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Tag: Kakadu

  • Kakadu: From South Africa with rich theatrical resonance

    Award-winning total theatre treat and one of Nigeria’s ‘box office success stories’ ‘Kakadu the Musical’ recently treated audiences in South Africa to a captivating theatrical performance that has continued to resonate with palpable nostalgia weeks after it ended.

    The show was part of events to mark the Africa Day celebrations. It featured a ‘combination of amazing dance, music and drama with a strong plot of captivating story line that enthralled the audience, especially as they followed through on the enactment of landmark events that happened in Nigeria’.

    Co-sponsored by the MTN Foundation as part of its contribution to the entertainment industry in advancing theatre and performing arts in Nigeria, Kakadu the M usical will no doubt linger in the minds of its audience. Other co-sponsors include the Nigerian Export Promotion Council, Custodian Insurance and Zenith Bank Plc.

    Based on several pivotal events that happened in Nigeria between 1965 and 1974, the watershed years immediately following independence from British colonial rule, leading to the Biafran War and the aftermath of that war, Kakadu the Musical, written and produced, surprisingly by one of the leading lawyers in Nigeria, Uche Nwokedi SAN, is the journey of four friends through a time of  infinite possibilities. It  has become the benchmark for musical theatre in Nigeria, a time to dream and to hope.

    A nation celebrates the end of colonialism and the promise of a bright new future in a city that is as colourful and hedonistic as any European city in the 60s. At the heart of the city is Kakadu, a popular night club and a mecca of music of all genre and fashion. During this period, Kakadu’s live music encompassed Anglo-American pop, Latin beat, Highlife and even ballroom. This jubilant music added to the stunning swinging sixties costumes, extravagant hairstyles and the assimilation of western attitudes gives Kakadu the Musical a stylish and exuberant sense of time and place.

    The four friends echo the ethnic diversity of the newly independent country. At the centre of it all is Kakadu’s charismatic manager, Lord Lugard, a larger than life character who symbolizes the pleasure, seeking spirit of the club. Then the military coups set off a chain of events which lead to the civil war (the Biafran War) and changes begin to occur to their relationships. It is a story of dreams and hopes, of peace and war, of friendships and broken promises, of pain and loss, and of love and innocence.

    Kakadu the Musical is an exciting blend of the western music of the 60’s that influenced musical expressions in the 1960s Africa, with highlife, afrobeat, contemporary and traditional Nigerian folk music, to produce the most wonderfully eclectic musical ever.

    Having followed Kakadu from its first showing in May 2013, for the theatre savvy audience of South Africa, it was a show that will resonate with palpable nostalgia, given its rich, colourful theatrical and historical resonance.

     

