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Tag: Nigeria Literature prize

  • Back to the Nigeria Literature Prize

    Inevitably we are returning to the Nigeria Literature Prize (NLNG), and why not? It is reputed to be the biggest literary prize after the Nobel, even though it does not command the attention it deserves. But that is for another day. A few weeks ago, the judges, as is customary in the wake of awarding the winning prize, released eleven playwrights who have been longlisted for the honour (August 5,). Last week, three names were released for the shortlist. They are Embers by Soji Cole, Death and The King’s Grey Hair by Denja Abdullahi and The Rally by Akanji Nasiru. The ultimate winner will be announced next month.

    Speaking to this newspaper during the Book Party usually organised in conjunction with the Committee for Relevant Arts (CORA), the Corporate Communications and Public Affairs Manager of the Nigeria Liquefied Natural Gas (NLNG), Mr. Andy Odeh, raised some issues which I have always believed needed to be addressed if the prize is to command the respect and publicity it deserves.

    Talking about the role of his organisation and the role the award prize plays, he said, “That’s a lot of money and when it is awarded, it can be used also to promote the book, extend its area of publicity beyond merely winning the prize.  Ours is to give the prize but the writer has to go on ahead to ensure the book gets proper publicity and more.”

    That is where the problem lies. A lot is expected of the Nigerian writer which in actual fact impinges on his/her duty as a writer. The job of a writer is to write, not to market the book or be his own publicist. However, because we operate in a very queer and different environment the different roles of all those involved in the long chain of book production have been blurred thus leading to a terrible sacrifice of merit and division of labour.

    A writer has become his own editor, marketer, publicist and all rounder that is expected to do all that is necessary to make his book read. What time is left to sit down and write another? Is this not what is responsible for the death of the publishing industry in the country and leading to the rise of self-publishing of half-baked and editorially and sub-standard published books?

    Since the advent of the NLNG Prize would it surprise anyone to read that most of the books that have been shortlisted or that have won are mainly self-published? The few that perhaps were not were fully paid for by the author to be printed by the publishing houses? As Odeh suggested that writers should take on the role of promoting their books, what then should the publishers do? Well, since the writers only used them to ‘print’, the writers should then promote their own books. Perhaps. However, I think the NLNG to appropriately put its money where its interests lie should also be concerned about making the books available to stakeholders.

    For instance, I think the organisers should organise that the eleven books in the longlist should be packaged every year and handed to a few journalists in leading media houses. This would also help its own image and make the journalists be able to make their own independent assessment of the entries. This would strengthen the prize and help it to further promote its brand. The situation as it obtains now does not make for quality review of the entries, thus making journalists who cover the event to just grasp at straws and write surface stories that do not interrogate the process deep enough. Our clime makes this necessary because most of the entries, I say without any malice, are usually targeted for release in the year leading to what genre that would be awarded.

    Odeh added in his response to another question by this newspaper, “We reward good literary works on annual basis.  This shows that something is happening… A lot of books are coming in every year, judges look at them, then make it to eleven; then to three.  Then there’s one winner.  It shows that it is a quality work.  Now, everyone has an objective; the NLNG has its objective.  Its objective is not to get involved right now in how the books are sold or marketed or distributed.  The books can be listed on Amazon and you can buy them from there.” Good talk. But without saddling the organisers with more responsibilities, I like to report here that listing those books on Amazon is not the way to make it available to Nigerians, at least not to those who are here at home, its primary target. Let’s first make them available in our bookshops and on other online shops that are here. That is the way to go.

    He also challenged our film makers and play houses to take up the challenge to turn some of these winning entries to film or stage those that are plays. I have written about this in the past and I am repeating it again that our filmmakers need to turn their attention to these entries and make them popular through their medium.

