The Nation Newspaper

Tag: Village

  • ‘Give us permanent artistes’ village’

    ‘Give us permanent artistes’ village’

    As the Coalition of Concerned Nigerian Artists met at the Artistes’ Village, Iganmu, Lagos last week to deliberate on the way forward concerning the quit notice given to them by the Federal Government, Edozie Udeze takes a closer look at the issues involved and the stand of the artists

     

     

    Last week, the Coalition of Concerned Nigerian Artists held a press conference to state their own side of the story pertaining to the quit notice given to them to vacate the premises of the National Theatre, Lagos. The notice, which came from the presidency and was signed by the Minister of Culture, Tourism and National Orientation, Edem Duke, stated in part, that some portions of the complex have been earmarked for new building projects that will form part of the Theatre environment.

    However, artists have demonstrated that the purported arrangement is at variance with the idea of a total culture and art environment. They argued that it was improper for government to wake up one day and decided to mortgage the soul and conscience of the Theatre without due and proper consultation with artists and other core stakeholders in the sector. They wondered thus: “In 2011, at Eko Hotel, Lagos, the president himself met with us soliciting for our votes. There he also made so many promises to us on how to grow and develop the culture sector. Now, he wants to uproot us without our consent. Today, he sees us as nobody – people whose trade and profession do not matter. Is that proper?” the association asked in a statement.

    Beyond the strong argument that a lot of people will be rendered jobless and hopeless in the new set-up, Biodun Olakun, a seasoned artist and a trustee of the Professional Guild of Nigerian Artists (GFA) said: “yes, even if government wants to make a move as serious as what we have here now, it should first of all dialogue with us the practitioners. More so, some of us have been inhabiting this environment for more than thirty years.”

    In as much as Olakun is not opposed to laudable ideas to make the sector grow, he is indeed irked that most public office holders behave as if the country in their personal property. “You see, there is a Yoruba proverb that says, you can’t cut my hair without my consent. How can you understand my pressing needs without talking to me? Government has always said that people should be self-employed, self-empowered and that is what we have been doing. So, those of us who have found space to empower ourselves and even in the process alleviating the situation of other artists, thereby helping them to grow, should we just be dislocated like that?”

    Olakun’s grouse, just like most other artists, is hinged on the fact that government policies most times are anti – people. “What will happen to thousands of students being sent here by their institutions to do their Industrial Training. All of us have extended responsibilities and obligations. Nigeria is for all of us. It is not anybody’s father’s estate. In the first place, what legacies are public office holders leaving behind? Now we complain that the nation is not making progress and the little we have achieved so far, they want to scuttle it,” Olakun wondered.

    Uche, a photographer whose office is located at the Artiste’s Village within the same premises, posited thus: “Each time government comes here, they tell us that the Theatre is not working. Up till now the 1988 National Policy on Culture has not been implemented or made public. When you go to find out who ran the Theatre down, it is still government people. Now, we are afraid it is the same people who ran it down that will now buy up the spaces. After that, what will be the fate of the artiste? Government is not even making temporary or permanent arrangement to resettle us. And this is a sub-sector that contributes over N1 billion to national economy every year. Every year, artists from all over the world visit this place and they go to all the corners of the Theatre to commune with us. Since we all own this country together, we should all be part of the decision to make it work,” Uche said.

    But in his own reaction, Steve Ogundele, the Secretary-General of National Association of Nigerian Theatre Arts Practitioners (NANTAP) said: “First of all I am not making an official statement on this issue. Anyway, when you consider the level of development in this area now, especially with the presence of the rail terminal, government might be right in catching in on it to make the Theatre a better place. Be that as it may, as a practitioner, I am not against the place being turned into a haven of some sort. What I am particularly worried about is the sincerity of government. Is what they are going to do be for the benefit of our economy, our practice as artistes, and for the over all development of the people of Nigeria? I don’t really want to pre-empt government, but let them follow due process in this regard.”

    What the coalition of artists is saying is that government has to be fair to all. If there has to be this sort of arrangement, the government should provide a permanent artistes’ village somewhere else. “There has to be a place for us while the development is going on. Or does government want to turn all of us into refuges and destitutes, people who have no home but live under the bridge. If that is what they plan to do, then we are set to reason it out with them that it will not work, it can’t be encouraged, not in the least.”