  • Kakadu back on stage for Lagos @ 50

    Kakadu back on stage for Lagos @ 50

    After four years of successful performances in Nigeria and Davos, Switzerland, award-winning Kakadu The Musical returns to stage on May 21, at Harbour Point, Victoria Island, Lagos as part of Lagos@50 celebration. It will leave for the Nelson Mandela Theatre, Johannesburg, as part of the Africa Day Celebrations from June 7 to 18.
    Since its premiere in May 2013, Kakadu has not only redefined live theatre but also stimulated interest in the production of several other musicals, such that it has become a reference point for others.
    Written by Uche Nwokedi (SAN), who is also the Executive Producer, and directed by Kanayo Omo, Kakadu is a musical capturing the possibilities, great music and distinct social life following the birth of a young nation during the 60’s.
    A nation celebrates the end of colonialism and the promise of a bright new future in a city that is as colourful and hedonistic as any European city in the 60s. At the heart of the city is Kakadu, a popular night club and a Mecca of music of all genres and fashion. During this period, Kakadu’s live music encompassed Anglo-American pop, Latin beat, highlife and even ballroom. This jubilant music added to the stunning swinging 60s costumes, extravagant hairstyles and the assimilation of Western attitudes gives it a stylish and exuberant sense of time and place.
    Kakadu is the journey of four friends through a time of the infinite possibilities. It is a time to dream and to hope. The four friends echo the ethnic diversity of the newly independent country. At the centre of it all is Kakadu’s charismatic manager, Lord Lugard (played by Benneth Ogbeiwi), a larger than life character who symbolises the pleasure seeking spirit of the club. Then the military coups set off a chain of events which lead to the civil war (the Biafran War) and changes begin to occur to their relationships.
    The musical is a story of dreams and hopes, of peace and war, of friendships and broken promises, of pain and loss, and of love and innocence. It is is an exciting blend of the western music of the 60s that influenced musical expressions in the 1960s Africa, with highlife, afrobeat, contemporary and traditional Nigerian folk music, to produce the most wonderfully eclectic musical ever. Significantly, Kakadu is about building bridges, promoting peaceful co-existence.
    According to the Director, Omo, this is the first time a stage performance is going from Nigeria to South Africa. Even when the National Theatre was opened in 1977, it was Ipi Tombi that they used to open it. So, Kakadu is going to be staged in what is more or less their own national theatre, the Mandela Theatre is a big iconic theatre sitting over 1000 people. “And we have a new young cast, extremely enthusiastic, extremely talented. More importantly, we are also going to be doing a workshop in Soweto, so we are going the heart of the apartheid struggle. Basically, we are looking a Kakadu as a classical African story. The problems that were addressed in Kakadu are in every African country.”
    Kakadu has, no doubt, revived musical theatre in Nigeria, so “it has given birth to a new genre of theatre and it continues to grow”.
    Omo, who is an artiste and director with over 30 years’ experience on stage and screen, said: “What is new in Kakadu now? Every year we’ve had to create a foundation to get true acting, to get to true delivery of the story. The story remains the same but some things have changed. But what is most important now is the actors are giving life to the story in a unique way that they haven’t before. It is not about telling people what to do; it is about them bringing material to the story, building a very powerful experience and delivering it to an international stage.
    “It is not about entertainment only, it about making a difference in people’s lives.
    “Kakadu is a classical story; it has all the elements of a classical story – love, betrayal, denial, conflict, pain, joy, ecstasy, belief, disbelief, all the necessary areas. And because Kakadu is our story, the story of our time, we relate to it in history; we can relate to it now. Any nation you take Kakadu to they will find the relevance to it. So, it is such a rich experience to be able to see people who are telling a story that their parents experienced. And now they are applying it from the level of truth that will even change the lives of their parents when they see it.”
    Ogbeiwi notes that Kakadu could actually “address the little issues we have about ethnicity, politics, religion, and, of course, the question that lingers in the mind of every Nigerian: how do we build, reconcile, reconstruct and rebuild a nation. Kakadu centres on the friendship which we had before independence, and, of course, after independence, that went sour.

  • Kakadu for Africa Day celebrations

    Kakadu for Africa Day celebrations

    After three years of very successful performances in Nigeria and Davos, Switzerland, the award-winning Kakadu the Musical will be on stage at the Nelson Mandela Theatre, Johannesburg as part of the Africa Day Celebrations from June 7 to 18, 2017. This was announced by the Executive Producer, Jo’burg City Theatres Claire Pacariz.

    “Kakadu is a highly creative, original production which has been internationally acclaimed as the first ever musical from Nigeria and that is why we are interested in bringing it to South Africa for the 2017 Africa Day celebrations. Africa Day as you know is the annual commemoration of the founding of the Organisation of African Unity (OAU) on May 23, 1963, when on that day, leaders of 30 of the 32 independent African states signed a founding charter in Addis Ababa, Ethiopia”, Ms. Pacariz said.

    Kakadu, the Musical is based on several pivotal events that happened in Nigeria between 1965 and 1974, the watershed years immediately following independence from British colonial rule, leading to the Biafran War and the aftermath of that war. It is written and produced by one of the leading lawyers in Nigeria, Uche Nwokedi (SAN). Musical direction and orchestration is by Benneth Ogbeiwi and the artistic and technical direction is by Kanayo Omo.

    With a strong plot, captivating storyline, spectacular dance and a blend of the anglo-american soul and pop music of the fifties and sixties that influenced musical expressions in 1960s Africa,  High life music, Afrobeat and traditional Nigerian folk music, Kakadu is the most wonderfully eclectic musical ever performed anywhere. It is a unique “must-see, must experience” production.

    “It is quite significant to the ethos of Kakadu that we have been invited to a theatre named after Nelson Mandela, a champion of liberties…” says the writer and producer, Uche Nwokedi (SAN). Kakadu joins a long list of world-class productions invited to the Nelson Mandela Theatre in Johannesburg.

