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Tag: National Troupe

  • National Troupe trains children for effective drumming

    National Troupe trains children for effective drumming

    Recently, the Nigerian theatre sector was busy when it celebrated World Drummers’ Day. The event which was held within the premises of the National Theatre, Iganmu, Lagos, was spearheaded by the National Troupe of Nigeria and other agencies and groups led by the Artistic Director Haja Kaltume Bulama Gana. But beyond the razzmatazz and eccentricism that accompanied the day’s celebrations, Bulama had earlier on that day organized a befitting drumming workshop for the younger artistes, students and some other people who have often shown interest in the affairs of drumming.

    In the first place, Bulama is a thorough-bred artist, her love for arts and cultural issues is almost legendry. Her idea of the workshop meant to rhyme with the celebration was essentially to draw world attention to the importance of drums in the cultural settings in Nigeria. It was also to give people the deserved opportunity to feel the glow on an important day like the World Drummers’ Day. So, in all intents and purposes her plan went on well.

    Different schools sent their students and pupils to be part of it. Dividing the workshop into groups Bulama and her team were able to assemble about six groups running into hundreds. It was to make the training easier. Students and trainees came from different parts of Lagos and were taken through the rudiments of drumming, stage by stage, bit by bit. The trainers bristled with Joy. The glow on their faces showed that the sessions were well received. The students responded through the brilliant questions they asked.  Some were eager to begin on time to go into drumming as a profession. And the bubble was endless.

    With assortments of drums littered everywhere within the precincts of the Artistic hostels, where the event took place the allure of the drums was irresistible. Artistes demonstrated the procedures by beating the drums. The giant drums-Gbedu, and other talking drums of all sizes produced amazing sounds. The sounds were evocative, resonated all over. The trainees were allowed at certain stages of the training to try their hands on drums. They too were excited.

    The atmosphere looked like a carnival arrangement. With sea of heads of people and different types of drums as they produced those provocative sounds at the arena, those who loved and could interpret the messages were moved to action. Bulama was in a jolly good mood as she moved around to ensure the success of the outing.

    In an interview with The Nation, she said, “yes as long as government has an agency like the National Troupe of Nigeria and approves money to run it, this is what we are here for. This training is part of why we are here to serve the nation, to train the people. We will continue to ensure that this legacy does not stop. Even then we should have new ways to inculcate the excitement of these drums. You could see how imposing and lively and inviting the drums look as they adorn this esplanade. We do all these mainly for the younger ones. What I aim to achieve with the National Troupe in the nearest future is to have all Nigerian festival of art where we have not only indigenous drums ad sounds but all kinds of instruments put together”.

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    She went on “in the end we will be able to identify a unique Nigerian tune. Wherever you are and you hear this tune, you will not only marvel, you know instantly that this is Nigerian. From the sounds, you will know that this is made in Nigeria. It will be like an orchestra. And in all you will not take away the drums from that unique and ubiquitous Nigerian orchestra”. Programmes like this one, Bulama explained must come on from time to time. “Yes, it is part of our mandate to keep this flow on and ever active. It is from here, from this type of session that we have continuity. These children are the future and the hope of the nation. And training them now and on time too, shows how committed we are at the National Troupe of Nigeria”.

    As the Troupe goes along with its many juicy programmes for the nation, Bulama promised to introduce more ideas and trainings that will keep the agency ahead of others. Her laudable dreams for the Troupe keep resounding. She said, “as we go along, we will still procure more drums. It is a bit hard now. But we will continue to do the much we can. You can see that the National Theatre itself is not ready yet to reabsorb us. But we have to move on with whatever we have to keep the Troupe active. It is clear that government is now paying attention to infrastructure and we have to key into it as well.

    “Then people will have proper place to exhibit and celebrate their art, and in particular the art of drumming and stage theatre. But again, we should encourage schools to add cultural programmes to their academic plans. This will make parents also to see some of these things through their children. The enthusiasm displayed by the children here today is a testimony of how culture can be of value where and when properly inculcated. Children should be allowed to be in this part of atmosphere to feel the rhythm and be together with one another”, Bulama said with a hint of smile of satisfaction.

