COMMITTEE FOR RELEVANT ART, CORA (Winner of Prince Claus Award 2006)

JUMOKE VERISSIMO: Her sweet fart at Lagos Book Festival

2008-11-12T09:59:00.000-08:00

. Jumoke performing Ajani at the festival

. Jumoke with guests (Her Mum, Sister, and another poet, Ambassador) at the LABAF presentation

By Akeem Lasisi

Each time some of her friends want to make a mischievous poem of her surname, Verismo, they pronounce it as ‘very-small‘. Actor and culture activist, Ropo Ewenla, is particularly guilty of this. What they play upon whenever they pronounce the name so is the modest frame of the Lagos-based writer, Jumoke Verisimo, who is also a copywriter with a Lagos-based advertising agency.

Despite such a joke, however, many people know that in her is the promise of a good poet, one of those who should shape the future of literature in Nigeria.

After about 10 years of active poetry writing and performance, Verisimo had a great day in Lagos on Saturday, when the just-concluded Lagos Book and Art Festival featured her as reading poet of the moment. The fact is that apart from providing an avenue to celebrate books, LABAF, organised by the Committee for Relevant Arts, promotes virtually all areas of the arts. This is one of the factors that differentiate it from other book fairs. Amidst inspiring talks on the art and science of Lagos – where popular writer and activist, Odia Ofeimun, participated and Crown Troupe of Africa performed – LABAF had mounted the stage to announce to the world the arrival of her first collection of poem, I am Memory, from where she read a couple of poems.

Among such was Ajani, the only love poem in the collection. Verisimo confesses that the man she addresses in the poem had, truly been a lover of hers. Yet, she will not want the reader to be carried away in terms of how close poetry is with love.

”My position on what poetry is and what it is not, is primarily subject to emotional interpretation. Poetry could as well be the food of hate, emotion, whatever it is prompts the reader to dig deeper than he‘d normally do on an average, unfeeling day. The passion which could generate a poem on love could also bring one on hate,” she says.

.Jumoke's mum at the LABAF presentation.. Joy of a Mother

Verisimo got into poetry through a little unusual way. According to her, she did not start out to write poetry in the beginning. She just wanted to spill out things she felt inside her. She says, ”I developed this flair for writing from reading, parents, school, teachers, environment, and I just began to write. I just started to write something and at the time, I couldn‘t have called it poetry per se. But now, I‘ll say poetry for me is not simply about lines in metrical forms, it is about a sigh. It is dramatic, and living. You know the way we‘ll say that there‘s poetry on the streets, I‘ll say, writing something that evokes genuine feeling that someone else can feel is poetry for me. At the moment, I am working on a novel.”

On what her focus is as a poet, she notes that she writes about whatever things that get close to her nerves. ”I am emotive,” she says, ”so, my writing is usually about things I feel strongly about, and many times these things are what the average mind would say is inexplicable. To me, it starts out as beyond me, but I question and question it. For me, poetry is a living thing. It is all around me, and it is always new to me.”

At the LABAF show, where her mother was present to celebrate with her, the lady who read English at Lagos State University also rendered a poem for which she is mostly known, “Mo fe so – a Yoruba statement that translates as I want to fart.” It is a poem that has beaten the audience for years.

.Jumoke performing from I'Memory

She says, “Mo fe so questions my plight as a Nigerian youth. It confronts my insecurity and frustration, and my desire to show my contempt for the problems faced. I didn‘t set out that Mo fe so, should be a poem, and I still won‘t call it a poem. “I‘ll say it is a performance of frustration. I‘m still pissed at certain quarters, but like many youths, I have learnt that our society teaches independence, and how you achieve that independence is not subject to questions. I am a very angry young woman, because I have seen a lot of fantastic minds depraved of opportunities, and others are snuffed so their chances of survival takes them from who they set out to be. I still want to fart, into the faces of those in high places. I‘ll like to fart and ease my pain.”

Published by Designs, Agency and Dreams, I am Memory started out as a poem on reparation. But, according to Verisimo, ‘maturity‘ and reading made her to understand that reparation is not all about slavery and the likes.

