: Atiku, Obi file 86 grounds at Supreme Court

    Austen-Peters, the driving force behind the film, expressed her enthusiasm on where the film might be headed, stating, “Submitting Funmilayo Ransome-Kuti for the consideration of Nigeria Official Screening Committee (NOSC) towards 96th Academy Awards next year is a humbling and exhilarating experience. Our team poured heart and soul into this project, and this submission is a testament to their unwavering dedication.” BAP Productions, known for its commitment to cinematic excellence, views this submission to NOSC as a significant milestone in its history. Funmilayo Ransome-Kuti emerges as one critical contribution to the important conversations people are having now around women, identity and the constant push for equality.

    On the choice of Funmilayo for the film, she said: “As a woman, obviously, she’s one of the strongest women that you can point to in Nigeria’s history. She has done exceptional things that all leaders are proud of. As a visionary leader, she singlehandedly mobilised market women and the elite of Abeokuta to change the laws that affected women adversely, taxation laws. In doing this, it was at great cost to herself, her family, etc. But, she went for it. So, I would like to say this was exemplary, and for a woman who was also an educator, a mother, a wife, she had everything going on. For me, there’s no better person that we could have said we wanted to tell a bio about. Funmilayo is that person.”

    Bolanle Austen-Peters noted that Funmilayo mobilised thousands of women in Abeokuta in an age where there was no internet. “How did she do it? How did she have that muscle? How did she have that conviction to go against the colonial government and traditional rulers? It’s phenomenal,” she added.

    The film, she said, is to express that ‘we have strong women in Nigeria, and this is something that we want to showcase to the world that our women are strong in our nation. So, we are telling the world that we have strong women in Africa, and we know we do. Women who can challenge the status quo and who have the belief in a cause.’

    Also, the film is a reminder of the strength of women in the nation’s socio-political life, and a relief to many as it brings that part of our history back to people’s consciousness.

    Bolanle Austen-Peters disclosed that the film, which has been acquired by Amazon Prime, is yet to be premiered adding that it is no longer hers. But, noted that she will inform the public the date of its premiere as soon as Amazon Prime confirms the date. 

    Funmilayo Ransome-Kuti was on screen at Silverbird Cinemas, Victoria Island, Lagos last week, and has been described as a must-watch for all.  It is not merely a biopic but a call to action, encouraging viewers to reflect on the past and consider how they can contribute to a more equitable future.

    As Funmilayo Ransome-Kuti continues to captivate audiences and generate discussions, it is clear that the film is more than just a cinematic experience; it is a testament to the enduring power of storytelling and the indomitable spirit of a remarkable woman. It is also a reminder of the age long oppression of Africans by the colonial administration, which equally got the knock through the Aba Women Riot in 1929.

    This extraordinary biopic serves as a tribute to Funmilayo Ransome-Kuti’s legacy, reminding us all that the fight for justice and equality is a journey that we must each undertake, inspired by the lessons of the past.

    In a world where stories of resilience and empowerment are needed more than ever, Funmilayo Ransome-Kuti stands as a beacon of hope and a testament to the enduring power of the human spirit.

    Ace filmmaker and story teller, Femi Odugbemi said of the film: “In the end, this film will be historically significant not because of how well it represents the past but how powerfully it inspires our future. Because Funmilayo Ransome-Kuti is a love story, a story of self-discovery, self-assertion. It is also a hero’s tale inspiring in us the courage to speak truth to power and the commitment to a cause bigger than self. FUNMILAYO is also an important idea. Change is possible when we choose to act. An idea that the only ceiling to leave unbroken is the sky and that environmental, cultural and political bias only calls to the warrior within us to stand. FUNMILAYO is simply a profound and provocative cinematic experience. And by all measure an artistic success.” 

  • Nigeria: struggling to make culture a new treasure trove

    Nigeria: struggling to make culture a new treasure trove

    • struggling to make culture a new treasure trove

    It is going into the second year that the popular Artists’ Village, located some few metres away from the iconic National Theatre, Iganmu, in Lagos, Nigeria’s economic capital, was demolished by a raging bulldozer.