  • Kakadu recreates Lagos life on Muson stage

    Kakadu recreates Lagos life on Muson stage

    Award-winning hit musical Kakadu was on stage at the Agip Recital Hall, Muson Centre, Onikan, Lagos from December 29 to last Sunday. The musical is  a narrative of love and friendship that characterised Lagos life of the 60s, Assistant Editor (Arts) OZOLUA UHAKHEME reports. 

    Unlike the trendy way of starting most musical and theatrical performances, an art exhibition was held in place of a red carpet to herald Kakadu The Musical.

    Mounted on an unusual stand made from raw wood at the lobby of the Agip Hall, Muson Centre, Lagos, the exhibition featured 14 paintings and sketches by Polly Alakija, which are the artist’s visual way of getting ‘into character’ and learning the visual language of any subject.

    The paintings include These politicians are at it again, Rehearsal and We don’t know where we are going. Like an appetiser, the paintings refresh the audience’s memories with many images of rehearsal sessions and discussions between the cast and the director of the musical, Uche Nwokedi.

    The opening stanza of the musical, which is a blend of music, drama and dance, leads the audience into the Lagos life of the 60s and 70s, using a popular  night club, Kakadu, as backdrop for the era. Within the first few minutes, every slice of Lagos life is being captured on stage. They range from traffic jam to vendors of newspapers and food hawking their wares on the streets, mobile tailors (Obioma tailors) sanitary inspectors (Wolewole) and the regular hangout on Saturday night at Kakadu Night Club. On the band stand is the Fabulous Flamingo Dance Band presenting the old school songs for the popular Twist dance steps.

    “Kakadu is Lagos life. And Lagos means love all girls on Saturday. In Kakadu, you don’t rush alcohol or women,” warned the band leader.

    “Forget Nigeria and the outside, this is Kakadu in Lagos, he added. All these were pointers to the fact that irrespective of one’s place of birth, Lagos provides the leveler for all visitors. Issues of ethnicity and tribal differences found no place then.

    Produced by the Playhouse Initiative, Kakadu The Musical, which made its return by courtesy of MTN Foundation, Access Bank Plc and Casers Group is the journey of four friends through a time of infinite possibilities. “It is a story of peace and war, of friendships and broken promises, and of innocence. It is a powerful plot and a captivating storyline that sees and looks at the 1960s Lagos as a nation celebrates the end of colonialism and the birth of a new nation.”

    No doubt, Kakadu The Musical is being described as arguably Nigeria’s first contemporary stage musical and is a real tribute to the period and infinite possibilities of Nigeria in the 60s and early 70s. Apart from offering a complete theatre that educates and enlightens while entertaining, it also recalls the strong bonds and values that kept Nigeria together as a nation before the unfortunate civil war that was preceded by military coups.

    Set in the 60s and 70s, the musical concert did not fail to re-enact the significant role Highlife music played as the soul of Nigerian music industry at that time. Classical works from the rich repertoire of Nigerian musicians such as the late Bobby Benson, Fela Anikulapo-Kuti, Celestine Ukwu, Christian Igbokwe, Onyeka Onwenu, Victor Olaiya, Sir Victor Uwaifo were rendered all through the two hour performance. It was a refreshing night for the ‘old school’ with the presentation of songs such as Bobby Benson’s Taxi Driver, Victor Olaiya’s Sisi Mailo, Sir Victor Uwaifo’s Guitar Boy and Onyeka Onwenu’s Dancing in the sun among others.

    In the spirit of the independence celebration, Kakadu lighten up the hall with the post-independence party held at the club though was truncated by the announcement of a military coup. Suddenly, the hitherto friendly Lagos life turned unbearable for many. “And we must close Kakadu. Everything is changing. People are leaving Lagos in fear of a looming war.”

    Complementing these old tunes were dress codes that take people back to the 70s when Afro wig hair style was the vogue.Also part of the customs is the shuku (elongated) hair style common among women of that age. “Tonight we will celebrate Africa. From Congo to Ghana, Port Harcourt to Lagos,” the band leader reassured the audience who danced to the evergreen Olaiya’s Sisi Mailo and Benson’s Taxi Driver songs.