EniOlorutidakosefarawekosefenutembelekosebinukosena'kaiwosisiwiwolaawo

JOIN THE FEAST:

11TH LAGOS BOOK & ART FESTIVAL, LABAF09, Nov. 6-8, 2009

ADDRESS: CORA HOUSE Plot 95, Bode Thomas Street, Surulere, Lagos. Nigeria. Tel: 00234 (1) 6653587. labaf08@gmail.com, stampedecora@gmail.com, cora2stamp@yahoo.co.uk

Images from the Lagos Book and Art Festival, Nov 7-9, 2008 at the national Theatre, Lagos (1)

2008-11-12T02:15:00.000-08:00

JOIN THE FEAST:

11TH LAGOS BOOK & ART FESTIVAL, LABAF09, Nov. 6-8, 2009

ADDRESS: CORA HOUSE Plot 95, Bode Thomas Street, Surulere, Lagos. Nigeria. Tel: 00234 (1) 6653587. labaf08@gmail.com, stampedecora@gmail.com, cora2stamp@yahoo.co.uk

CORA INAUGURATION AND LABAF 08

2008-11-10T09:37:00.000-08:00

The CORA`new identity unveiled at the formal inauguration of the organisation on Wednesday november 5, 2008 at 10A Ikoya Avenue, off Macpherson Ikoyi before a distinguished audience that included the renowned physician and founder of the Sickle Cell Foundation, Prof and Mrs Akinyanju, former minister of National Planning, Dr Rasheed Gbadamosi, the renowned public intellectual and former Presidential candidate of the Peoples Progressive Aliance, Prof Pat Utomi, Iya Adinni of Central Mosque, Surulere, Hajia Zainab Abbah Folawiyo, the MD of Integrated Macrofinance Bank Ltd, Dr Doyin Abiola,former Deputy Editor of The Guardian, Ben Tomoloju, the famous Designer, Theo Lawson, the General manager of Bang & Olufsen, Chinwe Uwatse and a host of other distinguished Nigerians.

SCENES FROM THE 10th LAGOSS BOOK & ART FESTIVAL WHICH HELD NOVEMBER 7-9 IN THE EXHIBITION HALL OF THE NATIONAL THEATRE, LAGOS.

The Feast of Book & Art Begins In Lagos

2008-11-04T18:52:00.000-08:00

DAY 1

FRIDAY, NOVEMBER 7, 2008

7am: Exhibition already set up

9am : Formal Opening of CHILDREN FESTIVAL
VISUAL REPRESENTATION FROM ‘THINGS FALL APART’
:Exhibition and comic Workshop.

10am : “My Encounter with the Book” by Funmi Iyanda

11am: “Green Graffiti” Workshop – Karo Akpokiere & Chukwuma Ngene
“Green Tales” Workshop – Obari Gomba & Adeleke Adeyemi
Theme: “Lagos on My Mind”- [Organized by LC3 in collaboration with CATE/CORA].

11.30am: The Festival Tour (where kids and their teachers are taken round the grounds of the Fair).

Children on duty at the festival last year

12 noon: YOUTH ON LITERACY

Theme: WHAT DO THE YOUTH DESIRE TO READ
(Panel Discussion on “Youth, Creativity and Development”) with established artists and active young people such as:
•Mrs Nike Davies-Okundaye: (Director, Nike Centre for Arts and Culture)
•Dr. Hope Eghagha: (Lecturer, Dept. of English, Unilag)
•Odion Ogogo: (Director, Heritage Ceramics)
•Tunde Aboderin: (Director, Mobile Cinema Crew)
•Denrele Edun: (presenter, Sound City)
•Segun Adefila: (director, Crown Troupe)
•Oyiza Adaba (Director, Africa Related)
•Kaffy Shafau: (Dance Director)
--Powered by GIVE NETWORK

2pm: COLLOQUIUM • Theme: WARS WITHOUT END: THE CHILD SOLDIER AS THE NEW HERO IN THE EMERGING AFRICAN NOVEL
Reviews, readings and discussions of Novels, and Non Fiction Works including
i. Ahmadu Koroma's ALLAH IS NOT OBLIGED ,
ii. Uzodima Iweala's BEASTS OF NO NATION;
iii. Helon Habila's MEASURING TIME,
iv. Biyi Bandele's BURMA BOY