  • National Troupe digitalizes Nigerian dances

    National Troupe digitalizes Nigerian dances

    National Troupe of Nigeria has started a programme tagged reimagining National Troupe of Nigeria through innovation. The idea is to establish culture in virtual reality which will also produce digitalized games, dances, stage drama and so on. The programme was launched recently at the National Theatre in partnership with Open Innovation Access. Edozie Udeze was there

    Over the years, National Troupe of Nigeria, a parastatal of Federal Ministry of Art, Culture, Tourism and Creative Economy has always proved its mettle. Seen as the least in terms of hierarchy in the ministry, yet it has often surprised the public with the level of performances and activities it discharges year in year out. Now with Kaltume Bulama Gana, a renowned fine artist as its Artistic Director, the National Troupe has continued to roll on towards progress.

    To end the year 2024 on a remarkable note, the management of the Troupe put together a beautiful programme which it tagged reimagining the National Troupe of Nigeria through innovation. With a rider which says culture in virtual reality and digital games, the innovative programme with Open Innovative Access. Essentially the noble idea is to refocus attention on the model trends of using dance as a formidable cultural tool to curry the attention of the world. The global stage has already gone digital. And since dance, acting, drumming, singing and so on have come to dominate centre stage including the social media space in many ways. Gana has deemed it expedient to allow the activities of the Troupe also to fall in place.

    As remarkable as it has come to be, the National Troupe is still the apex culture ambassadors of Nigeria. This is a Troupe that has toured almost all corners of the globe, dancing, singing and espousing the richness and vibrancy of Nigeria’s many traditional and local dances. Dance-drama, drumming, local folklores, fluting and all, have all helped to distinguish the Troupe from the rest. So reimagining the Troupe at this time is not only timely, it goes to show also that Gana is in tune with the ever changing world of technology. The event took place at the National Theatre, Iganmu, Lagos, on 21st December with presence of many stakeholder, artists, art lovers and staffers of the Troupe in attendance. The atmosphere was agog as if it was a street carnival. The beauty of the arena showed that the Troupe always likes colourful shows.

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    The artists were in their best mood. Music played on and on and thrilled and entertained people. The mood appeared joyous and pleasant. Then suddenly it was time to bring Gana to the podium to welcome guests. Her elegance and poise reignited the arena. Her eloquence pierced the air as the Dj played solemn and soft music in the background. Then Gana said,”esteemed guests, and fellow Nigerians, today, we stand at the precipice of a new era where tradition meets technology and culture transcends boundaries.  Therefore it is with great pride and anticipation that I announce a groundbreaking initiate that will forever redefine the landscape of Nigeria cultural expression”. As she spoke, guests displayed their high level of appreciation because this time around all the events of the Troupe will be in digitalized form. In that case, all elements of cultural properties of the Troupe are open to global exposure.

    Working in collaboration with Open Innovation Access headed by Sola Adekanye shows a visionary journey to integrate cutting-edge technology into Nigeria’s cherished cultural dances. So Gana went on, “this immersive experience will not only elevate the artistry of our dancers, but also forge a deeper connection between the younger generation and the rich heritage of our nation”. It is true that if this programme is carried out its logical conclusion, time will come when many nations of the world will be compelled to visit Nigeria on residencies on dances, dance patterns, movements, choreography and more. The richness of Nigeria’s local and traditional musical instruments when properly handled by seasoned artists and professionals have no equals anywhere else.

    Now, if the numerous traditional dance forms in Nigeria cutting across over 450 languages and ethnic groups are combined in a state-of-the-art technology, National Troupe will of course create breathtaking performances that can transport viewers to a realm of wonders and imagination. And in all intents and purposes, Gana seems entirely committed to this goal, this mission.

    The Minister who sent in a representative in the person of Mariam Ajagu reiterated the need to keep Nigerian culture ever afloat. Ajagu an adviser on culture to the president but attached to the office of the minister, Hannatu Musawa was of the opinion that this project would actually bring innovation into Nigerian repertoire of dances. It will also attract global audience to the Troupe and Nigeria as a whole. “This is in line with keeping dance alive. It is indeed a great endeavour”. In her own reaction also, Nigeria’s foremost actress, artiste and one the pioneers of Nollywood, Joke Silva praised the vision by the Troupe. She regaled the crowd with the history of how she and her husband Olu Jacobs, met at the National Theatre under the auspices of National Troupe of Nigeria.