  • New strides for Nigeria Literature Prize

    Last weekend in Lagos, artists, book lovers, playwrights and the literati gathered to celebrate the eleven playwrights on the longlist of the Nigerian Liquefied Natural Gas (NLNG) Literature Prize for 2018. It was time to zero down on the thematic thrusts of their works and what burning issues the writers have raised that earned them the longlist. Termed Book Party by the Committee for Relevant Art (CORA), it was a moment to engage in drama, music, acting, dance, reading and also interrogating the writers themselves. Edozie Udeze was there

    It was a book party at its best.  Everything about books, literature, entertainment, drama, dance, music, poetry, reading, name it, was celebrated during the CORA – The Nigeria Prize for Literature 2018 Book Party last weekend.  It was held at Terra Kulture, Lagos.  Interestingly, nine out of the eleven longlisted names for this year’s Nigeria Literature Prize were present.  Except for Obari Gomba who could not make it and Jude Idada who spoke online to the gathering from his base in Canada, it was indeed a full house, with the usual candour and spirit of literary enthusiasm burning in the hearts of the laureates and other book lovers.

    Those present were Chidubem Iweka, Diran Ademiju-Bepo, Soji Cole, Akanji Nasiru, Dickson Ekhaguere.  Others were Denja Abdullahi, Dul Johnson, Bosede Ademilua-Afolayan and Peter Omoko.  Each was given an opportunity to summarise his work and to comment on the topical issues that dominated this year’s themes.  The event was moderated by Deji Toye, a lawyer and entertainer whose love for literature spans years of dedication and commitment.  Before the event proper kicked off, Greg Mbajiorgu, a senior lecturer in Drama at the University of Nigeria, Nsukka (UNN) performed a-one man show and delivered a song on what will be will be.  He directed attention to those basic issues that should make for love, unity and tolerance in Nigeria.  There was also a dance troupe that beat the drums provocatively to raise the tempo of the evening.

    Toyin Akinosho of the Committee for Relevant Art (CORA) told the audience that the book party has been on for nine years; nine years of ensuring that Nigerian literature is constantly kept alive.  “Today we have gathered for drama.  Indeed this afternoon presents a rich harvest of conversations around Nigerian drama, for the Nigeria Prize for literature is the biggest cash prize award for a literary competition on the continent.  Last year, it was N30.5 million.  This year, it is N35.7 million.  That’s quite some significant amount of money in anyone’s account”, he stated.  And with that remark the event proper kicked off.

    With the intermittent interjection of the programme with the readings of the books by Nollywood stars such as Norbert Young, Bimbo Manuel, Tina Mbah, Toyin Osinaike, and others, the book party proved to be an avenue to spice drama and add plenty of live to the spoken word.  Each presentation gave an insight into the play and what it will look like when presented on stage.  As it turned out, all the books paid attention to the myriad of socio-political, religious and economic issues plaguing the nation-state.  These issues are on leadership, palaces, corruption, et al, using theatre of fiction to explore what all these mean to the people.  How can writers use their pens to change Nigeria and make for a better society?

    But even as this goes on, do leaders; those concerned, pay heed to the issues raised by writers?  However, writers owe it to the conscience of the nation to continue to write; to constantly dwell on these problems that militate against the progress of the society.  All the writers drew their ideas from what they live with from day-to-day.  The general understanding is that we live in a society where problems never seem to end; it is one moment of joy, and hundred moments of sadness, rancour, retrogression, bitterness and more.  This is why the themes are not just deep, they x-ray a society where there seems to be no hope, no signs of progress and serious commitment on the part of leaders and the so-called opinion molders.

    Authors and their works

    August Inmates is the play written by Chidubem Iweka III, the Igwe of Obosi, Anambra State.  The play is deep and follows an unconventional setting and plot by the military to expose the nefarious activities of political office-holders.  In the main, the essence of the plot which involves detaining important office-holders in a VIP detention room along with a notorious armed robber, an American arms dealer and a journalist, seems lost to the audience.  Yet in the end, the journalist was made to become the president of a new democratic dispensation due to his honesty.  Iweka studied Theatre Arts at the California State University, USA.  He is a producer, musician, playwright and author of many books.