    This brings to many minds the invasion of the residence of the late Fela Anikulapo-Kuti, the country’s biggest musical export and inventor of Afrobeat. In the seventies, Fela’s house named Kalakuta Republic was invaded by unknown soldiers and many of his female singers were beaten and raped while the musician’s mother, Funmilayo, a stormy petrel was thrown down from the upper floor of the house. She survived the fall but never recovered from it and died some months later.

    The famous Artists’ Village was like a commune of artistes from various walks of life who have made the place their homes, workshops, studios and all. They found the place to be conducive and good to foster their creativities and make them bloom. They have been there so long that many of them consider the place as their second home and since their presence does not pose any threat to anyone, at least by their own estimation, they never thought it could one day be a subject of controversy.

    The area occupied by them is situated away from the iconic National Theatre which was itself built in the 70s when Nigeria hosted the Black world during the Festival of Arts and Culture (FESTAC), which was then considered as the world’s biggest cultural assemblage of black people which exhibited its arts and culture to the world.

    A world for artistes


    By its very nature the Artists’ Village was a vast self-creation by most of the artistes who animated the vast complex. The commune is made up of various tribes of artistes: musicians, instrumentalists, dramatists, visual artists, poets, playwrights, writers and other bohemian artists who find their muses there. They said they are tenants of the National Council of Arts and Culture (NCAC).

    But the idyllic world of an artistes’ commune was broken in the evening of January 22nd, 2016. It was approaching the end of the day and a few of the artistes who felt they had done enough for the day decided to leave and go home to have a well deserved rest for the day. One of the artists who had made the village a home and office was Owie Smart,38, a sculptor who was working frantically day and night and round the clock to meet with a scheduled exhibition in Abuja.

    Around six in the evening of that day his smartphone rang. It was a friend who was close to the authority of the National Theatre. According to the caller, the authorities had decided to move against all those it considered as illegal occupants of the artistes’ commune in the early hours of the next day.

    This, to Smart, was strange. As tenants to the National Council of Arts and Culture (NCAC), a parastatal of the federal government of Nigeria to which they had been paying rents, it seems absurd to be declared as illegal occupants of the facility. He concluded that it was impossible for his studio and others to be demolished.

    However, the status of the Artists’ Village has been long standing even under the previous administration and the then parliament had prevailed on the government not to tamper with the place until thorough investigation was carried out. This held until the government of former President Goodluck Jonathan was voted out in 2015.

    On January 23, 2016, at dawn, a caterpillar moved in and the pulling down of the village began in earnest. Painter Mufu Onifade and others around begged the manager of the National Theater who was in charge of the demolition to hold on so the artists could salvage some of their belongings and artworks.

    It was in the course of that day that what could have terminated the life of Smart happened. During a confrontation between the artists and the armed uniformed men who had accompanied those demolishing the structures, things got out of hand. The police fired in the direction of the artists and one of the gun shots lodged in Smart’s leg.

    Working like orphans
    The fate that befell Smart is illustrative of what happens in Nigeria to artists. It is a well known fact that artists in the country are not well valued or regarded until they get recognition or endorsement abroad.

    This is why many wonder if the country is serious at all about its search for a new treasure trove in its arts, of which it is rich in, abroad. Nollywood, Nigeria’s film industry is reputed to be the third largest in the world. All this was achieved without government support. The same goes for its literature, music, visual arts and others.

    It is perhaps not an exaggeration to say that Nigerian artists, no matter in whichever genre they are involved –music, visual arts, theatre, movie making etc- are like orphans; they work without any form of assistance from government. For instance, a film maker has to provide power, transport, camera, studio and all other appurtenances need to produce films.

    Shedding light on why he thinks artists don’t get support from the ministry or government, Samuel Osaze of Arterial Network, a non-governmental organisation, which works with artistes to promote arts and culture was not surprised at what is happening because “Budget to our (arts) sector is the least in the national budget. In fact, when the new administration came into power, culture was not even remembered.”

    The new oil


    The art sector is always treated as non-existent. However, with the new reality of the country’s biggest export –oil – running low and many countries looking for alternative to fossil fuel, the government is turning its attention to arts and culture to get foreign exchange since the country’s artistes are getting all the rave reviews needed abroad.