    Even when the war was declared closed, the people of Lagos still did not find it easy to accept one another because of perceptions and misconceptions. War is ugly, and even at the close of it, it still raises some national questions of tolerance, unity and understanding among the various ethnic nationalities. Little wonder Jimmy Cliff’s Many Rivers to Cross was aptly presented to prick the audience conscience.

    But why are we here? Several governments and laws have been in made but how do we build a nation? These were some of the posers for the audience as the curtain was drawn two hours after.

    Instructively, the performance is returning on stage when similar drumbeat of war is sounding again across the country, especially the on-going agitations by Movement for the Actualisation of the Sovereign State of Biafra (MASSOB) and Indigenous People of Biafra (IPOB) for the creation of Biafra nation led by Nnamdi Kanu.

    According to its Executive Producer Nwokedi, ‘’The Kakadu storyline catches the watershed years in Nigeria’s history.’’ He described theatre as amazing and that through this process ‘’we get to see the truth in what we do as human beings, and learn what we should about lives we live. The Kakadu family continues to grow and we are encouraged by the support of many to reprise the production. With this run of Kakadu, we will donate some of the proceeds from the show to the Pacelli School for the Blind and Partially sighted, our chosen charity for 2015/2016’’.

    To one of the lead actors, who acted Lugard Omo Eko da Rocha, Lagos city is life at a furious pace and it is theatre at its best. “It is the celebration of the infinite possibilities in life. Lagos is a musical called Kakadu, rich and enthralling, an amazing combination of brilliant dance routines, a roller coaster of emotions and a powerful narrative of love and friendship. It is a way to re-connect and recreate on several levels, where stage mirrors life in Lagos,” he said. Interestingly, Kakadu was performed simultaneously at the same centre same days and yet, tickets were always sold out on each day.

  • Kakadu returns to stage

    Kakadu returns to stage

    THE iconic international and award-winning stage musical, Kakadu, returns by popular demand and will be staged at the Agip Recital Hall, Muson Centre, in Lagos December 29 and 30 and from January 1 to 3, 2016. It returns, courtesy of MTN Foundation and Access Bank Plc.

    Kakadu The Musical, Nigeria’s first ever contemporary stage musical, which is an exciting and eclectic blend of music, drama and dance, is a tribute to the period and infinite possibilities of Nigeria in the sixties and early seventies. It uses the famous Lagos nightclub of the sixties as a backdrop for an era, which gave birth to wonderful music and the distinctive social life that followed the birthing of a young nation. It has been described as “a complete theatre that educates and enlightens while it entertains.”

    “A must-see for every Nigerian, Kakadu returns this time with a new cast and re-invigorated music,” said Uche Nwokedi, the writer and producer of the stage musical, “The Kakadu storyline catches the watershed years in Nigeria’s history. Kakadu the Musical is the journey of four friends through a time of infinite possibilities. It is a story of peace and war, of friendships and broken promises, and of innocence. It is a powerful plot and a captivating storyline that sees looks at the 1960s Lagos as a nation celebrates the end of colonialism and the birth of a new nation. Lagos as a city was as colourful then and as hedonistic as any cosmopolitan city in the world,” Uche adds.

    Kakadu The Musical got accolades including an award from the National Association of Nigerian Theatre Arts Practitioners (NANTAP) as the “Most Outstanding Total Stage Performance for2013.” Kakadu The Musical was Nigeria’s official cultural export and cultural performance at the World Economic forum in Davos Switzerland in 2014.

  • ‘Kakadu’ is sight, sound of Lagos, says Fashola

    ‘Kakadu’ is sight, sound of Lagos, says Fashola

    DRIVEN by its desire to encourage social integration while supporting creativity and creating job opportunities, the Lagos State Ministry of Tourism and Inter-Governmental Relations at the weekend played host to the award-winning musical group, Kakadu, at the Muson Centre, Lagos.

    Speaking at the event, the Lagos State Governor, Mr. Babatunde Fashola said, Kakadu is a reflection of the diverse elements that make up Lagos in the 60s and 70s, adding, “Kakadu is the story of the people, the music, the social life and the sights and sounds of Lagos.”

    Reiterating his administration’s determination to support creativity while also creating job opportunities, Fashola disclosed that the talent and industry of the actors and musicians were quite commendable.

    Speaking earlier, the state Commissioner for Tourism and Inter-Governmental Relations, Mr. Disun Holloway, explained that in line with the administration’s resolve to make Lagos the preferred state for leisure and business, initiatives such as that of Kakadu will be supported by the state government.