    Sankara is Jude Idada’s entry and it is a play on the last 100 days of Thomas Noel Sankara of Burkina Faso.  In a military coup of 4th August, 1983, he came to power as a revolutionary leader, poised to change the face of Burkina Faso.  He changed the name from Upper Volta to rank well with his Marxist and pan-African leanings.  From a state of poverty and squallor, within the three years he was in office, he made the people and the land proud of who they are.  The play is on leadership, on vision, on boldness, faith, patriotism, treachery, betrayal and one man’s indefatigable love for his people, his country and the African continent.  Idada is now based in Canada and he is author of many plays.  He is also a multiple award winner and had made the NLNG list before.

    No More The Taming Hawks by Diran Ademiju-Bepo also tinkers with the incursion of the military in the societal affairs.  But it is basically anchored around the squabble for a throne.  Yes, several years ago, in the present, The King Dove dies… This was the take off point.  Then the throne becomes vacant.  A dove returns from the defence academy, just to usurp the throne of his childhood friends.  Promptly, he suspends the customs and traditions of the people.  He also disbands the Council of Elders, labeling them with unprintable names.  So, the story goes on and on and on, until three moons later when another Hawk rides in on the crest of the bungled dreams… Ademiju-Bepo is an associate professor of Drama and Film Studies at the University of Jos, Plateau State.  He has equally written a couple of plays and articles on the problems confronting the nation.

    Embers, is from Seyi Cole.  Embers concentrate on the turbulent relationship that ever exists between a governor and his people.  Now, this governor is coming tomorrow and the people have prepared another dance for him.  He will then get on the news again to announce all the things that he had donated to the camp.  (This is IDPS camp anyway).  Thus foreign aids will be there with their own supplies.  The newspapers will report about it; so also will the TV Stations.  People will see all these things.  Then at night all these will disappear.  The IDPS will be hungry again and then ask who took away our foods, our water, our all…?  Such a pathetic scenario!  Cole is of the Department of Theatre Arts, University of Ibadan.  A former Association of Nigerian Authors (ANA) Drama Prize winner, he also writes plays for radio and other stations.

    The Rally is from Professor Akanji Nasiru.  It is harped on generational leadership change, this time in Irepodun community.  The youths now come together to take over responsibility through an association.  The ultimate aim is to control the affairs of the land and push things forward for a greater tomorrow.  Some elders also give their unalloyed support, for in the past years, some well-meaning people had pushed for such a change in the place.  Yet, some people, much older ones though, do not stand for this change.  This is where the intrigues and intricacies come into play.  For Nasiru, this is the play.  He is a professor of Performing Arts, formerly at the University of Ilorin.  He is also author of many plays, including Our Survival that won the Third World Playwrights Competition organized by the International Theatre Institute in 1981.

    Unstable is Dickson Ekhaguere’s offering and it is a story stepped in love and power.  It uses multiple metaphoric connotations to explore conflicting forces of divergent ideologies.  Based in the old Bendel region of Nigeria, it shows the intricacies of true love and that truly love can triumph over evil.  The place of a woman and the power of a king can come together to save a kingdom.  Ekhaguere himself is a poet, playwright, whose works have won a couple of awards.  A graduate of Theatre from the University of Benin, his song Happy won the 2017 Hot Sound Music award for the best pop single.

    Death and The King’s Grey Hair by Denja Abdullahi captures the old story of a clever king in Oworo, a Jukun location in the Niger-Benue confluence area.  The law is that no king shall reign for too long.  It is to stop him from developing into a tyrannical despot.  Once a grey hair is discovered, he is poisoned by his people or by the wise men.  But Esutu, this clever and selfish king tries to outsmart his people who quickly rally round to avoid a calamity.  He flees the palace and thus begins a new era.  Abdullahi is the National President of the Association of Nigerian Authors (ANA).  He is a poet, playwright and a deputy director with the National Council for Arts and Culture (NCAC).  His works have won various local awards in poetry and drama.  He is a graduate of Literature from the University of Jos, Plateau State.