    Culture is primed to become Nigeria’s next oil. The government has labeled the cultural sector ‘potentially the biggest source of economical growth’ and accords it preferred status.

    Although culture has now officially become a priority, its ministry has to make due with limited funds, or ‘mere tokenism’ as the minister of culture Lai Mohammed called his budget. The yearly funding is around N40 billion.

    Plagued with problems such as terrorist group Boko Haram, famine and widespread illiteracy, the country spends most of its money on safety, internal affairs and education. But as a result, the ministry of culture barely has enough money to maintain its buildings, let alone realize the administrations’ ambitious plans.

    Osaze says the sector has been working with an old policy document from 1998 which artists have been asking for it to be reviewed without success. He adds, “There’s no political will to change the policy of the sector for the better.” He laments that a country like Nigeria has no adequate Cultural Policy adding that this was not due to lack of capacity but because the bureaucracy of government has been frustrating the process.

    His conclusion is that it is only the private sector that can galvanise the policy to make it work for the sector because it must be looked at first as important.
    Ganiu Ayodele, Osaze’s colleague at Arterial Network agrees that what obtains in the sector is paradoxical. “Creators don’t get the support they need. Even so, our artistic production is much larger and more sophisticated than that of most other African countries.”

    He agrees that most artists in Nigeria have strong will and they do things by themselves without looking back. He adds, “We have a lot of die-hard practitioners who are very entrepreneurial.”

    One of Nigeria’s biggest private art collectors, Dr. Yemisi Shyllon, is not in any way impressed by the government’s lackadaisical treatment of culture. He believes the way culture is treated does not show any seriousness that the government is looking towards it as the nation’s next treasure trove. According to him, “Without historical sites, museums and so on, how can we attract tourists when we don’t have something that tourists would be interested to see? If you want to develop Nigeria, one of the greatest gold mines is culture. Invest in culture.”

    Asked further to talk about the policy, the art collector declared, “It is all very good propaganda and lip service, but I don’t see any hope.” To him, the real hope for the culture sector is in the private sector and to achieve that he has already set himself a goal. It is to build a private museum which would warehouse his numerous art collections. The museum is almost completed and it is situated in the Pan Atlantic University to ensure it is well taken care of after him.

    On why he decided on building a private museum, he said this is to ensure his art collection does not end up in the trash after his death. He laments that there is not a single decent museum in Lagos, the country’s economic capital. “If we had a proper public gallery.

    I would only need to donate a couple of artworks. But now I’ve had to spend my own money to have a building erected and keep it maintained.”
    He observes that the movie industry which the government is today boasting about its contribution to the country’s Gross Domestic Product (GDP) was facilitated by individual professionals.

    There is no doubt that the plan to transform the creative sector into a creative economy must be driven by the private sector, according to the government. The modest growth that has been achieved in the creative industry so far, whether in films, music or fashion, has been achieved in spite of the government. Instead of providing cultural subsidies and grants, the government refers artists to the Bank of Industry for low interest start-up loans.

    Unkown soldiers
    Although every Nigerian artist will welcome the aspiration to make culture the new oil, they urge their leaders to cherish existing initiatives and support local artists, instead of threatening their lives.

    Years ago Fela’s Kalakuta Republic was demolished by unknown soldiers. In 2016 history seemed to repeat itself when Smart was shot by unknown soldiers. Not even the voice of Nigeria’s most respected writer Wole Soyinka, a Nobel laureate could make the government act on finding who shot Smart or who ordered the demolition of the Artists’ Village.

    Soyinka had said, “These artists have lost their entire means of livelihood in a single day. I’m tired of saying ‘it was the police, it was the army. A few specific people have given the order to do this. We have to find out in detail who were responsible.”

    The man who serves as the coordinator of the Artists’ Village, Aremo Tope Babayemi is pained that going to two years the case had not been attended to by the Minister of Information and Culture, Lai Mohammed. The minister who personally visited the village after its demolition had promised compensation for the artists. Today, the affected artists are still waiting for their compensation to be paid out.

    According to Babayemi, “The affected artists and the community have gone through untold pain and discomfort. So much for all the noise and hot air about government nurturing creative entrepreneurship in Nigeria! We are not interested in paternalistic benevolence from government.