    It was indeed a moment of reflection for her as she spoke and recollected those early years when the Troupe was still gathering momentum. Joke said, “It is a nostalgic moment for me. I met my husband here years back when uncle Oduneye was the Artistic Director of the Troupe. The play that brought me and my husband together was The King Must Dance Naked. Both of us were on stage together. In those days, we used to focus attention more on live and stage performances. But then we used those years to look into the future. Today I am happy the Troupe has moved on. No doubt this programme will help to project our numerous dances far into the world.

    For Joke, this arrangement can help to discourage the younger ones from focusing more on Western cultures. Nigerian folklores can now be conveyed through this new technology. It is truly an amazing programme and so with excitement people will look forward to more years of perfecting different dance forms and movements and patterns. For Shaibu Husseini, the CEO of National Films and Videos Censors Board, who is also a dancer and a former staffer of the Troupe, said that the idea of reimagining is apt and prompt. “This is a beautiful collaboration that is tech-driven. This is the first time this sort of programme is being introduced in the Troupe. It will serve as an avenue to properly market, distribute and create more awareness about the activities of the National Troupe of Nigeria. With tech now you may not need to travel but hookup on the screen to view what the Troupe has to offer”.

    Indeed things are changing fast. Dance must equally follow. Dance has to follow the trend of this new technology and that is exactly what the Troupe has done. In his own response, Adekanye of Open Innovation Access recalled how he met with Gana and then brought up the idea of reimagining which has now become a reality. “We were inspired by African cultural and traditional elements and the need to preserve them in modern technological form to embark on this collaboration. We know that culture is life. It is people’s way of existence, habit and all. Therefore today what we have is history in the making. It will serve as an enduring experience for Nigerians at home and abroad. Present at the occasion were big time artists, scholars, actors and actresses and all the members of staff of National Troupe. A little demonstration of the new technology of dance was amplified for guests to view and enjoy.

  • National Troupe to host CCSW command performance

    The National Troupe of Nigeria (NTN) will on September 4, hold a command performance of Children’s Creative Station Workshop (CCSW) the News Agency of Nigeria reports.

    With the theme, The Dented Hill, the play was created by the participants of CCSW and directed by foremost dramatist and choreographer, Peter Badejo.

    Coordinator of the workshop, Ms Josephine Igberaese, told NAN on Tuesday in Lagos that the workshop was aimed at developing children’s interest in creative activities.

    “If we want to sustain the creative industry with focus on stage plays, we need to catch the talents young. To make them to be interested in arts, culture and drama, we have to be able to teach them the nitty-gritty of what performance entails.

    “We are using the platform as part of the National Troupe’s contribution to grow performance arts and children drama,” she said.

    The Artistic Director of the NTN, Akin Adejuwon, said the workshops started in 2010, adding that it was instituted to develop children artistic interest and acumen.

    “We do not want to waste the talents in them; we need to give them a platform to develop,” he said.

    According to reports, The Dented Hill is about the struggle for independence, peaceful co-existence and the progress of the nation before a sudden twist.

    The play portrays militancy, insurgency, ethnic divisions, religious intolerance, corruption and others social vices that are slowing down the growth of the country.

    NAN reports that the six-week workshop started on July 26 with about 120 children. They were engaged creatively in the areas of acting, improvisation, miming, dancing, writing, voice training and singing.

    The NTN was established in 1991 for live performances of dance, music, drama at national events.

     

  • National Troupe: For the love of Nigeria

    National Troupe: For the love of Nigeria

    With series of satires and performances based on the need to move Nigeria ahead for more effective and concerted change, the National Troupe of Nigeria has moved to Abuja, the nation’s capital to preach the message of cultural and moral rebirth. The event tagged ‘I Love Nigeria’, took place on Valentine Day at the Unity Park, Abuja. Edozie Udeze reports

    In its guest to continuously search for a better Nigerian society, the National Troupe of Nigeria (NTN) has devised a new pattern of dance drama to capture the heart of the Federal Capital Territory (FCT) Abuja. Last weekend, in collaboration with the National Orientation Agency (NOA) in what was termed “I Love Nigeria” the Troupe presented series of dances anchored on the unity and progress of Nigeria.

    Held at the Unity Park, Abuja, the dances were done on Valentine day, to show love, true love, rooted in the heart of people can help to move Nigeria to the next level where ethnicity, religious bigotry, hatred, narrow-mindedness and political thuggery would soon be flushed out in the national psyche of the Nigeria society.