    Government should reconsider its decision in such a way that these army of artistes with offices in and around the Theatre do not have reasons to feel out of place in their own land. Olakun’s last words surmises the general feeling of the people affected thus: “Government has to look inwards and when this development is over, where are they going to put us and while it is going on, where will they resettle us so that we can continue to practice our art?”

  • Council acquires Abuja Art Village

    Council acquires Abuja Art Village

    The National Council for Art and Culture (NCAC)  has acquired the over three hectares of land of Commonweath Heads of Government Meeting (CHOGM) Arts and Crafts Village, in the Central Business District (CBD) of the Federal Capital Territory (FCT), Abuja.

    A new Certificate of Occupancy(C of O) has been issued to the council by the Abuja Geographic Information System (AGIS).

    NCAC Executive Director Mr Mwajim  Maidugu handed over the C of O to the Minister of Culture, Edem Duke in Abuja last Friday.

    The Social Development Secretariat of the Federal Capital Teritory Administration (FCTA) has been engaged in a long drawn battle with NCAC over the ownership of the land.

    The Secretariat has said the structures on the land were erected by the FCT as a social safety net for talented young men and women to exhibit their craft skills and to showcase Nigeria’s cultural heritage to the world.”

    Duke said the ministry, on its renewal programme, would collaborate with the private sector to make the place vibrant as a craft market.

    Located strategically adjacent the Abuja Sheraton Hotels and Towers, the Arts and Crafts Village, covering about 22 hectares, was originally allocated NCAC in 1987 for the construction of its permanent site and other facilities.

    For lack of funds for immediate development, the piece of land was fenced by NCAC but activities did not start there until 2003, when the Federal Government initiated the construction of round tents that would serve as arts and crafts market for expected visitors during the Commonwealth Heads of Government Meeting (CHOGM).

    The village played host to dignitaries from all walks of life during the event, including Queen Elizabeth 11 of England and wives of heads of states as Africa’s emerging market for indigenous arts and crafts.

    According to Maidugu, the intrigues to revoke the land by the former FCT Minister, Mallam Nasir el ‘Rufai persisted and the culture agency temporarily lost its ownership.

    “But we did not fold our hands; we continued to meet subsequent ministers with all the documents indicating that the piece of land legitimately belongs to us.”

    Interestingly, by the time the Minister of FCT, Senator Bala Mohammed returned the land to NCAC, what remained of the 22 hectares was barely 3.24 hectares.

    Maidugu added that between 2003 and 2010 when the remaining portion of the land was returned to the council, the tents occupied mostly by visual artists and arts and crafts dealers was entirely under the management of FCT, which used the opportunity to sell a greater part of the land.

    He recalled: “After CHOGM, when el-Rufai revoked the land, we believed it was not done properly and that is why we must praise the present FCT Minister for trying to right the wrong in terms of land allocation. He has seen that this land appropriately belongs to us and has found it, in his wisdom to re-allocate it to us.”

    As for the arts and crafts dealers, Maidugu said the relationship between NCAC and its tenants would remain cordial considering their passionate desire to promote the enterprise.

    He hoped that with the development of the village through the private/public partnership more customers would be attracted both from within and outside the country to the centre.

    “Our relationship with the present tenants would be very cordial. Part of our coming is to add value to the efforts of the tenants. We will encourage them to stay while we think of how to improve the facilities here and enhance patronage.”

    When the village is fully developed, Maidugu assured that even the roadside artists would also be accommodated as a studio would be constructed and experts in various arts sector hired to train and retrain younger generations of artists. “More importantly, there would be a research and products department that would see to it that the products are of international standard.”

    The place, when fully developed, the NCAC boss stated, would accommodate, among other facilities, the Council’s permanent office block, exhibition centre, semi-permanent pavilion for the yearly regional market (Arts and Crafts Expo) as well as performance theatre.

