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  • ‘Naming National Theatre after Soyinka a step in right direction’

    ‘Naming National Theatre after Soyinka a step in right direction’

    Some call him, “Editor Emeritus”. Others know him as a lecturer, lawyer, and politician. But McNezer Fasehun is also a diehard fan of Prof. Wole Soyinka. From literature to music, to journalism, to law, medicine, maritime, and now poetry, Fasehun is a man of many parts. In this interview with EVELYN OSAGIE, he speaks about his love for the Nobel laureate, navigating career paths and more

    My career trajectory

    My career path traverses law, literature, philosophy, politics, mass communication and media practice. I’d taught all these at various educational levels. So, I’m as much an academic as a practitioner. I started journalism right from my 100 level as I was admitted to study English and Literary Studies at the University of Calabar, Nigeria in 1981. I received the Vice Chancellor’s Certificate of Honour in 200 Level having risen to the rank of Senior Editor II. Some of my colleagues/cartoonists included Prof. Charles Ogbulogor, at the moment the vice chancellor of Maduka University.

    The title of my first GNS Term Paper was The Weaponry of Poetry and Fiction in War Against Apartheid. At the University of Calabar, in conjunction with some law students, I founded the Bob Marley Club. So, subsumed in African Literature, precisely Protest Literature, the title of my graduation essay was George Lamming, Roger Mais and the Dream of Freedom and Salvation in the Caribbean, a study of ‘In the Castle of My Skin and Brother Man’.

    But before gaining admission into the university, I had taught literature, English and Fine Art at Ore Community High School, Ore, Ondo State. Some of the students I taught then now include a professor of Mass Communication and a Senior Advocate of Nigeria.

    With regards to journalism, I rose to the apogee of my media career having been appointed as editor of Prime People magazine at the age of 34. I rose fast from being a cub reporter to coordinating editor of a centre spread in TopNews magazine to being Editor of Prime People magazine. From covering arts pages of various publications, I was canonised as a major contributor to Anglophone African Literature in Bernth Lindfors’ Black African Literature in English, 1992 to 1996.

    I went back to the classroom to teach after my Master’s Degree in Literature, then went to study Law. I later studied Literature  and Medicine. For the Law degree, I specialised in maritime jurisdictions.

     Growing up that influenced the man I have become

    Growing up in a big but not “polygamous” house with one father and many mothers was a unique African experience for me. The term “polygamy” was an unknown vocabulary to me. My mother was my father’s sixteenth wife and I was the 39th child. The mother of Prof. Tolu Odugbemi, former vice chancellor of the University of Lagos (UNILAG), Mama Ileola Odugbemi was the fourth child.

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    The founder of the Oodua People’s Congress, OPC, the late Dr. Frederick Fasehun, was the 18th one; Ambassador Orobola Fasehun was the 30th, and so on. Each person was an asset to another. Our father Columbus Akindojutimi Fasehun was a well-liked Ondo chief. My mother was from the Ogunfiditimi Awosika stock.

    Growing up in Ondo is very similar to what you’d read in Ake, the Years of Childhood by Wole Soyinka but I’m better explained in my memoir In My Father’s House.

     My journey as a writer

    I would say I began at my 100 level in the university. By the end of that year, I had published lighter mood poems like Journey into Yesterday, The Dysentery of My Mistress, and for a creative writing project, I’d published A Lamenting Seed and Other Poems.

    I published a number of poems at Kraft Books, including Ever Had a Dear Sister, Homage to Dawn, Kongimania – Temple of Familiar Mythologies, Letter to Forehead, The Hairs are Singing, One Day When I Lost a Wing, and others.

    An audience might wonder if the title Kongimania is not on a negative axis of literary criticism. The title of the poem is Kongimania – Temple of Familiar Mythologies.

    It talks about the penchant for using celebrity faces in advertisement, especially by roadside artists. And Soyinka’s portrait seems to be the most common.

    Two of my manuscripts have been assessed and adjudged publishable by Spectrum Publishers. They’re Thunder Wire – The Literature of Music in King Sunny Ade, and Designed Destiny – Authorised Biography. I taught at the Lagos State University External Systems across five campuses. I was also on the editorial board of Daily Independent and the defunct National Compass.

    My greatest influence as a writer

    My readers say I have taken a lot of Wole Soyinka but I don’t think it’s funny to stand on that scale at all. I’d better be rated and left alone in my little corner. I would say my works are as didactic as they are entertaining.

    On my latest work in honour of Soyinka

    My latest work is titled Collected Poems. It centres on celebrating Wole Soyinka, my major influence in literature, especially since he clocked 70. I noticed that he and I share a lot of things in common. He was born July 13, and I on July 14. Shortly after my graduation and NYSC in 1986, I was in England with an entry visa that lapsed on September 30, while he was awarded the Nobel Prize for Literature that October.

    My latest work is part of my contribution to what in my own coinage is “Nine Decades with The Forest Father”. “Forest Father” being the role Soyinka played in his Nigeria’s independence play A Dance of the Forests.

    My collection is a multidimensional celebration of Prof. Soyinka at 90. Each of the poems has something to do with what we share in common, his art and how I relate to it and sundry extrapolations.

    Other than being almost birthday mates, he and I had our first sons about the same age; both of them are medical doctors and formerly W.H.O interns. So, the poem ‘Sages and Syringes’ are dedicated to them together with Matthew Arnold who, in one of his essays, adumbrated on the relationship between literature and science, a conical drive in my research works.

    Wole Soyinka@90: His significance to Nigerian literature

    Soyinka contributions to the development of literature, not just in Nigeria but African, cannot be overstated. Teaching the writing of Soyinka means dividing his works into plays, novels, poems, autobiographies/memoirs, etc., each of which would have gotten him the Nobel Prize in its own right. For us the unabashedly devotees of the Writings of Wole Soyinka, it’s been “Nine Good Decades with the Forest Father of Letters”.

    Winning the Nobel Prize for Literature at the record age of 52 has brought a lot of prominence and positive publicity to Nigeria as one of the greatest countries in the world.