    This was why the dances and dramas were performed essentially to touch on those terrible habits Nigerians display that have not encourage the society to prosper. All aspects of professional misconducts in the society were harped on, in which every body was asked to sit up to ensure that Nigeria is made a better place for all and sundry.

    Thus doctors were cajoled to be upright in their treatment of patients. It was good remind them that the head condition of the vast majority of people lay in their hands. Therefore it behooves on them to use their sound professional ethics to give the people the best medical facilities ever. In it, Sobifa Dokubo who acted Nigeria was decked in the National colours of green-white-green, designed to represent the Niger Delta symbolic designs. Dokubo, a veteran of stage, used the opportunity to scold all professionals represented in the play to do the best for the total cohesion, progress and development of Nigeria.

    Each profession has a duty, to perform to put the Nigerian society on the right track to stardom. Both doctors importers, farmers, teachers, civil servants, engineers, the youths, artisans, artists, owe it to the people to discharge their duties diligently for Nigeria to measure up with the rest of the world.

    What will it profit a farmer when he uses fake  and inferior fertilizers to produce crops, that will be harmful to millions of Nigerians? Most of the organically produced food crops pushed into the market pose serious health hazards to the people if all professionals adhered  to safety of their professions; if they truly love the Nigeria society and its teeming people, then they will have the heart to commit less atrocities in order to save the people. No society ever gets it better when its engineers keep building substandard houses that collapse at the slightest whim. No government will be happy to see its engineers do roads that do not last longer before they begin to develop potholes. This was why the drama infused with heavy dances were quite appropriate to pass the message across to teeming crowd that gathered to watch the shows.

    In their midst were soldiers, both serving and retired who saw in the plays renewed zeal to fight more to liberate to people for clutches of Boko Haram. Also present were top civil servants who were told to be more punctual to work and produce more to help the economy grow.

    Civil servants who report to duty say by 10am and register 6.30 am where admonished to desist from the habit forthwith. In his fatherly artistic way, Dokubo intoned “ Oh, it is not good when you falsify your age to remain for ever in the service. It is not good when you habitually produce ghost workers in order to cheat the system; when you make people’s files to disappear at random. And then threaten to go on strike for salary increase for works you did not do diligently. For most part, the arena was silent; people were somewhat reflective and sober. The messages hit them hard on the head. The usual clapping and acclaim that accompany such satires and hilarious place did not happen. Nigerians were told the truth in a way that was new on them.

    “Oh yes,” Akin Adejuwon, the Artistic Director of the Troupe said “it is to make the messages clearer to the people. Change has to be made concrete; people have to know what it is to make a meaningful change. It has to start from each and everyone of us. So, while the NOA uses speeches to do it, we use actions, performances, shows, plays, dances, songs, etc, to permeate the people. The beauty of artistic demonstrations or performance art is that its effect is instantaneous. You feel it as it is being released and you take the message home and chew on it. Most times, they message is addressing you in particular, noting those bad habits you have which you must shed to make progress. This is why we have adopted this method and I hope it is catching on fast.”

    In a way the project is a continuation of the vow and promise Adejuwon made at the initial beginning to take the Troupe to all the crannies of the society. “Yes, we are taking the Troupe out of the National Theatre, Lagos to other places to let Nigerians feel the impact of the Troupe. The dances, the dramas, the songs, et al must reflect on the areas of the Nigerian problems in order for us to move on ahead.”

    In his own speech, Mike Omeri of NOA reiterated the need for Nigerians to fall in love with what is their own. “On a day like this and even beyond, Nigerians need to show real love to one another. This show today is to remind us that love is in the air and it has to be a continuous habit. We need to overcome prejudices and ethnic problems in order to grow as a nation. What is right for the society is what we should do. Let us always remember to show love whether we here or somewhere else. For, to us, love is universal”

    “In other words, let love be our armour. Today Nigerian soldiers have to be celebrated for having degraded Boko Haram. No territories are in the hands of Boko Haram today because our soldiers have been diligent. It is time therefore to dedicate today to them and ask them to do more for the good of nation,” Omeri said.