    Duke expressed delight over the return of the centre to the Ministry. His concern now, he said, was getting investors from the private sector to collaborate with the ministry, not only to ensure that the place is immediately developed but also to promote the activities of arts and crafts dealers to the international community, using modern communication technology.

    “I do not know how many of them have access to Internet. Foreigners who buy arts and crafts do so through the Internet.  I don’t think anybody has spoken to these people about entrepreneurial development, about skills and about new technologies with which to develop their products. That is where the ministry comes in — to help promote their business and improve the quality of their products.”

    The Minister reiterated that his tour of the village was not to disrupt the on-going business of crafts dealers but to move them from the basic element of low earnings to the practical generation of revenue for themselves and the nation at large.

    He said the fact that the place was given out to entertain wives of heads of states made it an important landmark for the nation’s arts and craft industry and as such, should be developed beyond its present status.

    “We are going to develop and improve this facility on a collaborative platform with banks and other private sectors so that it will become a modern art and craft market with conferencing facilities, first class restaurants, improved theatre for performances and lots of varieties that will make the place a complete and unbelievably beautiful venue,” Duke assured

     

  • ‘Village Headmaster’ Esiri dies at 70

    ‘Village Headmaster’ Esiri dies at 70

    Another chapter has closed in Nigeria’s entertainment industry, with the death on Tuesday night in Lagos of foremost actor Justus Esiri. He was 70.

    The late Esiri hit the limelight with his teacher’s role in the long-running soap on national television in the 1970s – The Village Headmaster.

    He became a prominent face in Nollywood, playing key roles.

    News of his death was broken by his son – a celebrity in his own right – Sidney at about 1:00am on Wednesday.

    Sympathisers visited the family house in Surulere, Lagos Mainland, but no one was willing to speak on how the veteran actor died.

    Sidney is also believed to have barred Esiri’s widow Omiete from speaking to reporters.

    The late Esiri hailed from Delta State.

    President Goodluck Jonathan yesterday led the tributes to the actor. Governors Babatunde Fashola (Lagos) and Emmanuel Uduaghan (Delta) also paid tributes.

    A statement by presidential spokesman Dr. Reuben Abati quoted Dr. Jonathan as describing the late Esiri as “an epitome of excellence and creativity”.

    Fashola, in a letter to the widow, described the late Esiri as “easily one of Nigeria’s most celebrated artistes”.

    Uduaghan described the late Esiri as “a legend who brought prestige and honour to Nollywood and the acting profession in the country”.

    Another major actor, Eddie Ugboma, 72, noted that the late Esiri was not just his colleague, but a kinsman. Obviously, Ugboma did not betray his emotion: “Such is life,” he said. “We come and go. Death is inevitable, even though nobody wants to die.”

    Tony Okoroji, Chairman of the Copyright Society of Nigeria (COSON), wrote on facebook: “Another crazy day last night. I had just left what I thought was a fantastic event; the birthday of my friend forever, Senator Florence Ita Giwa.

    Then I got a devastating call at about 12:30am. The great Justus Esiri is no more! I could not sleep.”

    Okoroji said he saw the late actor during the service of songs for Enebeli Elebuwa, another veteran actor who died last year:

    “We hugged each other and agreed to see soon to discuss some projects. Now, we will be talking about a service of songs for Justus Esiri? I loved Justus Esiri with all my heart. He was one of Nigeria’s best ever. How do you replace a Justus Esiri? My heart bleeds,” said the former Performing Musicians Association of Nigeria (PMAN) president.

    Another legendary actor Olu Jacob said he had not heard the news, until our correspondent called him on the telephone. Jacob recalled that the last time he saw the late Esiri was at the Olympics last year. He said the late actor had talked glowingly about his accomplishments, one of which was that his children had all graduated from the university.

    Esiri told him that a doctor had administered a wrong injection on him, but he maintained that he (Esiri) was fine afterwards.

    Both actors worked together for close to five months before the Olympics in London.

    Dan Imoudu, a cast of Village Headmaster described the death of Esiri as “sad” and “unfortunate”. “We will miss him. We pray that his soul rests in peace. We all should continue to pray and be careful. I wish the family and the entire art world the courage to bear the loss.”