    I believe the worthy honour of naming a national monument after Prof. Soyinka is a step in the right direction. Both the portraits of William Shakespeare and Benjamin Franklin adorn the Pound Sterling and the Hundred Dollar bills respectively. It says so much about national literacy consciousness. We salute and congratulate the President Bola Ahmed Tinubu administration for being so lucky to have it done in his regime

    Lessons to learn from the Nobel laureate

    Plato says for there to be a good polity, the political leader must become a philosopher otherwise the philosopher must become the political leader. Destut de Tracy, the French philosopher, has defined ideology as the science of ideas. He said for there to be an ideology there must be the preponderance of faculty. Great nations of the world like the United States have been ideologically developed on the strength of their literary icons.

    Thomas Jefferson, a major writer of the Declaration of Independence has contributed immensely to the American Romantic tradition. Benjamin Franklin the mathematician and physicist who discovered the thunder catcher was signatory to the three documents that made the United States, namely: the Declaration of Independence, the treaty of America with France and the American Constitution. Africa is not left out in this.

    Julius Nyerere the late Tanzanian President, otherwise known as Nwalimu, the teacher it was who translated Shakespeare’s ‘Julius Caesar ‘ and ‘Macbeth’ to Swahili.

    Teaching LIT 511: The Writing of Wole Soyinka in the university has shown to me that with such a light bearer like the ‘Soyinkas’ traversing the 20th and the 21st centuries, Nigeria is long overdue to have evolved a national literature culture. In my opinion, we would have a saner society if no one would be given the license to register and lead any place of worship. They have been taught some Nigerian literature by Soyinka, such as “The Trials of Brother Jero”, etc. Also, no one should go into any political office unless they have been taught in Soyinka’s works, such as “Kongi’s Harvest” and “A Dance of the Forests”, and several other literary works of great national importance. All these should be promoted through ministries of education, information, culture, tourism as the basis of national ideology. These should include also great works of African Literature like Chinua Achebe’s “Things Fall Apart”; D.O.Fagunwa’s “Ogboju Ode Ninu Igbo Irumole” has been translated into English by Soyinka as “Forest of Ten Thousand Daemons”; Akinwumi Ishola translated Soyinka’s “Death and the King’s Horseman” into “Iku Olokun Esin”, etc.

    Also, preventing local languages from going into extinction by translation of literatures from English into them are areas in which Prof. Soyinka has blazed the trail.

    My voyage into politics

    I contested election into the National Assembly in 2007 in the same Surulere Constituency I as Governor Babatunde Raji Fashola and Hon. Femi Gbajabiamila. The media had asked me what I was going to push for at the legislature and I’d mentioned “… cultural revolution…” My ambition was to legislate a national literacy campaign through a virile and vigorous push for literature as canonical for national development away from colonial or neocolonial bequest. I still look forward to being in the executive or legislative or even judicial position to tinker with our national curriculum through education, information, culture, entertainment and so on. 

  • Logic of re-naming National Theatre

    Logic of re-naming National Theatre

    • By Denja Abdullahi

    The action of the government of President Bola Ahmed Tinubu in naming  the National Theatre in Iganmu Lagos in honour of Wole Soyinka, essentially a playwright and theatrical impresario to mark his 90th birthday anniversary is a culturally strategic move  that has been well received by the art world at home and abroad.  If there is another name that befits that edifice apart from Wole Soyinka, that would be that of Chief Hubert Ogunde, who played a path finding role in entrenching the indigenous Yoruba travelling theatre and the film culture in Nigeria.

    Ogunde was also the person the government of Nigeria contracted to establish the National Troupe of Nigeria following the fallouts from FESTAC 1977, when the need to have a standing troupe incorporating the performance diversity became imperative , following the kinds of performances other notable African countries and other black nations across the world brought to FESTAC 77.

    The National Theatre was purposefully built to host FESTAC 77 alongside the FESTAC village in Lagos  that housed the various contingents across the world. The best moments of that edifice , whose architectural aesthetics was said to have been copied from Bulgaria and which in popular imagination looked like an army general’s cap , may be said to have been during the event it was built for itself-FESTAC 77.

    After FESTAC 77 or even at the onset of it, some negative philistinism from a section of the foreign religious-minded public condemned the building as housing fetish images and figurines and it was further alleged that the economic and social problems that engulfed the nation afterwards were due to the hosting of FESTAC 77  and the humongous resources used in the construction of that house of images and licentiousness. The National  Theatre began its spiralling downward into decrepitude when the last of the visiting contingents left its precincts for their various countries. 

    It was like the country built an arena with imported technology to host a monumental event and found itself unable to maintain the structure physically or regularly inundate it with artistic and cultural events. The iconic edifice thus began its journey into a grand decay which could not be arrested by succeeding Nigerian governments and the direct minders of the edifice.

    General Managers of the edifice over the years struggled to keep it relevant as the veritable cultural exhibition and performance space for the people but the philistines within and without government took the day. While some past minders of the space had fair  knowledge of what a space like that should do for the artistic community due to their theatrical background , other general managers who got appointed via their political connections enacted policies that drove the artiste far from the theatre.

    Eventually a period came when what was left of the grand edifice that hosted that world congregation of artistes, performers and intellectuals from the Black Civilization were not more than one or two barely functioning cinema halls, a slew of decrepit office spaces , choked basement filled with abandoned artworks and an environment called “Abe Igi(under the Samarkand or tamarind Tree)” where forlorn artistes gather to drown their sorrow and lack of patronage in alcoholic beverages and pepper soup.

     Happily, this story of decades of neglect of the National Theatre is in the process of becoming history as during the administration of President Muhammadu Buhari , a concession arrangement was reached with the Bankers’ Committee through the CBN alongside the Lagos State Government to revamp, remodel and re-purpose the edifice to its former glory and more. The National Theatre from all indications would soon come to life again  in full throttle as the one-stop artistic, cultural  performance space for the nation’s creativity.

    Beyond the main edifice which is been restored and transformed at the same time, the precincts of the theatre is to be built into several creative hubs and centres to cater for the burgeoning Nigerian creative industries.  It is therefore a good time to attach the name of a world renowned  playwright, artiste, theatre director, dramatist, cultural mythologists and consummate man of the arts to the national edifice. Attaching the name alone to the edifice would not sustain the place but it is hoped that beyond the newly refurbished theatre space and environment, a sustainable maintenance culture would be instituted.