    What we need is recognition of our work and worth and professional engagement with an administration that keeps professing an intention to develop the creative economy in Nigeria.”

    A damning and forthright verdict. Will the government prove its critics right and continue to pay lip service to culture as the new foreign exchange earner?

     

    This article was developed with the support of Journalismfund.eu

  • Good night Funmistic

    Good night Funmistic

    Writing a tribute on “Funmistic”– whom I thought will remain a part of my life till the very end having shared with her 43 years of my over five decades of existence– is indeed an uneasy task. Where do I start from? Can I ever recount all our escapades as young rascals in secondary school? Or is it our shared joy and pain as young women and mothers ? Or is it managing career stress and family/sibling politics.?

    I met Funmi in Holy Trinity Grammar School, Ibadan in I972. Olayinka nee Famuagun was born on June 20th 1960. She was the first of six girls which put enormous responsibility on her even from a young age.

    Funmi as young as age 14 would coordinate domestic chores, including shopping for the house, ensuring that meals were well prepared and served with little or no supervision from her step mother.

    Myself having come from Lagos and schooling in Ibadan and staying in the boarding house, a good distance from Lagos then, I spent most short breaks or public holidays with the Famuaguns. There, I saw how a young girl like me had been exposed to such huge responsibility and I got fascinated because she did all these with less stress.

    She taught me how to wrap moinmoin in leaves, how to peel large quantity beans with legs, which she also did to the admiration of my in-laws after I got married and was doing the naming ceremony of my first child in Lagos some 28 years ago.

    We became close in the boarding house when we became prefects. I, assistant senior girl and Funmi, games prefect, as she was extremely active in sporting activities. We had to work together to coordinate the students. We were heady and rascally, and that earned us great admiration from teachers and students– even till today.

    While Funmistic was into sports, I was into school debate and was the “defender of the universe”, fighting any injustice against students. In all these we excelled in our studies. When we sat for the West African School Certificate Examination, in 1976, only three girls passed out of the over 40 girls. We were both in that successful trio.

    We sometime went to Erijiyan Ekiti for the burial of my brother in law who was assassinated, Funmi, uninvited left her nine months old baby she was then breastfeeding and went with me for three days, not minding complaint from her family. Funmi made sure that our children wore same dresses for their christening.

    Above all, Funmi was highly religious. She served her creator till the very end. Until she was hit by the sickness, Funmi did not fail to send prayer messages to her teeming friends on Mondays, despite her exalted position.

    Funmilayo omo aba Addo! Omo Eye Iddo Faboro. Sun re o. Thank you for being part of me and my family. Thank you for giving me the opportunity to pay back your generosity and the emotion you invested in me. Thank you for allowing me to feed you some few days before your departure and share your last few minutes on earth with you. That will remain evergreen in my memory. Good night Funmistic!

     

  • Portrait of a rare amazon

    Portrait of a rare amazon

    Eunice Oluwafunmilayo Adunni Olayinka (nee Famuagun), considered one of the most attractive and resilient women in Yorubaland, attained corporate and political prominence through commendable hardwok, commitment to excellence, courage and perseverance. She was a perfect fusion of ageless beauty and profound brains. All through her 19,268 days on earth, she radiated inward and outward beauty, and was unarguably an epitome of humility, fidelity, faithfulness, forthrightness, elegance, honesty and decency. A diamond vessel of honour she was; her commitment to humanitarianism and Ekiti transformation was quite legendary.

    A native of Ado-Ekiti, ‘Funmi was born at precisely7am, on Friday 20th June 1960 in Ado Ekiti,to the noble family of Chief Festus O.Famuagun, the Agbaakin of Ado Ekiti and Deaconess G.A Famuagun (nee Faboro) from Ido-Ekiti.  Her ‘Dad’, as she fondly called him in many of her letters to him while she studied abroad, is a retiree of the Western Nigeria Cocoa Board, while her mother was a textile trader in Ado Ekiti. She is the first daughter of her parents. Her baptism and naming was performed on 20th November 1960 at the Christ Apostolic Church and she grew up beaming virtues, exuding wisdom andinspiring affection.