    Melancholia by Dul Johnson is purely a political play on satire and innuendoes.  It is set in Africa where political leaders are not duly committed to the people.  Now, through the campaign and the aftermath of the election, the play moves with quick action, spirited wit and beautiful use of language to reveal much that would leave the audience smiling.  It hereby captures the minds of the people, showing in essence what political intrigues is all about.  Johnson is a seasoned broadcaster, administrator, writer and dramatist.  A graduate of Bayero University, Kano, he is also a teacher, filmmaker, short story writer and more.

    Guerrilla Post is the work of Obari Gomba which centres on the current happenings in Nigeria where security forces are unduly overzealous.

     

    People are suppressed, writers are harassed.  The play is done in a clever way with deep dramatic playfulness that commands attention.  It excavates and interrogates recent social and political events.  It talks of unlawful detentions.  It dwells on what democracy can be where there is no clear and clean environment for people to operate.  It harps on rule of law and so on.

    Gomba is a lecturer at the University of Port Harcourt, Rivers State.  He is also an award winning playwright who has made the NLNG longlist before.  In 2016 and 2017, he won the ANA prizes in poetry.  A distinguished scholar, he is also a fellow of the Iowa, USA, writing school.

    Once Upon An Elephant by Bosede Adimilua-Afolayan explores the horrendous and tyrannical reign of a king in quest of immortality.  But can that be possible?  Even when he is not the rightful occupier of the seat of power, he still clings to it.  With the help of a priest of the local shrine he is empowered to unleash more terror on his people.  It goes on and on, until he rapes a virgin to embolden him the more.  But then death comes to knock him off and usher in a new respite for the people.  Afolayan teaches Drama at the University of Lagos.  She is also the author of Look Back in Gratitude.  She is the only female writer among the eleven longlist this year.

    Majestic Revolt comes from Peter Omoko and it goes into history to unearth events of 1927.  It excavates the problem of taxation in the colonial era.  It is on that pensive issue of compulsory tax imposed on the local people by the British overlords.  This time, it is set in Urhobo land stretching across to Itsekiri, Ijaw, Isoko and Ukwuani, affecting all the people of the same province.  It makes reference to the Aba Women Riots of 1929.  The play is a protest play; it is a revolt against the old and the new, lampooning leaders and making a caricature of those who have institutionalized marginalization and oppression and the control for natural resources.  Omoko is from the Niger Delta and is of the Department of English, Delta State College of Physical Education, Mosoger.

    The Literature Prize goes for 100,000 dollars and in a few weeks from now, the shortlist of three will emerge.  The annual prize rotates among four genres of literature – prose, drama, poetry and children’s literature.  It is the turn of drama this year.

  • Thoughts on Nigeria Literature Prize

    It is that time of the year again when all lovers of the literature are upbeat and eagerly look forward to another round of the Nigeria Prize for Literature. Since early March when the submission opened for this year’s genre – drama – I have been one of those who have been watching to see how it goes.

    Four years ago, Sam Ukala, a University professor of drama with his play, Iredi War won the prize. By its nature a play is not only restricted to what it is in text. It only comes alive when dramatised and put on stage. As a book it could be good and fantastic but for as long as it does not go on stage it remains cold text. If you’ve ever read JP Clark-Bekederemo’s Ozidi and watched its epic production you would understand what I mean.

    So as the entries for this year get in we look forward to another exciting time. As this piece was being written the news came in that Professor Matthew Umukoro, Chairman of the Panel of Judges for the 2018 (drama) edition has received all submitted entries from Professor Emeritus Ayo Banjo. This signals the commencement of the adjudication phase.

    It is based on this that I enter my intervention. Many people have said it before and it bears a repetition. This prize needs to be looked at once again if it is to boost literature and ignite the reading culture that I believe it was meant to serve.