3.pm: VISUAL ARTS SYMPOSIUM
• Theme: The visibility of Photography in the Nigerian Art Gallery Space
Keynote: TAM FIOFORI, veteran photographer,
Panel:
1. DON BARBER (rep PAN)
2. Rep, DEPTH OF FIELDS (James Uche-Iroha)
3. Rep: BLACK BOX (By Uche Okpa-Iroha)
4. Rep: ASSOCIATION OF GALLERIES OF NIGERIA
5. CHUKA NNABUIFE — Art writer
6. Victor Politis – Photography Enthusiast
7. Rep, Society of Nigerian Artists, SNA
8. Rep, Guild of Visual Artists

Moderator: Molara Wood, Writer, Journalist
Chairman: Kunle Filani
Special Guest: Chief Joe Musa, Director General, NGA
• Accompanying EXHIBITION on the theme: ‘The Energy of the City’
Featuring works by:
I. Members of PAN including Don Barber; Richard Enesi; Tam Fiofori; Okhai Ojeikere; and Adolphus Okpara
II. Members of DOF,
III. Members of Black Box and
IV. other photographers

DAY 2

SATURDAY, NOVEMBER 8, 2008
7am: Exhibition already set up

10am: Talking Books with Aunty Sola & Friends: A roundtable discussion on ‘Banana Leaves’ – a sequel to ‘Without A Silver Spoon’ by Eddie Iroh.

11am: Panel Discussion and Interactive Session on ‘Sanitation and Climate Change’ the theme of ‘The Green Book’, an anthology of environmental poems, prose and plays by children and young people of ages 7-16.

1pm: “Green Creative Art Workshops”
with Rosalie Modder; Uche James Iroha/Akin Oniti; Wale Asobiojo; Tina Mba; Sheriff Ojetunde/Nike Fagade; Nkechi Osili

11. 30am: OPENING RECEPTION: Dance, Music, Readings etc

1pm: Presentation of THE WEAVER'S COLLECTION

1.30pm: PANEL DISCUSSION

• Theme: AFRICA IN THE EYES OF THE OTHER
Readings and discussions of Novels, and Non-Fiction Works including

(i) Paul Theroux’s DARK STAR SAFARI,
(ii) V.S Naipul's HALF A LIFE,
(iii) Shiva Naipul's NORTH OF SOUTH,
(iv) Gil Courtemanche's A SATURDAY AT THE POOL IN KIGALI,
(v) Karl Maier's THIS HOUSE HAS FALLEN.

Moderator: UCHE NWORAH
(Author, The Bloody Machete; The Long Harmattan Season; Chasing The Shadow)

3pm: ARTHOUSE PARTIES
Music, Wine and Dance Party For:

* Filmmaker TUNDE KELANI at 60,
* Painter KOLADE OSHINOWO at 60
Actor * Zack Orji at 50.
* Writer KUNLE AJIBADE @ 50
* Dancer ARNOLD UDOKA @ 50
* Designer HORGAN EKONG @ 50
(More names of “birthday people”, who have made significant contribution to the growth of culture production in the country, will be added)

4pm: SYMPOSIUM

• Theme: Dijns, Ghosts, Ghomids and Magical Spells: The reappearance of the Moonlight Tale in the New African Novel

* Zakes Mda's HEART OF REDNESS ,
*Andre Brink's IMAGININGS OF SAND,
*Ahmadou Koroma's ALLAH IS NOT OBLIGED

Day 3

10- 2pm: Fashion Show
(Between Kowry Kreations and LCC)

3pm: ART STAMPEDE

Theme: When Is The Profitable Reading Market?

Panelists:
Toyin Tejuosho,
Otunba Lawal Solarin,
Muhtar Bakare,
Bibi Bakare Yusuf

Moderator: TONI KAN
(Author, A Ballad of Rage; When A Dream Lingers Too Long; A Night Of The Creaking Bed)

5pm : Presentation of Awards for participation

* This will be the result of the Green Book Contest published to mark National Creativity Day. It will be a contest whereby notable environmental authors will participate by 'writing' the 'first paragraph' of a poem, story or play to be completed by school kids. 21 winners of the contest will have their works published and launched during LABAF 2008.