    “We are all still in shock. We are still mourning,” said his niece, Juliet, who spoke from London. Juliet said he had just left a meeting of relations of the late Esiri. She said the official position of the family would soon be made public.

    The latest of the actor’s works is a psychological thriller entitled The Assassin’s Practice. The film is meant to be released in Nigeria on February 22. The film also stars Kate Henshaw and Eve Pearson. The premiere of the film was held in London last year. It was exceptionally received by the audience and critics. Directed by Andrew Ukoko, the flick was among three Nigerian films selected for screening at the just concluded prestigious Africa Film Festival in London.

    The actor also played alongside South African singer Yvonne Chaka-Chaka in another wave-making movie, Foreign Demons, which enjoyed screenings at international film festivals, including the popular FESPACO in Ouagadougou, Burkina Faso.

    The late Esiri’s career in theatre and film started in Germany where he went to study Engineering. He began his acting career on stage in Germany and was the only Nigerian male performing on stage between 1968/69. He also worked for the Voice of Nigeria (VON), German Service as a translator. He was performing on stage in Germany when a delegation from Nigeria invited him to perform in Nigeria in a government-sponsored programme, hence his home-coming. His fame was launched widely for his role in the ever popular African TV series, The Village Headmaster where he played the “headmaster”. He was born in November 1942.

  • Death and the Village Headmaster’s men

    Death and the Village Headmaster’s men

    It was the television drama to watch for the time it lasted. The Village Headmaster created by the late Segun Olusola has lost several of the actors who made it tick, writes DUPE AYINLA and OVWE MEDEME

    he soap was rested in 1984, after running for over a decade and making impression on many Nigerians.

    it was re-introduced a year later, with Dejumo Lewis as the producer.

    Lewis, better known as the Oloja of Oja in the rested NTA drama series, ‘The Village Headmaster’, said: “We were not given any valid reason. Some of the tested hands and notable figures left in frustration. When I was called upon to produce the new Village Headmaster series, I put in my very best, brought in Tade Ogidan as one of the producers/directors and cast Justice Esiri as the new village headmaster from Femi Robinson.”

    He produced it between 1985 and 1989 when the the Nigerian Television Authority (NTA) suspended it.

    Till today, it remains a talking point. No wonder, the NTA attempted to remake it, under the name the new Village Headmaster.

    Apart from the impression the soap made on people, the men who made it tick also made impressions with their personal lives.

    At a point, some of its cast members became traditional rulers of their places of birth. The late Funsho Adeolu, who played the role of Chief Eleyinmi, was the Alaaye of Ode-Remo, Ogun State. So was Oba Wole Amele, Oba Wole Amele, who acted as ‘Counsellor Balogun’ in the rested Village Headmaster. He was the Alara of Aramoko, in Ekiti State.

    Then, at a point, the concern was that the Village Headmaster clan was being depleted by death. The death two days ago of Justus Esiri, who was the headmaster in the soap, brought up the concern once again.

    Last year, Enebeli Elebuwa, who played the role of a police officer in the now rested popular soap, died.

    Its creator and producer, Chief Segun Olusola, died last year too. His wife, Elsie Olusola, a.k.a Sisi Clara, died earlier.

    Barely two months after the death of Segun Olusola, actor Albert Kosemani Olayemi, who played the role of Gorimapa, also passed away.

    The actor, who was in his late seventies, died on Friday, August 24, 2012, after battling an undisclosed illness. Olayemi was a foundation member of the late Ojo Ladipo’s group, Awada Kerikeri, where he sharpened his acting talent before his foray into the acting world.

    Amele died in 2008, after a brief illness. In addition to Village Headmaster, Amele also acted in Kosegbe alongside Jide Kosoko and Kola Oyewo. He again took part in Ayo Ni Mofe, Oleku, and Toluwanile. Amele’s last production before he became a king was in Coming to Africa, a movie he made to tell the story of his struggle to the throne.

    Joe Layode, who acted the part of a teacher and answered the name Garuba, is dead too. Chief Leke Ajao, alias Kokonsari, died in January 2009. Ajao, who played the role of the Ifa priest of the Oja Village, died in his home town, Iwo, Osun State. He was in his 60s.