    This maintenance culture should be tied to innovative and regular programming within the theatre and around it. The minders of the new National Theatre which now bears Wole Soyinka’s name should as a matter of necessity go round the world on a working tour to,  understudy  functional national theatres  to see how they operate and are sustained through regular and adequate state funding and constant programming.

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    Each national theatre in the world has a philosophy behind it that keeps it going. They are built to cater for the sustainability of national theatrical and cultural ethos and often keeping these aspects alive means they cannot be subjected to mercantile capitalist expectation and exploitation. The new national theatre should beware of pricing itself out of the reach of the local  , struggling -to -survive  artistes community. A national theatre should be a space to accommodate all sorts of performances and exhibitions both high-end and populist. It should be like an African village square that curates all kinds of artistic, cultural, theatrical exhibitions and performances for communal well -being and aesthetic enjoyment.

    It should also be highlighted that a national theatre is much more than a space to host performances and shows; it is also a creative hub and a laboratory to incubate artistic, cultural and theatrical forms   which after being well-forged can be taken round the country to foster national integration and communicate a sense of national pride and identity. The national theatre can be the physical edifice housing the spiritual cultural think-tank of the country .

    The new appellation alongside Wole Soyinka’s  name  given  by the government in the release for the renaming to honour Wole Soyinka @ 90  appears verbose and tautological. It is said to have been renamed “The Wole Soyinka Centre for Culture and the Creative Arts.”’  To me, “Wole Soyinka National Theatre” or “Wole Soyinka National Arts Theatre” is more appropriate.

    The words National Theatre already subsume or infer other referential concepts such as centre, culture and creative arts. Like Soyinka would say “a tiger need not proclaim its tigritude, it pounces.” It is what you do in a national theatre that matters not the name you call it.  Keeping a simple name that is being advocated here will do well to preserve the fact that the  edifice must remain a  NATIONAL THEATRE and not a new fangled “ centre for culture and creative arts “ which may eventually take the edifice away from the idea of being a national theatre.  And it must be said  that having a national theatre in Lagos is not enough to cater to nurture the dream of a thriving creative economy that has become a mantra with the President Bola Ahmed Tinubu’s  government. 

    A theatre befitting the federal capital city of the country should be built in Abuja like the Federal Ministry of Art,Culture and the creative economy has proposed and can be named after another deserving theatrical and cultural maestro. Certainly, it should not be built forever like the abandoned National Library in Abuja and building such a theatre from the scratch in these modern times is to employ the latest adaptable, smart technology that gives you a compact multifunctional space that can accommodate all kinds of performances and spectacles. 

    A befitting and functional theatre is needed in all state capitals of Nigeria and in all the local government areas to ground properly the Eldorado of the creative economy being dreamed and drummed into our ears.

    •Denja Abdullahi

    Poet, playwright and culture expert

  • ‘It is exciting moment for National Theatre’

    ‘It is exciting moment for National Theatre’

    Mrs. Adetola Akerele assumed the position of the General Manager of the National Theatre, Iganmu, Lagos, some months ago. She has since shown impressive signs of giving renewed hope and life to this national apex culture house. She tells Edozie Udeze in this encounter how she has mapped out new programmes and still maintains some of the existing ones to take Theatre to greater heights. And lots more.

    Mrs. Adetola Akerele, the General Manager of National Theatre, Iganmu, Lagos, is a woman of few words. She is someone who believes in using concrete action and accelerated programmes to meet the demands of her office. Since assumption of office, her primary area of concentration has been about how to use creativity and culture to grow the economy. Her love for what is Nigerian is not in doubt. All her utterances and duties show that she believes that enough GDP can always be garnered from the culture sector to improve the economic indices in the country.

    How then can culture be used to grow and add values to the economy of the nation? Her response is straight and forthright. She says “Yes, I think the fact that the president has created the Ministry of Art, Culture and Creative Economy shows that he is taking this seriously. Given the contributions we’ve made in films, in the music industry, in fashion, et al, and this shows how greatly the sector has contributed to the GDP. Even then, when the National Theatre is finally opened on completion, it will definitely create jobs; more jobs. Even before we start performing and do other activities we have created jobs through other areas. The Minister (Hannatu Musawa) herself is very committed; she is very, very committed to all these ideals. She supports all the agencies and departments to make sure they succeed in all spheres to make the sector achieve its mandate not just to the people, but to the government and the entire society. This is why also the private sector participation is essential. People have enough nostalgia about the Theatre and they cannot wait to see it completed”.

    Recalling how the Theatre was while growing up, she says further, “growing up, I still remember how foreign artists, like Cool and the Gang, One Way, all of them came to perform at the Theatre. Most weekends were good and busy then as people visited Theatre to watch those foreign musicians play to entertain Nigerians. People were expectant. But this generation has missed out on that. It was fun for so many people. This is the Theatre we want to have back to kick start the creativity of the moment. But thanks to the Bankers Committee. They have done wonderful jobs here inside and outside the Theatre Complex. And so we are looking to really engage the youths. I see a lot of them waiting for action. The mainbowl is undergoing renovation. Yes it is really an exciting time at the Theatre. In a few months it is going to be opened. And when that happens, when people visit Nigeria, the first place they will be is the National Theatre to check what is happening. That is the way it is now. When they come they will say let me book my ticket to go and watch a show or two. Since I came it has been a big challenge. In the first month when I came here, looking into the books and files studying them all, knowing the dynamics of how the National Theatre works, meeting the stakeholders in the industry, seeing what they are doing and we all can make it work… All these to see how to cooperate, collaborate, elevate and make the Theatre come alive again”.

    In all, Akerele is optimistic about the powers of culture to move on ahead and overcome. She says more, “With this, we will strengthen the performing arts space here. More programmes will be hosted here. And you can see that more beautiful spaces have been created within. It shows a truly new and renovated National Theatre. We will do a lot of training around performing and visual arts. Exhibitions will be happening most often alongside performing arts. Lots of artists will have the opportunity to perform in the halls. You will see total life return to the Theatre because all the amenities, all the facilities have been upgraded to modern standard. It is a big challenge but we will do it. I am looking forward to be the one to do it. A lot of Diasporan Nigerians will be encouraged to come and visit and be involved in the programmes to elevate art and make the creative economy work”.