    In her comment about the play, Josephine Igberease who conceived the show said, “On a search to reward true patriotic citizens in the season of love, Nigeria (a father figure) assembles all contestants from all works of life – From the teachers, to the doctors, engineers, farmers, artisans, youth groups, business tycoons, to mention but a few. Everybody gathers together in groups with the song of ‘I LOVE NGEIRA’ in their mouths, singing praises of themselves with pride. After all the merriment and boastfulness of individual group achievements, the story take a new turn when Mr. Nigeria announces no one is the winner. He goes further to show them the areas where they all fall short, and motivates them to change their ways if truly they love him, Nigeria. It is a story of CHANGE.

  • National Troupe dazzles as University of Ilorin turns 40

    National Troupe dazzles as University of Ilorin turns 40

    It was a moment of celebration for the University of Ilorin as it turned 40.  On hand to add glamour to the one-week festivities was the National Troupe of Nigeria which performed at the Multipurpose Hall of the University last week in what was adjudged a glorious moment both for the university and members of the Troupe.  Edozie Udeze who witnessed the event, reports

    The atmosphere was agog with excitement as the crowd surged into the hall.  When  it was time for the show to begin, there were many people who could not hold back their joy and enthusiasm to be part of the euphoria.  This was last week when the first event to kick-start the University of Ilorin 40th anniversary celebrations started.  The venue was the imposing new Multipurpose Hall of the university.

    In the beginning, the National Troupe of Nigeria and the National Troupe of Ghana were billed to perform to usher in the one-week event.  However, when the programme was later altered, the National Troupe of Nigeria was given the go-ahead to showcase its own series of dances to pave way for other events.  The show however seemed to serve as an eye-opener as the 2,000 capacity hall was filled to the brim.  And the National Troupe dancers were equal to the task.  As the talking drummer appeared on stage to herald the performances, the crowd cheered and jeered, giving him rousing acclaim.

    The drums beat to the rhythmic tempo of the moment, telling the audience to get ready for the real dances.  The dances were arranged to suit the spur of the moment.  Titled Iba – homage, the dances came in three stages, anchored around the traditional dances of the three major tribes in Nigeria.  Although Iba was done and produced a few years ago, Akin Adejuwon, the Artistic Director of the Troupe said it was performed for the purpose of re-echoing change in the society.

    With the sudden appearance of the priestess of Yemoja in glittering and shimmering white costumes, it was indeed time to look at the peculiarity of the roles of the gods and goddesses that have been holding forte for the society over the years.  Played by Ayo Ewebiyi, a renowned artiste, singer and chanter, she tried to appease the traditional deities in order to register for peace and change amid suffering and hardship.

    It was when the other dancers joined on stage that the crowd went wild with ecstasy.   The dance patterns did not only synchronize, it was time to use the symbol of white costumes to curry for purity.  And since the gods in the persons of Yemoja, Obatala, Sango and Orunmila were meant to liberate the people from the clutches of undue impediment, the sequences of the dances were used to register the message in the minds of the people.  From stage to stage, from phase one to phase two, the instruments sounded clearly for the dancers to stampede problems out of the lives of the people.  And then Ewebiyi’s voice rose to a mad frenzy, pitching high into the hall.  She was troubled in the spirit, begging and cajoling that the gods and goddesses square themselves up for this much orchestrated change.

    Yet the dances did not stop there.  When the war dance of the Ohawfia people of Abia State took the stage, the stampeding feet of the warriors immediately changed and charged the rhythm of the renditions.  The war dance was both for peace and liberation.  How can the people wriggle themselves free from the socio-political issues at hand?  Who can be there to rescue them when their enemies come charging at their door steps?

    But Arnold Udoka, who choreographed the show opined that it was time to pay homage to the ancestral spirits; time to ask them to come to the aid of the people.  For this, a cock was used to appease the land and ensure that success and progress became the lot of everybody.  “As we transit to the other level, we have to call on the powers that be to accept what we have to offer to them,” Udoka, the director of dance of the Troupe, explained.

    This dance was always used to test the prowess of the youths and their readiness to wrestle power from their enemies.  The strength of the dance, the heavy percussive nature of the drums and other local instruments used to celebrate it, all pointed to the fact that this was not for the lazy youths in the community.  As their whole bodies shook to the sounds of the drums, their eyes and attention were promptly focused on the need to give psychological succor to the people.  The dance steps were forceful and urgent, signaling an era when people have to be on their toes for concerted change, the type of change that must permeate the inner psyche of everyone.