    She was admitted and enrolled at Holy Trinity Grammar School in January 17th 1972 at the age of 12.During herstay at the Holy trinity Grammar School, she was consistently rated as an exceptionally well-behaved student, who displayed aptitude for French, mathematics and geography. She rounded-up her secondary education in 1976 and proceeded to Olivet Baptist High School, Oyo, for her Higher School certificate (HSC) on November9th 1976. At Olivet Baptist High school, young ‘Funmi was again rated as a very well-behaved and dedicated student; her marital, social, career and political life bore the hallmarks of her long-standing good character and devotion.

    Her combined academic performance at Holy trinity Grammar school and Olivet Baptist High School earned her the overseas admission into Central State University, Oklahoma, USA, to study Business Administration.

    She arrived at Central State University (CSU) on Monday, 12th September 1977 to commence her undergraduate studies. Upon settling downin her hostel on campus, she wrote a very inspiring and prophetic letter to her father. The second paragraph of that letter was deeply intuitive and discerning, it depicted her appreciative attitude, and faith in God. She prophetically and prayerfully stated:

    “Infact, I’ve got to thank you a lot for the opportunity you gave me that am here today, while am thanking the Lord too, am not so surprised because you had been a father who always runs after the progress of your children. God too will surely recompense you and give you longer life so that you will eat the fruit of your labour. I also pray that you may increase your efforts to do the same to other brothers and sisters after me. More grease to your elbow.’

    36 years after, these prayers and fervent wishes have come to fulfillment in many ways.

    She was named to the Central State University honour roll and was consistently on the dean’s honour roll ‘as a result of outstanding scholastic achievement’. She graduated with a Bachelor’s Degree in business administration (Marketing) in 1981 and proceeded to study for her master’s degree the same year. She completed her post-graduate studies in 1983 and was awarded an M.A. in Political Science (public administration).

    She was nominated as a member of ‘who is who’ in American university in 1981. She was mobilized fornational youth service Corps (NYSC) in 1984 and posted to the National Cereal Research Institutein Ibadan, Oyo State, for her primary assignment. She completed her national service in 1985.

    Her career life began while she was studying at the CSU. She seamlessly combined full time studies with part-time work. She served as Clerk at the Central State University Bookstore, as Supervisor in Sales & Marketing at Street Merchandise and as Cashier & Office Clerk at Sterr’s Foods.

    ‘Funmi returned to Nigeria after her studies abroad, and her first full-time post-school employment was with First Bank of Nigeria Plc as Supervisor in June 1986.She was at different periods appointed as Relationship Manager for Corporate Accounts in Access Bank, the defunct Merchant Banking Corporation (MBC) and the United Bank for Africa Plc.

    In August 2002, multi talented ‘Funmi took up the Corporate Communications role and moved over to head the Corporate Affairs Division, UBA.  She afterward became Head, Brand Management & Corporate Affairs, thereby leading the Team responsible for delivering a compelling Brand proposition and re-branding of the erstwhile UBA which helped to drive the bank’s business strategy, increased its visibility and added value to the total image of the Brand.

    ‘Funmi was also the 2nd Vice President of the Association of Corporate Affairs Managers of Banks (ACAMB) between 2002 and 2004.

    She was Co-Chairman, Branding Sub-Committee and Member, Media Relations Sub-Committee during the merger process of UBA & Standard Trust Bank.

    Her last role in banking was Head, Corporate Services, ECOBANK NIG. PLC where she was responsible for communicating the bank’s activities to the public, relationship management with thepublic and providing feedback to management as it relates to the total image of the bank. Additionally, she also headed the General Internal Services Unit with responsibility for overall co-ordination of administrative services for the entire bank.

    Her entry into politics and public service began in 2006 when she was deservedly nominated to contest as deputy alongside Dr. KayodeFayemi, present Executive Governor of Ekiti State under the Action Congress party ticket. At the expense of her personal comfort and risk to life, she was actively involved in the struggle to reclaim their mandate. For almost three years, she fought doggedly for their stolen mandate with uncommon bravery, valour and tenacityreminiscent of Princess Moremi of Ife and Queen Amina of Zaria.