    Talking about literature and the powers of storytelling in all these arrangements, the GM says “We will bring in the power of storytelling. We believe in the concept of literature and then the beauty of storytelling. And this goes for literature – drama, prose, cutting across board. We have so many beautiful stories. But we will do it in a way that literature will be made rich and people are engaged fully. It will involve the issue of scripts-how do you write scripts, compelling scripts, I mean. So, all these will come in, cutting across the aspects of film industry, fashion, storytelling, etc. Everyone has a story to tell (laughs)”.

    As an artist, art lover and art impresario, Akerele is at home with the department. All aspects of the theatre industry, fashion, performing arts, visual arts, literature, music, et al, appeal and matter to her. All her life, arts, the issues of culture have been her main forte. So she has come into office based on her pedigree, a pedigree that situates her as a go-getter. She is someone who breathes life into culture to get results. It is the same zeal she has brought into her appointment and to ensure a steady, progressive and functional National Theatre.

    She goes on once again to say, “Concerning play-reading which is synonymous with the Theatre, we are planning to do a play-reading section in Jos, Plateau State, very soon. It is a quarterly programme, yes. We will also do them in the universities in the town and gown programme. We will also visit Ibadan, to do same as soon as we get things properly worked out. We will build on the great things my predecessors have done. We will keep them all alive. Festival of Unity is also one of the greatest legacies. We will continue to maintain and celebrate it, for it is used to bring all artists together to celebrate unity and love. We will rely on these platforms to do more. We will do a lot of new things as well. Those we met on ground that are good, we will continue to project them while we also create new ones”.

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    Concerning the resuscitation of traditional films that have since ceased to be shown at the Theatre due to the renovation, she reassures that on completion, those films will return. Hear her, “Yes, the theatre will return. That is why it is the Theatre. The mainbowl is there. Films will be shown there as it used to be. That is why the renovation has to take place at all. It is to give space to theatre and to entertainment generally. No aspect of the industry will be left out. Theatre in all its ramifications will return to take back the spaces. Some spaces have already been designated theatre spaces. And many production companies have been here- from the University of Lagos, from Alliance Francaise and so on. These are great productions. Also we are concerned about content. We need to bring all of them in and have a complete Theatre where creativity is the key and the dream of all artists. So we are talking to a few production companies and outfits at the moments”.

    As for FESTAC’77 and its legacies, she maintains that her tenure may likely do a programme to commemorate the 50 years of the festival. She reaffirms so, “it is time to do 50 years anniversary of FESTAC ’77. Fifty is a milestone and it will be good if we can do the anniversary come 2025, I am working towards that. We will term it FESTAC Re-imagined and it will be time to revisit those cultural escapades that made the show outstanding. We will bring in all the cultural elements we see in other cultures into it. That will be an exciting moment, indeed an interesting project”.

  • National Theatre resonates with World Cultural Day celebration

    National Theatre resonates with World Cultural Day celebration

    It was just a day to remind the society about the nuances of culture. Tagged World Cultural Day, and celebrated across the globe yearly, it was time for the management of National Theatre, Lagos, in collaboration with National Association of Nigerian Theatre Arts Practitioners (NANTAP) to celebrate varieties of Nigerian cultural elements and ingredients. This was on Tuesday 11th June and EDOZIE UDEZE was there as the arena was ignited with the presence of artistes, stakeholders, culture eggheads and more.

    It was a bubbling day for all theatre lovers. Artistes were in joyous mood; while staffers of the National Theatre, Iganmu, Lagos, trooped out in their numbers to grace the celebration. This was on June 11th, when the World Cultural Day was celebrated. Venue was the Abe-igi section of the National Theatre and the celebration was organized by the management of the Theatre in collaboration with the National Association of Nigerian Theatre Arts Practitioners (NANTAP). The theme of the celebration was: Harnessing cultural diversity to foster unity and drive economic growth.

    It was an apt theme that helped to define the new mission and vision of the Ministry. It also goes to elaborate a fresh mandate handed down to the Theatre management which implores them to be up and doing. In other words, the moment to keep theatre premises alive through the organization of cultural and theatrical programmes every now and then has come. And so, as artistes gathered with the hope of a new era, it was also a moment to recreate the sector through versatile activities. While this went on artistes wore broad smiles on their faces showing in truth that time for economic growth and creativity is here.

    The Black Edge production opened the floodgate of cultural displays. As the dancers and singers took over the stage, the atmosphere was set agog. With people, both children and adults adorned in different colourful wears and attires, it became obvious that varieties of native wears can give meaning to what makes the people stand out in the world. While the dancers entertained on stage, the drummers raised the tempo of the arena. For a while it seemed the booming of Bata and Gbedu drums would keep the arena ever steamy. The sounds rose and fell, slowly seeping into the embers of guests. Even then most people almost got on their toes to join them on stage. Soon after this first phase of dance, Ogun, a sensational solo dancer and social media influencer took her turn. Her sensational outing further defined the real essence of creativity as part of the growth of an economy.

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    Her sassy movements on stage, with easy body movements, she showed that her bulky frame was no deterrent. She showed that fluidity is real and an added advantage to a dancer. Not done yet, Mrs. Tola Akinlere, the General Manager of National Theatre stepped elegantly onto the stage to welcome guests to the occasion. She was graceful in her carriage. Her elegance was not only electrifying; her classical poise was filled with the confidence of a lady ready to take Theatre and cultural matters to the highest level. She said “It is with great pleasure that I stand before you today on this auspicious occasion as we the National Theatre in collaboration with NANTAP celebrate World Cultural Day. Our gathering here is not merely a celebration of our diverse cultural heritage, it is also an opportunity to explore how we can leverage diversity to foster unity and propel economic growth in our beloved nation, Nigeria”.

    With an impeccable smile on her face, Akinlere went on: “Nigeria, our great nation is like an Adire, a George or babariga woven from countless threads of culture, language and tradition. Yes, from the rhythmic beats of Yoruba drums to the colourful masquerades of the Igbo, from the captivating storytelling of the Hausa to the exquisite beadwork of the Niger Delta and the unmistakable acrobatic ensemble of the Atilogu dancers, our cultural wealth is a testament to the resilient, creativity and ingenuity of our people”.