    The last dance showed moments of transition, moments of healing, deep-rooted and evocative healing meant to encourage both the leader and the led to sit up or be swept away by this momentous urgency.  As the crowd screamed for more, the farmers who tried to outsmart one another in their dance patterns, displayed the type of acrimony that often play itself out in most communities.

    Here, it was Dayo Liadi of the Olorioko fame who played into the hands of his foes.  They hounded him and soon he succumbed to their whims and caprices.  Having been carried off the stage, it was time to give him his strength and courage and healing back.  A sorcerer was sought, a very potent and powerful one who immediately began to invoke her inner power.  A moment of struggle ensued between her and Liadi who now was not in control of his own senses.

    But a clear and long-lasting healing must be accomplished if there was to be peace and harmony in the land.  To this end, Adejuwon said: “Yes, this dance shows the processes of healing in the country.  The processes seem to be slow, but you can see that the moment of change is here.  President Muhammadu Buhari is for change and that dance shows that after much hatred and backbiting, change becomes the answer; the ultimate for everyone.”

    And so, it was truly time for change.  People who lost their values; who thought that their whole essences in life had been totally debased were restored to life.  Vou Bala who played the role of a sorcerer is widely known for her full interpretation of this message.  A widely travelled artiste, Bala came in from Jos, Plateau State, to give that role its maximum touch.  Bala bestrode the stage like an unseen spirit.  Her presence indeed filled a lot of people with awe.  For here was an actress who could not hide her natural penchant to infect people with her stage mesmerisation.  Hers was a role that stirred people into unbridled consciousness, a resonating fact that theatre or dance is for change.  Indeed, it showed that dance is a potent vehicle for meaningful and progressive nuances in the society.

    Professor Gabriel Olatunji, the deputy vice-chancellor in-charge of research who stood in for the Vice-chancellor of the University, Professor Abdul-Ganiyu Ambali told guests that it was time to use the occasion of the double celebrations to bring out the best in the university.  He said; “the National Troupe has both national and international status as they usually showcase the best for the country.  You will never regret you came here to watch them give you series of the traditions of the people in form of dances.  Indeed this evening is important to the university community, for it is a rare occasion for us all to see these stimulating dances anchored on the Nigerian people.”

    The crowd equally reciprocated, for even when the occasion began later than the scheduled time, people still waited.  And it was time to savour the aura and profundity of the dances, the crowd showed their full appreciation and gratitude.  They acknowledged the fact that this is an era of change.  Ismaila, a 200 level student of the university who said he just strolled in to watch the show, said “oh, for me, each dance here was Nigerian.  They all showed how we can use culture to preach love, togetherness and unity.  You could see how the people reacted to every movement the artistes made on stage.  I was so thrilled I even forgot it was getting late to go back to town.”

    Thanking both the university and the National Troupe for the rare privilege to see some of the big artistes live on stage, Osondu, a first year student of the school opined that dance has been a better tool for national consciousness and cohesion.  “You could see the crowd of people that turned up for this.  It was unprecedented and that shows that we can always use what we have as our traditions and customs to cement love.”

    In it all, the National Troupe artistes proved that they are truly national; ever ready to exploit and explore the myriad of Nigerian cultures.  With the assortment of costumes assembled and put to use by Winifred Akunne, no one was finally left in doubt whether the Troupe has everything going for it.  The costumes did not only bring out the scenes properly with well-orchestrated stage directing and lighting, they all highlighted the real epitome of theatre.

  • National Troupe gets four new directors

    National Troupe gets four new directors

    Four Deputy Directors in the National Troupe of Nigeria Mr. Elemi Hilary Omogor, Ayanwu Chidozie Michael, Bisi Ayodele and Adejoh Lawrence Wada have been promoted to Director effective January 2015. Their promotion followed an examination that was conducted and supervised by officials of the Human Resources Department of the Ministry of Tourism, Culture and National Orientation on August 10.

    Elemi, formerly Deputy Director Technical and Production Services, is now Director of the same department. Anyanwu, who holds a BA and an MFA in Theatre Arts from the University of Calabar and an MS.c in Mass Communication and LL.B from the University of Lagos takes over as substantive Director of Music. Elemi holds a BA and MA in Theatre Arts of the University of Calabar. He joined the National Troupe in 1983; Anyanwu joined in 1989.