    As deputy Governor of Ekiti State, ‘Funmi assiduouslyperformed oversight functions over the Muslim Pilgrims Welfare Board, Christian Pilgrims Welfare Board, State Emergency Relief Agency, Boundary Commission, Ministry of Local Governments and Chieftaincy Affairs, Urban Renewal Agency, Multipurpose Credit Agency, Fountain Holdings & Investment Limited and Community & Social Development Agency. Her skillful co-ordination of these MDAs enhanced their overall performance and service delivery. She additionally sat as chairperson ofnumerous State Executive Council-empanelled committees including the State Economic Management Team, Brand and Communications Strategy Committee, State Tenders Board, to mention a few.

    She was responsible for the strategic re-branding of the State, culminating into a new and distinctive visual identity that has so far projected a coherent image and definitive slogan expressingthe core ideals and goals (political, economic, perception change) for the State.

    Her loyalty, courage, transparency, commitment, devotedsupport for the Fayemi administration and constancy of purpose has led to uncommon transformation of Ekiti State across the broad spectrum of the administration’s 8-points agenda and delivering beyond election campaign promises.

     

  • ‘Her death a reminder of a parlous health care system’

    ‘Her death a reminder of a parlous health care system’

    Senate President David Mark

    Mrs. Olayinka was an indomitable amazon, who stood to be counted when it mattered. At a time when it was a Herculean task for women to aspire to elective office, Mrs. Olayinka was among the few Nigerian women who ventured into politics. She was a very determined person, who had a dream and mission. She proved her mettle and contributed immensely to the building of a new Ekiti State. We shall miss her resourcefulness and robust contributions. We shall miss her passion for women and youth development.

     

    Governor Babatunde Fashola

    I feel completely overwhelmed, just imagining the depth of your pain on the death of a most loyal, dependable and diligent deputy, which you had in Mrs. Olayinka.

    When the history of the restoration of the democratic mandate freely given to Fayemi and Mrs. Olayinka, as well as the back-breaking work to restore meaningful governance to Ekiti State is written, a very glorious mention would be made of the late deputy governor.

     

    Governor Adams Oshiomhole

    We learnt about her death with deep shock and grief. Mrs. Olayinka gave her all to the recovery of the mandate she and Fayemi won. She was unwavering in her quest to deepen the nation’s democracy by going through the judicial process.I met her several times and she exhibited deep knowledge of the problems facing the people of Ekiti and how she and the governor were working hard to leave a lasting legacy in the state.

     

    Asiwaju Bola Tinubu

    The sudden demise of Ekiti State Deputy Governor Funmilayo Olayinka is a big blow and comes at a time when she is most needed to play a vital role in the transformation of Ekiti. She rose like a meteor and brought compassion and grace to the exalted office of the deputy governor. She was a leading light amongst women of her generation and creed. Her painful death sadly reminds us of the parlous state of our health care system in Nigeria. A national cancer centre of international repute needs to be established with proper funding.

     

    Prof. Wole Soyinka

    I have just picked up the news on Internet. My most sincere condolences. I met your late deputy Funmi Olayinka, only a few times, but was instantly struck by her unassuming grace, intelligence and political commitment. Her departure will be felt as a great loss to your administration, to the people of Ekiti State, but most especially to her family, to whom I request that you be so kind as to convey my message of fortitude in the face of this grievous bereavement.

     

    Emeka Anyaoku

    I am here to commiserate with you on the death of your deputy. This is my first time in this state and I am impressed by the developmental strides, especially the road network. This shows that you and your late deputy and the rest of your executive are working as a team. Like you said yesterday, she was your co-pilot and that shows she played a very important role in the administration. You should not be discouraged by her death, rather you should strive to actualise the vision to develop the state.

     

     

  • Adunni mii…

    Adunni mii…

    Oluwafifunni Oluwasigba lo, ibukun li orukoOluwa. Job 1:21

    My Funmilayo, beautiful, intelligent, smart, humble, hardworking and dedicated.

    A devoted Christian, wife and mother.

    I love you even in death!!!

    A- Admirable

    D- Delightful

    U- Unconventional

    N- Noble

    N- Normal

    I- Inspiring

     

    Your Loving Husband,

    Lanre