    With this stunning statement, the stage was set for greater performances by different artistes. The ever ready National Theatre choir soon went on stage. It was not surprising as they adorned themselves in different styles of local attires, men and women, all colourfully made as they represented the 445 ethnic groups of the nation. Their songs magnified the unity of the nation, they hinged on diversity, on love and cohesion. They sang in Hausa; they gestured in Yoruba and they heralded in Igbo, all in conformity with the acronym: though tribe and tongue may differ, yet in brotherhood we stand. Those who could not dance openly easily shuffled their legs and tilted their heads to the rhythmical flow.

    One could see in truth and in spirit how cultural ingredients and properties can be used to diversify love even to the point of a crescendo. Spicing the stage with innuendos, slogans and metaphors and in some cases wise sayings and all, artistes put up their best postures and displays ever. It was a moment to cherish, a time to actually fall in love with Nigerian cultures. Suddenly people were taken down to Owo, Ondo State, where Shekere dance holds sway.

    The Black Edge dancers were not done yet. With slow, steady and rhythmical movements of their legs, the dancers came on stage again. The songs were solemn and provocative, the style was shekere, this popular and award-winning soul- searching dance of the Owo people. With the tempo rising steadily now, the lead singer prowled in a frenzy on stage. She mesmerized the audience with candid smiles and dance steps. The shekere form of dance belongs to Owo people and it is styled on native sentiments. It synchronizes with the trendy nature of the people. There is plenty of love and accommodation in the songs; even the drums said it all as they went more frenzy in their sounds and evocation.

    As expected the rhythm of the songs softened the arena, while some people familiar with the dance showed their approval. Just in conformity as well, the costumes made of deep purple with dangling red beads on their necks and ichaka and horse tail in their hands further lent beauty to the outing. As they dazzled uncontrollably, people lost count of time. It was like the arena stood still as their voices rose high resounding into the cool afternoon atmosphere.

    More performances followed however. The presence of some artistes and lecturers from different universities, more so, the University of Lagos, added more impetus to the occasion. Artistes also came from sister parastatals and some nearby artistes’ settlements within the National Theatre complex. Now with Ben Tomoloju, one of Nigeria’s foremost culture activists, teachers, playwrights and writers handling the keynote address, the occasion soon regained its flavour. Tomoloju themed his speech: Exploring the role of multiculturalism in promoting entrepreneurship and innovation in Nigeria, he went into the areas that have to be properly harnessed for culture to meet the desired mandate in Nigeria.

    He said “it is a morally daring effort to address the subject, “multiculturalism”, these days in Nigeria because there are some factors on grounds which negate the sense of the subject in our sociopolitical life. Inter-ethnic-cum-religious conflicts which jeopardize the occupational activities of the rural populace are major amongst these factors. And, obviously, our authentic cultures are best expressed from the traditional perspective of which the rural communities are the greatest custodians. The bloodshed and incendiary executions happening in the name of religion and ethnic rivalries are what prompt one to submit that addressing multiculturalism in Nigeria is morally daring because they are internal contradictions in the affairs of the country which show traits of frustrations of the various attempts to foster a true sense of multiculturalism in Nigeria.

    “Nigeria, without doubt, is “a very ethnically diverse country with about 370 ethnic groups each with its own indigenous language and cultural peculiarity. This accounts for the much-vaunted rich cultural heritage of the country because the sheer variety, based on the huge number of ethnic nationalities cited above, is quite intimidating. So much is it that a single produce somehow reflects the resourcefulness of the country. The potential and resourcefulness of Nigeria can be metaphorically illustrated by one of its major cash crops; the oil-palm tree. So productive is the oil-palm tree that it is being put to not less than thirty different uses by members of the Nigerian rural communities as well as other African countries where it is grown”.

    He explains further, “here are a few of such uses. The spines of palm leaves are used to produce brooms for sweeping. Palm oil is produced from its fruit as a major food ingredient. The shaft of palm fruit once the oil is extracted is used for making fire. Traditional body lotion is extracted from palm kernel.

    Palm wine, one of the most popular alcoholic drinks is tapped from the palm tree. Even at a higher grade, ogogoro, otherwise known in some other parts of the country as akpeteshie, another popular alcoholic drink in the gin category, is produced from the palm tree. The trunk of the tree is used for the building in the rural areas”. And so on and so forth.

    A panel was set up on the long run to address certain knotty areas of Nigeria that are diverse but can be used to unify the country. These are languages, religion, attires and hairdos and so on. Members of the National Theatre team who addressed the themes did well to pinpoint areas for peace and harmony. On that note however, the celebration ended in a grand style.

  • ICPC urges synergy to instill discipline, moral values in schools

    ICPC urges synergy to instill discipline, moral values in schools

     The Independent Corrupt Practices and Other Related Offences Commission (ICPC), says there is need to instill discipline and moral values in schools to tackle the menace of corruption in the society.

    Dr Musa Aliyu, Chairman, ICPC, made the call on Wednesday at a one-day sensitisation session with schools’ anti-corruption clubs stakeholders within the Federal Capital Territory (FCT).

    Aliyu was represented by Mr Clifford Oparaodu, Secretary, ICPC.

    The theme of the event is “Enhancing Stakeholders’ Engagement in School Anti-corruption Initiatives.”

    Aliyu expressed concern that the rate at which corruption had crept into the fabric of the nation was alarming and must not be left unchecked.

    “There is no doubt that the cankerworm of corruption has crept into every nook and cranny of our daily lives including our basic educational institutions where the foundation for becoming a loyal citizen is being laid.

    “From the physical to the social infrastructure we’ve witnessed evidences of corrupt practices within our classrooms and the overall educational system.

    “From parents to teachers to students and other stakeholders this menace has gradually crept in to this very crucial segment that if left unchecked the future certainly becomes bleak.’’

    He explained that the commission had introduced Schools Anti-Corruption Clubs Initiative in its bid to help instill discipline, integrity and sound moral values at the basic and post basic educational institutions.