    Also, Ayodele who holds a B.sc in Sociology of the University of Ilorin,  is now Director in charge of Human Resource Management; Wada, who holds a B.sc in Economics from the University of Maiduguri and an MBA and MSc in Financial Economics from the Lagos State University was promoted to Director in charge of Finance and Account.  Ayodele joined the National Troupe in 1991; Adejoh joined in 1993.

    The National Troupe of Nigeria is a parastatal of the Federal Ministry of Tourism, Culture and National Orientation.

  • National Troupe celebrates Ogunde

    National Troupe celebrates Ogunde

    The National Troupe recently paid homage to the home of theatre icon, the late Hubert Ogunde. Ovwe Medeme reports

    It was a day of celebrating the theatre world in Nigeria and the Artistic Director of the National Troupe of Nigeria, accompanied by his management team and the entire members of the troupe, paid a visit to Ososa, in Ogun State, the hometown of renowned moviemaker, Hubert Ogunde.

    Members of the troupe met a sleepy community on Saturday when they arrived and were received by the son of the late doyen of the art world, Bayo Ogunde. The younger Ogunde welcomed members of the troupe to his residence, describing it as a thing of joy that the legacy of the pioneer actor still lives on, years after his passing away.

    Explaining the rationale behind the visit, Artistic Director of the National Troupe, Akin Adejuwon said that it is important that the history of art is preserved, especially in an environment like ours, Africa.

    “We have very littlehistory because things perish easily after the original makers.I have been around and I have worked with quite a number of very important people in the arts and I hardly see many of the families at the demise of the head, keep the legacy going most efficiently as you have done. For that, I want to commend you.I realise as an art historian, that artistic practices in Yoruba land are familial in nature. I knew that we would still find Ogunde here. This is why it was important that we pay this visit,” he said.

    Receiving the members of the troupe, BayoOgunde announced that his family is set to mark the 25th anniversary of the demise of its progenitor with the opening of a museum in his honour. According to Ogunde, who took the troupe on a tour of the facility, April 24 has been fixed for the celebration.

    Responding, Adejuwon said that the body will be collaborating quite closely with the family on the opening of the museum.

    “I’m very impressed with the organisational strength of the family and it really strengthened my belief in the fact that the development of art in traditional African culture is pursued by families. Like BayoOgunde, the son of the doyen said today, the artistic calling is not a general one. What I saw today has just confirmed again that maintaining the memory of Hubert Ogunde in this family and the way they are organising the museum to become a tourist destination is one of our very strong focus,” he said.

    Prior to visiting Ososa, the troupe made a stopover at Ijebu Ode to pay homage to the first ever Artistic Director of the troupe, Bayo Oduneye.

    Thanking Oduneye for what he described as an inspiring track record and selfless service at the troupe, Adejuwon said;”all we are just doing is to let you know that we recognise you as one of our very worthy predecessors and that we will like to tap from your wealth of experience. We want to interface with you. In Africa, we know that our elders are mobile libraries of the community and of the nation. There is nothing much that we can do than to acknowledge that contribution and celebrate your life.”

    Oduneye, an octogenarian, encouraged the members of the troupe to be focused on the chosen profession and to see themselves as special.

    “Now I’m getting very old but thank God I can still move around. When I got the call that you were coming, I felt very elated. You have to remember that if you are serving in the theatre, you are serving God. Somebody said many years ago that to serve the theatre is my profession and in serving the theatre faithfully, I am serving God. If you are in the theatre and you are not sincere to it, you won’t get the best in life. It has a way of short changing you. You won’t know. You just find yourself gradually going outside of it and you don’t know why,” Oduneye encouraged.

    He described as unfortunate, a situation where the theatre practice in Nigeria is on the decline. “The national troupe kept the theatre going for a long time, but then funds is always the problem. Unless we get funding, we cannot develop. The theatre generally in Nigeria is dead. It is dead because there are no funds to do anything. Most of the actors have turned into something else. Thank God for television but there is still something about the live theatre. You cannot compare the live theatre to anyother.