    I stand to be corrected that since the advent of the prize, it is only the winner of the 2016 prize Abubakar Adam Ibrahim with his groundbreaking novel Seasons of Crimsons Blossoms, which has really excited what can be called a worldwide excitement. Let me explain: we all know that the prize was at the initial stage a Nigerian-based writers’ affair.  This opened it to lots of criticism that literature should be without borders and that no Nigerian writer should be denied participation. It was feared that the restriction would only open it to mediocre contributions and limited visions. After bowing to the criticisms it was opened to all Nigerians at home and in the Diaspora. This led to the winning of it by writers such as Dr. Esiaba Irobi, who won it in 2010 posthumously with his play Cemetery Road and later Chika Unigwe with her novel On Black Sisters’ Street in 2012.

    Till date Ibrahim has been the only star of the prize, at least for me. Before him Unigwe had been made and celebrated abroad so her winning of the prize could be considered as an icing on the cake for her! How many of the winners, at least those home based and published, have gone to win as much international attention as Ibrahim?

    As of the last count his Seasons of Crimsons Blossoms has got six different editions and a printing, the last is the Indian edition. We must look at how to promote our own. The fact that Ibrahim won the prize might have helped to propel him internationally but the truth is that the story he has to tell is good, and either through his own personal efforts or that of his publishers, he has gained that international recognition that the Nigeria Literature Prize should be, not only because of the huge fortune ($100,000) attached to it. The Booker Prize has become what it is today because of the structure that has been built over the years as it celebrates its fifty years anniversary this year.

    For instance, what has happened to Iredi War and Cemetery Road before it which won the drama category? Where have they been staged for the public to see? How many Theatre or Drama Departments in our universities have staged the plays despite that one of the winners is a theatre arts professor in one of our universities at home?

    Is it out of place for the winners to devote a fraction of their prize to producing the play for the public if the sponsors don’t think it is their remit to spend on it? Or does anyone think Ibrahim had to wait for them to help promote his book? Is it enough to win the jackpot and just go home and enjoy the ‘loot’ as it seems some of the winners have done?

    Winners of the poetry genre may not be put in the same basket as we all know that that genre of literature worldwide does not enjoy as much patronage as fiction, the king of them all and to a less extent drama. How well will Heresaid by Ikeogu Oke, the 2017 winner would fair is still in the womb of time.

     

  • HANDOVER OF NIGERIA LITERATURE PRIZE ENTRIES

    HANDOVER OF NIGERIA LITERATURE PRIZE ENTRIES

  • Nigeria Literature prize, it’s Unigwe

    Chika Unigwe, a Nigerian author based in Belgium, has finally clinched this year’s NLNG Nigeria Literature prize. Her book entitled On Black Sisters Street which beat other two shortlists – Ngozi Achebe’s Onaedo: The Blacksmith’s daughter and Olusola Olugbesan’s Only on Canvass, dwells on the issue of prostitution and slavery involving Nigerian and some African ladies on the streets of Antwerp in Belgium.

    The panel of judges led by Professor Emeritus Ayo Banjo gave reasons why the book was chosen out of the 214 entries that were made initially. “By coincidence, the three novels deal with issues concerning the plight of women in the past and in the present. On Black Sisters’ Street is focused specifically on the very precarious situation of women, particularly the issue of sexual slavery. In her depiction of the socio-economic conditions in Nigeria, Unigwe displays grasp of narrative techniques as well as excellent descriptive capabilities.

    The Panel of Judges, therefore, considers On Black Sisters’ Street by Chika Unigwe a work of outstanding merit and adjudges it the winning entry for The Nigeria Prize for Literature, 2012.

    He stated further that poor quality of production is still a fundamental problem affecting Nigerian Literature. Some of the entries would have stood a better chance of winning this prize but were marred by problems attendant upon poor publishing. Some of the books submitted for this year’s prize failed to rise to the final stage because of issues like poor editing, proof – reading, poor binding and other publishing errors. Nigerian publishers ought to realise that this prize is an international one.

    Finally, the Panel of Judges commended Nigeria LNG Limited for its commitment to promoting Nigeria Literature.

    The prize is worth $100,000