    “As critical stakeholders and custodians of this very noble initiative the Schools Anti-Corruption Clubs, it becomes imperative to scrutinise our strategies and appraise our performance in a bid to raise the bar and tackle this menace to a standstill.”

    While commending the efforts of all stakeholders in driving the noble initiative to the fore, he said that there was still room for improvement.

    He urged them to dedicate more time for Anti-Corruption Clubs in their schools wherein Club Advisers and ICPC officers would properly educate students on the ills of corruption and how to tame it in their school environment and beyond.

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    According to him, it is pertinent for principals, supervisors, and directors of relevant ministries/boards or regulatory bodies to work together and not dissipate energies too wide.

    He urged the stakeholders to synergise in sustaining  behavioural change drive among the young ones.

    “All anti-corruption and integrity issues in our domain should be handled under the umbrella of a single Schools Anti-Corruption Club to avoid duplication and/or multiplicity of function,” he said.

    The Executive Secretary Universal Basic Education, Dr Hamid Bobboyi, stressed the importance of all stakeholders to dedicate more time to educate the students on the ills of corruption and how to tame it in school’s environment and beyond.

    “There is need to rejuvenate the teaching the moral value in the society; when we are all growing up, we were part of the community, and community was responsible for ensuring that community members behave responsibly,” he said.

    Secretary Secondary Education Board FCT, Mohammed Ladan, also noted that corruption had eaten deep into the fabric of the nation; hence a major obstacle to growth and development as a country.

    According to him, corruption has penetrated into the Socio – economic and political system in such areas as cheating, embezzlement, Favoritism, bribery, sexual exploitation and nepotism etc.

    “It is worthy of note that corruption impedes the role of the education sector in supporting personal development; therefore, as it is said in our local parlance–let us kill corruption or corruption will kill us.

    “The time has come for all of us especially the heads of schools and the club patrons and patronesses to join hands together to stop it.

    “We must employ all necessary machinery and eschew all forms of corrupt tendencies as we take responsibility and strive to serve as role models of anti – corruption and integrity in all facets of our lives as we live above board,” he said.

    Other stakeholders, who spoke at the event, included representatives of Step up Nigeria Oluwaferanmi Iyanda, who urged the parents to join forces with teachers in instilling discipline in students.

    Iyanda said that collective effort was required to build future leaders and restore the eroded value system in the society.

    Also, Peace Ozegbe from Connected Development (CODE), urged more sensitisation programmes on fighting against corruption in the grassroots.(NAN)

  • Absence of defence counsel stalls trial of National Theatre staff

    Absence of defence counsel stalls trial of National Theatre staff

    The absence of counsel to an officer of the National Theatre, Ephesian Nodza, stalled his trial in a Magistrate Court in Apapa, Lagos.

    He is facing charges of conspiracy, defamation, and sponsorship of false and malicious publications against a Lagos-based traditional ruler, High Chief Kehinde Kalejaiye.

    During the resumed trial, Ephesian expressed his desire to settle the legal matter without going through a trial.

    He therefore offered the claimant a sum of N200,000 as financial compensation to dissuade him from proceeding with the trial.

    Ephesian also pleaded with the court to grant him one-week leave to enable him to seek forgiveness from the claimant for the allegations levelled against him.

    Responding to the offer, the claimant, High Chief Kehinde Kalejaiye, rejected his offer of N200,000 on the ground that he had spent a fortune to prosecute the case while also lamenting that his reputation was dented by the sponsored publications.

    Kalejaiye informed the court that he would only accept a financial compensation of N7 million, or he would not agree to any settlement.

    “I will rather go to trial than accept his financial offer of N200,000. I have spent a lot of money to prosecute this case. I have suffered a lot by way of my reputation being damaged in the media and before the public not to talk of the amount of business deals I have lost consequent to the malicious publications.

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    Your honour, as much as I’m willing to discontinue this legal issue, I’m demanding the sum of N7 million as compensation for the damages done to my reputation. My lord, it’s either this or no deal,” Kalejaiye told the court.

    Ruling on the matter, Chief Magistrate Olanrewaju Olatunji, consented to the one-week request by the defendant to plead with the claimant.

    He therefore adjourned the matter till May 28 for the commencement of trial.

    Earlier, the prosecutor, Mike Enejere, had told the court that Ephesian committed the offence for which he is being tried on April 9, 2023, at the National Theatre, Lagos.

    He added that the offence is punishable under section 95 (1) (b) of the criminal law of Lagos State of 2015.

  • Lagos traditional ruler commends Tinubu for appointing Akerele as National Theatre’s DG

    Lagos traditional ruler commends Tinubu for appointing Akerele as National Theatre’s DG

    The traditional ruler of Otumara community in the Lagos Mainland of the state, High Chief Kehinde Kalejaiye, has commended President Bola Tinubu for appointing Tola Akerele as the new Director General of the National Theatre.

    Kalejaiye, who described Akerele’s appointment by the president as a round peg in a round hole, tasked the new helmsman of the National Theatre to rebuild the disintegrated workforce and reconcile all aggrieved parties including the leadership of the union.

    He also urged the new director-general to investigate allegations of corruption and misappropriation of funds levelled against the past administration of the parastatal. 

    He, therefore, charged the new DG to chart a new beginning for workers of the parastatal by setting up a probe panel to look into all the allegations to bring erring officers to justice and recover all the stolen and illegally disposed items of the parastatal.

    He said: “I want to commend President Bola Tinubu for listening to the yearnings of Nigerians who have been calling for a change in the leadership of the National Theatre consequent to the massive corruption and looting of the assets of the parastatal.

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    “Also, I want to appreciate the President for the appointment of Tola Akerele and 10 others as DG for the parastatals under the Ministry of Arts and Culture. To this, I say the appointment cannot come at a better time.

    “Meanwhile, as the new appointees settle in the office, I want to specially task the DG, of National Theatre to make it a point of duty to investigate the past administration of the parastatal.

    “Also, the allegation of lack of openness and due process in the running of the affairs and sales of the properties of the parastatal against the management by the workers’ Union, RATTAWU and the Concerned Stakeholders should also be looked into.