    Accompanying the Director on the trip were ArnoldUdoka, Head of Dance and Choreographer of the National Troupe; Hilary Elenu, Deputy Director in charge of Technical Services of the National Troupe;BisiAyodele Head of Administration; artistes and some support staff of the troupe.

    At both visits, members of the troupe treated their hosts to dance performances.

  • My vision for National Troupe, by Adejuwon

    Barely one month after assuming office as the Artistic Director and Chief Executive Officer, National Troupe of Nigeria, Mr. Akinsola Mendra Adejuwon says the greatest asset at the troupe is the quality of staff, reports Assistant Editor (Arts) Ozolua Uhakheme.

    The newArtistic Director and Chief Executive Officer, National Troupe of Nigeria, Mr. Akinsola Mendra Adejuwon, has said given the quality of staff at the National Troupe of Nigeria, his job is a walk-over and it would be a wonderful experience. He said his new job is like that of a coach and a scout, but that the troupe he inherited is to take one or two notches up as he is conscious of the import and its responsibilities to Nigeria.

    Adejuwon who spoke in Lagos at the weekend for the first time since he assumed duty on September 11, said that the National Troupe of Nigeria is planning an international festival that would provide regular platform for the troupe.

    “We want to be out once a month as well as in each of he state of the federation with performances. We must also be relevant and our theme will address performance expression in a conflict environment such as military formations and barracks. We are looking at ways to synergise with relevant agencies within and outside Nigeria to keep National Troupe productive and acknowledged,” he added.

    He regretted that for now, the troupe is homeless because the National Theatre is being run as a profit venture. He expressed fear over the financial capability of the troupe to pay for hall at every rehearsal and production. “If we have to pay for hall or stage during rehearsal and production, then we will be in a financial mess. However, my vision is that in a short while, we may not depend on funding from government, which is dwindling,” he said.

    The new chief executive officer assured that under a rejuvenated National Troupe, there would be aggressive marketing of programmes in order to serve its public and private sector customers adequately. According to him, the troupe is also considering taking the annual creative workshop to the three regions of the country in order to expand its scope of participation.

    On the visibility of the troupe within and outside the country, Adejuwon said: “We are going to be very active on the web in order to reach a wider audience beyond the shores of this country. This will also take care of the misinformation about the troupe and the country.”

    Reacting to what would be the added value he is bringing to the National Troupe as a visual artiste, he said: “My festival background at the Obafemi Awolowo University, Ile-Ife and working with Prof Wole Soyinka gave me the push to do better as Artistic Director of National Troupe. In fact, when I worked with Demas Nwoko at New Culture Studio, Ibadan, I learnt set and scenic designs among others. I lived with dancers and I ran a private music and performing outfit. My street credibility is great and I survived on art.” Adejuwon who hails from ekiti State takes over from Mr. Martin adaji. He becomes the fourth Chief executive Officer of the National Troupe of Nigeria since the Troupe’s formal establishment in 1991. Foremost Theatre Director Mr Bayo Oduneye and the Dean of the College of Humanities of Redeemers University Professor Ahmed Yerima have at various times led the Troupe as Artistic Director.

    A theory cum practivcally oriented Artist; Mr adejuwon was until his appointment as Artistic Director on Thrusday september 11, 2014 a Museum Curator of the Institute of Cultural Studies of  the Obafemi Awolowo University, Ife, Osun state. He holdds a Bachelor of Arts Degree in Industrial design of the Ahmadu Bello University, Zaria and a Master of Arts Degree in African Arts Studies of the Obafemi awolow University, Ile-Ife.

    Currently the chairman of the Osun State Chapter of the Society of Nigerian Artists (SNA) and member of the Nigerian filed Society, the new Chief Executive Officer of the National Troupe has designed, organised and attended several conferences, seminars and workshops and has curated, coordinated and executed a number of local and internationally acclaimed exhibitions.

    A widely travelled artist whose current research activities include a study on Festivals of Yoruba land, Mr. Adejuwon has since been meeting with management, staff and stakeholders of the National Troupe. His imemdiate His immediate plans, as Artistic Director is to reposition the National Troupe and to make the Troupe a truly national and international performing arts company.

    At a brief handing ceremony held at the National Theatre on Thursday, the former Artistic Director Mr. Martin Adaji congratulated Mr. Adejuwon on his appointment and thanked President Goodluck Jonathan for giving him the opportunity to serve.