    Calling on others to emulate the Playhouse Initiative of the Kakadu group, Holloway maintained that it will not only help reduce social tension, but also help create job opportunities.

    Responding on behalf of the cast and crew of Kakadu, the Executive Producer, Uche Nwokedi (SAN), expressed appreciation to the Lagos State Government for its support towards the successful hosting of Kakadu.

    Veteran actors like Nobert Young and Tina Mba, along with young and upcoming actors, are in the cast of Kakadu.

  • KAKADU -“between mirth and melancholy”

    KAKADU -“between mirth and melancholy”

    WHEN Uche Nwokedi SAN the writer and producer of Kakadu intimated me of his intention to produce a musical that would capture not only our revered cultural music of the sixties but the fluctuating and divisive emotions ignited by the civil war, I was not alarmed by the enormity of his task.

    Having had the opportunity of being students in St Gregory’s College Lagos in our formative years and in particular having being exposed to the mentoring of Father O’Connell the impassioned musical teacher, who produced spectacular performances of Jesus Christ Superstar and Joseph and the amazing Technicolour Dream coat, I felt instinctive confidence that the public was going to be treated to something special.

    I watched Kakadu a few months ago with my family in Lagos and I was totally overwhelmed with two compelling emotions; mirth and melancholy. I was transported back with nostalgia to the Lagos of the sixties, the Lagos of my childhood, recognisable by the fashion of the day, the enchanting high life cultural music, the spontaneous gaiety and expressions of youth untouched by tragedy.

    The Musical oscillates cleverly between comedy, drama, tragedy and farce as the characters unfold in the famous night club called “Kakadu” and the audience is enraptured by the music and the rhythm. The musical revolves around Kakadu a popular watering hole in Lagos in the sixties with the central figure Lugard Da Rocha as proprietor and band leader. His night club provides a platform for the realisation of the ambitions of young men and women.

    The twin ambitions of men are wealth and power and four young men are attracted to this forum as a facilitator. The twin ambitions of women are love and security and four young women are attracted to this forum as a medium. In the dynamics and the weaving together of these characters the musical unfolds with such charm and rapture, that the audience is left arrested for the duration of the performance. The portrayal of the characters left indelible impressions on my mind.

    Amonia, attractive, impulsive and vibrant; She was desired by all the young men but elusive. She flirted with the men as a butterfly flirts with flowers and thereby teased them to the point of distraction. She committed the supreme vice of entrusting her heart to Dapo on account of his wealth without regard to his lack of commitment. She ended up forlorn.

    Dapo, rich, stylish and impressive, a snob and a self indulgent child of the sixties, he had great regard for pleasures but little regard for principles and when the adversity of the civil war occurred he betrayed his true colours by abandoning his friends and the woman who entrusted her heart to him.

    Lugard Da Rocha, talented and entertaining, generous at creating pleasures for outsiders but frugal in creating pleasures for insiders. A truly tragic figure who was in credit in the dim lights of a night club environment but was bankrupt in the living daylights of family responsibilities. Consequently, when the civil war erupted and the solace of the night club was shattered he disintegrated in the dawn of reality.

    Emeka and Bisi were enchanting. Their love story was the tragedy of Romeo and Juliet without the shedding of blood. Compelled together by natural affection, separated by the hostilities of war, reunited through the resilience of character, and vindicated by a parent who was able to rise above pride and subdue prejudice.

    Beneath the charm and highly entertaining value of the musical is the serious message of how the innocence of friendships and relationships were altered by the civil war. The threat to a union between hitherto friendly families from different tribes in Nigeria by the prejudice of war was symbolic. However, the ultimate triumph of the union spear headed by the comparatively clear sighted voice of reason of the writer through Emeka’s father was a triumph of harmony and unity.

    I cannot close my commentary without paying homage to the creative capacity of the producer. A lawyer by training and a Senior Advocate of Nigeria, he has delved into a sphere that is outside his primary discipline. The true mark of an educated man is the ability to excel in a sphere outside his discipline. It is the product of a versatile intelligence, organised focus and a perfectly balanced mind.