    “This should be done to recover all the stolen items and artefacts including monies that were allegedly stolen through unapproved leasing of land of the parastatal. 

    “I cannot but also state that the audit reports of activities and finances of the National Theatre conducted by the office of the Auditor-General has been left unimplemented for so long. I am therefore appealing to the new DG to find a need in implementing this all-important document.”

  • Day National Theatre boomed with festival of unity

    Day National Theatre boomed with festival of unity

    It is an annual treat. It has entered its 4th edition. Themed Festival of Unity and mooted by Professor Sunday Ododo, the Gneral Manager of the National Theatre, Iganmu, Lagos, the festival was celebrated recently with fanfare. EDOZIE UDEZE writes on the ideals that made the festival one of the best in the society.

    Last year ended well for the management of National Theatre, Iganmu, Lagos. It’s usual annual festival themed Festival of Unity was celebrated with pomp and pageantry. The one day event opened with a lecture delivered by Professor Duro Oni of the University of Lagos. The idea of the festival is usually to celebrate Nigeria’s theatrical elements in which dance, drama, poetry, songs and other cultural elements are displayed to the full.

    Last year’s show was big.  The celebration began with a documentary film on D.O. Fagunwa. The film X-rayed the life history of one of Nigeria’s foremost novelists and storyteller who chose to tell his stories in Yoruba. It wasn’t that Fagunwa was not lettered in English. He was a teacher well versed in the English language   but preferred to use Yoruba language to convey messages to the people. In that film which was directed by Femi Odugbemi, it was clear that the strange Odumare forest where Fagunwa got his story is still a mystery to the people till today.

    A lot of scholars commented on the film and the role Fagunwa played to entrench the story in the annals of Yoruba history and tradition. Those scholars who commented included Professors Niyi Osundare, Tunde Babawale, Abiola Irele, Olu Obafemi and others. Each scholar believed that the peculiar scholarship and authorship of Fagunwa was unique and refreshing. He used his bravery, audacity of purpose and gift to enrich literature for humanity. The focus on the forest of a thousand demons has helped humanity to appreciate and understand the more the role of some plants and animals of the jungle in the order of things of nature and why God created them all.

    Fagunwa’s works symbolize language-Oyo variation of Yoruba language in all its ramifications. His force of expression shows his power of description and analysis. He also used poetry and music and proverbs to effect changes in Yoruba syntax. Some of the scholars noted that in ensuring the greatness of his works, Fagunwa sermonized since his recourse to the use of local language to write literature was a personal choice. In his works, one encounters the mastery of the language; and that is why his works are valued and appreciated by all manner of people especially those who love or who are versed in Yoruba language and culture.

    The festival of unity therefore saw staffers of the Theatre delivering songs and dances in different Nigerian languages. It was fun. It was deliberate. As they danced swinging left and right, they brought the mood of the yuletide nearer home. The hall was electrified to the point of frenzy. Guests sat in joyous moods, savouring the beauty of the song, the sonorous voices of men and women of the Theatre as they regaled the stage in colourful costumes. It was more of the display of beauties with assortments of the local fabrics with which they adorned themselves. The fabrics actually accentuated the unity and the beauty of the festival.

    As they sang, the audience clamoured and applauded them. It was good to see that almost all staffers of the Theatre could sing, could also dance and even act. It was an apt moment to prove that Professor Sunday Ododo the General manager of the National Theatre who himself is an unrepentant theatre guru has groomed into the theatre this firmament of life.

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    Little children from different backgrounds and localities also participated. Some of the children have been groomed to take theatre as a profession. And it was good also to see how some of them fitted into the groove, how much love and passion and commitment the children have brought into dance, into acting and other cultural displays. Then moved by the euphoria of the celebration, Ododo enthused: “National Theatre can always be seen as podium for boundless possibilities of Nigeria”. With this as the title of his speech an elated Ododo went into the pros and cons of the celebration. It showed that the idea that propelled the festival is an ideal one. Basically, theatre is life. Celebrations and festivals are moment to forge unity and bring people together in love and cohesion.

    Since the National Theatre is the epitome of such goals and idea, festival of unity becomes an occasion to celebrate, an occasion to foster unity of purpose across ethnic divides and barriers. As the 4th edition of the show, Ododo also reminded the public that NBC has given the Theatre license to operate its own FM radio station. So henceforth, you can tune in to 104.1 FM broadcasting from Iganmu, Lagos. The FM radio station is created for an all-inclusive theatre business- music, dance, drama, acting, play writing, scholarship, authorship, all, that make the sector boom.

     Ododo said further: “In this collective journey, let us take a moment to applaud and celebrate the unwavering resilience that has defined the heart of the theatre community. Faced with unprecedented challenges, our artists and organizers demonstrated a tenacity that goes beyond the ordinary. Each performance and production stands as a living testament to the profound resilience that has carried us through the storm. It is within these moments of challenge that the true character of the theatre community has emerged, marked by a determination that has not only weathered the storm but propelled us to greater heights.

    As we immerse ourselves in the myriad performances that grace this festival, it is essential to acknowledge the profound healing power embedded in artistic expression. Art serves as a balm for our collective wounds, an anchor in turbulent times, and a testament to the enduring strength of the human spirit. Beyond mere entertainment, each performance becomes a therapeutic intervention, resonating with our deepest emotions and fostering a sense of unity in the face of adversity. The arts, in their various forms, have proven to be an indispensable source of solace and inspiration, weaving a tapestry of emotional restoration that transcends the boundaries of time and space.

    As we collectively cast our gaze upon the expansive canvas of this festival, the panoramic view reveals a rich kaleidoscope—a mesmerizing convergence of cultures, ideas, and perspectives that unfold with breath-taking beauty upon this grand stage. Beyond being a mere spectacle of artistic expression, this festival emerges as a pulsating celebration of diversity, where each performance becomes a brushstroke, and every artist a storyteller contributing to a larger, intricate masterpiece. It is within the tapestry of this celebration that we witness not only a harmonious interplay of artistic brilliance but also a resounding proclamation of unity that transcends the boundaries of mere conformity. The stage becomes a dynamic platform, not for the stifling homogeneity of thought but for the vibrant celebration of our differences.

    Within the crucible of challenges that beset our artistic landscape, a profound renaissance of innovation unfolded, transforming adversity into a fertile ground for creative exploration. The arts community, resilient in the face of constraints, not only weathered the storm but emerged as pioneers, boldly embracing the technological wave that swept across our world. In this dynamic era, artists became digital alchemists, seamlessly blending tradition with cutting-edge innovation in technology. This festival, in particular, has become a living canvas—a dynamic testament to the limitless possibilities that unfold when creativity knows no bounds. It is here that innovation and tradition intertwine, engaging in an exquisite dance, creating a symphony of artistic exploration that resonates far beyond the confines of our stages. Indeed, this experience has been a fountain of new products and the discoveries of new talents that would service our creative industry and promote our creative economy.

    In the rich tapestry of our artistic community, as we joyously celebrate the kaleidoscope of diversity, it is imperative to shine a spotlight on the invaluable and multifaceted contributions of women. Notably, this festival stands as a beacon not only for the spotlight it casts on artistic excellence but also for its unwavering commitment to gender equality. It is a testament to the strides we have made and continue to make in empowering women, both within the limelight of the stage and the crucial roles that extend beyond the footlights.

    In this luminous gathering, where creativity knows no bounds, women have not merely taken their place; they have become architects of our artistic landscape. Their voices, once marginalized, now resound with strength and resonance, shaping narratives and challenging preconceptions. As we revel in the performances that unfold before us, let us acknowledge that every note played, every line delivered, and every directorial decision made bears the indelible imprint of women contributing to the symphony of our collective artistic journey.

    Moreover, it is a moment of pride and inspiration to note that our Minister of Art, Culture, and the Creative Economy is a woman – Barr Hannatu Musa Musawa, a visionary leader guiding us through the cultural landscape. Her leadership not only underscores the festival’s commitment to gender diversity but serves as a living proof to the heights women can attain within the echelons of influence in the arts. Her presence reinforces the idea that when women hold key positions, the entire artistic community benefits from the diverse perspectives they bring to the table.

    In acknowledging and empowering women within our artistic realm, we not only foster a more inclusive and equitable community but also harness the immense creative potential that flourishes when diverse voices are given the space to be heard. So, as we applaud the performances on stage, let us also applaud the trailblazing women who contribute to the magic behind the scenes, ensuring that the spotlight of empowerment illuminates every corner of our artistic endeavour.

    Important people in the sector attended the show. One of them is artistic Director of the National Troupe of Nigeria, Ahmed M. Ahmed. There were other important figures who felt it was a big occasion to be together. In the main the programme was produced by the Minister of Culture, Art and Creative Economy, Hannatu Musa Musawa.

  • National Theatre, our identity

    National Theatre, our identity

    The National Theatre, Lagos, has been described as Nigeria’s national identity and treasure. Minister of Art, Culture, and Creative Economy, Hannatu Musa Musawa made the remark in Lagos yesterday.

    She was on a one-day official visit to inspect the level of renovations at the theatre.          According to Musawa who was impressed with the level of work done in the edifice opined that this would usher in a new beginning for the sector.

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    “ Honestly, from what I have seen now, I cannot say it all. I cannot just articulate how marvelous this place is. It just represents much more than a structure. For me, it is an experience. The work has not even finished but you can feel the energy in it. When the work is finally done it will give the international community and Nigerians the opportunity to visit the place for the sake of tourism. She added: “It is not just breathtaking but the structure stands for Nigeria’s national ideals.    

    With her during the tour were the General Manager of the Theatre, Prof.Sunday Ododo, and the Artistic Director of the National Troupe plus other key officials of the ministry. The engineers in charge were also on hand to guide them through the tour.

  • Senate insists on non- sale of National Theatre, TBS

    The Senate has reaffirmed its commitment to the non -sale of the National Theatre, Tafawa Balewa Square and other national monuments.

    This is sequel to the adoption of the report of its Committee on Culture and Tourism at plenary on Thursday.

    Presenting the report, the chairman of the committee, Sen. Fatimat Raji-Rasaki said the committee was instructed to examine monuments across the country and report back.

    According to her, the committee traveled to Lagos and other parts of the country to assess the monuments and recommends that, given their historic and monetary value, they should not be disposed of.

    The chairman further said the committee came to a conclusion that some other monuments, which were hitherto not recognised as national monuments should be given that status.

    “Senate debated motion on proposed sale of the National Theatre and Tafawa Balewa Square and mandated the committee to work on it and report to back.

    “This followed the motion I moved on Dec. 20, 2017 on Federal Government’s plan to sell the monuments.

    “The Tafawa Balewa Square was instrumental to our history and the National Theatre was built for all blacks gathered to gather to celebrate the uniqueness of the black race.

    “The committee traveled to all the locations of all the monuments across the country and has concluded work on 32 edifices. Eight natural sites and four technological edifices,” she said.

    Contributing, Sen. Shehu Sani(PRP-Kaduna), said the monuments were important to Nigeria’s history and should not be sold off.

    He added that selling them off would be a great mistake as the historic identity attached to them would be erased, while generations to come would not have any sense of Nigeria’s history.

    “When we travel to other countries we visit historic monuments, and adding to revenue generation in those countries.

    “It therefore behooves on us to keep ours for visitors to have where visit and for generations unborn to have a sense of our history.

    “I visited Benin Republic monuments and the Slave Castle in Ghana among other countries and I saw how much they generate from them,”he said.

    The lawmaker urged parents to take their wards to historic places to teach them the country’s history rather than just visiting eateries and amusement parks.

    He advocated that rather than selling them, the country should find a way of funding and maintaining them.

    Sen. Yusuf Yusuf(APC-Taraba) said since the position of the senate is not to sell them, workable strategies needed to be evolved to manage them properly.

    “Selling may not be the best option but what do we do. I hear the square is under concession but is not well managed,” he said.

    Deputy President of the Senate, Ike Ekweremadu, who presided over plenary, said the monuments should be maintained rather than being sold off.

    “We need to maintain them and try a structured concession. There is no gainsaying the fact that monuments that should be maintained to be part of our history.

    “Some other ones should be identified in the course of time and as we evolve as a country to be named as national monuments,” he said.(NAN)