    The creative capacity of a nation defines its quality and enhances its reputation. The wit of Oscar Wilde, the insight of Bernard Shaw and the theatrical genius of Andrew Lloyd Webber defined and enhanced England as a nation. Achebe and Soyinka and others enhanced our nation in the golden post independence era, but unfortunately we have in contemporary Nigeria given more attention and credence to conduct which is liable to render the nation a synonym for folly.

    A new generation of creative talent such as Uche Nwokedi, should be encouraged and supported. Moreover, the abundant talent in the cast of young Nigerians that Kakadu has revealed to the world is refreshing. It encourages legitimate youthful ambition and enhances our national pride.

    —Review by ‘Demola Akinrele SAN

     

  • ‘Kakadu is a musical metaphor for Nigeria’

    With the symbolism of Kakadu, Uche Nwokedi (SAN) has been able to weave the story of the glorious days of the country into a musical theatre that is the rave of the moment. Edozie Udeze encountered him on the reasons for the play and the issues that informed the concept

     

    The story is a metaphor of sort, depicting the glorious days of Nigeria, using Lagos as a mirror. But more than that, Kakadu – The Musical, is hyperbolic in a refreshing dramatic sense. In a way that dazzled thespians at the Muson Centre, Lagos, last week, the show displayed Lagos in a time of infinite possibilities, beauties and unpolluted landscapes.

    Written by Uche Nwokedi, a Senior Advocate of Nigeria (SAN), the story sets out to represent major landmarks in Lagos, and Nigeria as a whole, using salient social issues as the primary focus. In an interview, the playwright, Nwokedi said; “Yes the story is used as a metaphor not only for Lagos, but for Nigeria as a nation. Kakadu speaks about an era in Nigeria when things were good and people loved it.”

    For a lawyer-turned-playwright whose love for what is good cannot be disputed, “from the stories I have been told, in those moments in time, people lived happily as one people. It was the period when people saw one another as brothers and sisters and life was generally good.” And so with the cast and crew of over 60 people, Kakadu has come to represent one of the greatest ambitious theatrical ensemble in the country.

    The idea, in the reckoning of Nwokedi, was to “weave a story around songs that I grew up listening to, and at the same time using the songs both as a dialogue in the play, and as milestones for the passage of time. Thus the music became a character on its own and in a sense my alter ego in the story.”

    In a profound theatrical sense, the songs as they came in those moments of peace and glory as from the 1960s became pivotal in the assemblage of the stories embedded in Kakadu. Nwokedi explains further: “Yes, the songs helped me bridge the fact that I do not write music. And my own experience as a child in the civil war and attending boarding school in Lagos after the war, guided me in making the war the backdrop of the story of Kakadu… Well, a really good student is the one who learns from his experience.”

    And that, indeed, was what propelled him to dissect the events of the moment and package them into a wonderful stage performance that thrilled theatre audience to no end last week. Kakadu is best seen on stage where both the artistes and the era they represented appealed to the conscience of the people. With a broad based musical band playing different highlife tunes to ginger the people on, the stage was indeed electrifying to portray the moods of the people. It was so engrossing to see different fashions of the time, the type of people who made waves and what they stood for. It was such a moment of absolute glory, joy and happiness.

    A night club in the 1960s, Kakadu now defunct, was for Nigerians a place to unwind, a place to socialise and be at peace with one another. There was no fear in the air then. People were wont to stroll into the night to have fun, to dance and discuss burning issues of the moment. Although Lagos has since remained more than a melting point for all Nigerians, Nwokedi regrets that Nigeria has not been able to replicate more cities to help decongest Lagos.

    He said: “Let us be honest with ourselves. If we have another city that has as much promises and opportunities that Lagos has for Nigeria, we will be the best for it. People come to Lagos from all parts of Nigeria because of problems and social issues. But beyond that, it tells us to do things right so that the nation will grow and give hope to the people. Right now, security is a big problem in the country. Policemen are being kidnapped; people are being killed everyday. Ten years ago, if you told me this was possible, I would have said no. That is the major problem and I will throw the question back to everybody – is Nigeria getting better?”

    With the music of such quintessential Nigerian icons like Fela, Victor Olaiya, Victor Uwaifo, Rex Lawson, Celestine Ukwu, Bobby Benson and so on, Nwokedi’s Kakadu constituted a broader narrative into time. Some of the musical tunes even became more elegiac depicting the emotive issues they portended.

    “Highlife was the main music then in the 1960s and they represent what we are today,” Nwokedi concluded.