Partners:
CATE. LCC. ART ZERO. CHILD CARE NETWORK. KOWRY KREATIONS
GIVE NETWORK

Supporters:
. National Gallery of Art
. National Theatre of Nigeria

AN EXPLOSION OF COMICS AND CARTOONS AT LABAF

The 4th Lagos Comics & Cartoons Carnival

The Lagos Comics & Cartoons Carnival is a self styled ultimate gathering of admirers, lovers and downright fanatics of comics, cartoons and animation. The 4th edition of the Lagos Comics & Cartoons Carnival holding at the National Theatre, Iganmu Lagos from the 7th – 9th of November, 2008 as a part of the 10th Lagos Book & Art Festival organised by the Committee for Relevant Art (CORA) and is themed: Youth and the Creative Revolution.

Youth and the Creative Revolution
This year's theme captures effectively the mandate assumed by LC3's organizers to harness the creative energies of young people towards positive development particularly through socio-cultural and economic empowerment. In that regard, this year, we have tagged on to the ever vibrant, ever youthful and ever revolutionary hip-hop movement in our programme for the LC3 through our different collaborative activities which we have lined up with our partners for the three days.

PROGRAMME

DAY ONE (FRIDAY 7TH NOVEMBER 2008)

8:00 am – 9.00am: Participating exhibitors / collaborators set up their stands.

10:00 am – 10.30am: Official opening of the 4th Lagos Comics & Cartoons Carnival.

10.30 am - 3.00pm: Graffiti workshop and talks on creativity and the environment. Organized in collaboration with The British Council Lagos, Children And The Environment (CATE), Dream Arts & Design Agency and the African Artists’ Foundation. School children will get to practice their hands at graffiti under the guidance of visiting international graffiti artists and their home based peers.

3.00pm – 6.00pm: Interactive sessions / exchange for young artists with International Comic Book Artists from across Africa facilitated by the Center for Contemporary Art, Lagos CCA.

11.00 am – 6.00 pm: Screening of animated short flicks will hold for older folks who are not engaged with the children. Participants will talk shop on the screened flicks and the talks will be moderated by leading lights in the industry.

DAY TWO (SATURDAY 8TH NOVEMBER 2008)

8:00 am – 9.00am: Participating exhibitors/collaborators set up their stands.

10:00 am – 4.00pm: Words and Pictures (WAPI): The free expression event organized by the British Council Lagos will berth at LC3 with a major focus on hip-hop and its influence on comics, cartoons and animation.

DAY THREE (SUNDAY 9TH NOVEMBER 2008)

8:00 am – 9.00am: Participating exhibitors / collaborators set up their stands.

10:00 am – 2.00 pm: Fashion show in collaboration with Kowrie Kreations Media featuring the works of young Nigerian designers and of course, costumes inspired by comics straight out of Nigeria. All attendees are encouraged to wear the costumes of their favourite local / international super-heroes.

2pm – 4pm: Music, dance, networking till close.

What interested participants should do:

Comic / cartoons publishers and artists are encouraged to book stands to exhibit their comic books, cartoon collections or portfolios by contacting us through the email addresses / phone numbers below. Networking is key to LC3.
Artists who are already involved / who have interests in comics and cartoons are invited to bring their portfolios on Saturday the 8th of November for the Interactive sessions / exchange for young artists with International Comic Book Artists from France and across Africa facilitated by the Center for Contemporary Art where they will have one-on-one interaction with these facilitators.
All lovers of comics, cartoons and animation – children and adults alike- are encouraged to wear their favourite super-heroes' costumes on Sunday the 9th of November for the fashion show. Home made costumes are also most welcome and the most ingeniously dressed attendees will get to strut their stuff down the catwalk, right on television!
Spread the word.
Collaborators:
• COMMITTEE FOR RELEVANT ART, CORA,
• THE BRITISH COUNCIL,
• CHILDREN CARE FOR THE ENVIRONMENT (CATE),
• CENTRE FOR CONTEMPORARY ARTS, LAGOS, CCA
• DREAM ARTS & DESIGN AGENCY
• AFRICAN ARTISTS' FOUNDATION
• KOWRIE KREATIONS MEDIA

CONTACT US
For further information, please contact us though the following means:
Phone: 234-803-3000-499, 234-806-7421-215
Email: revolutionmedia@yahoo.com,lc3_05@yahoo.co.uk
url: http://www.naijacomics.blogspot.com/
Secretariat: CORA House, 1st Floor, 95 Bode Thomas Street, Surulere, Lagos.

AN EXTRA BOUNCE TO LAGOS COMICS SHOW

Professional Portfolio Review for Young Comic Artists at the 4th Lagos Comics & Cartoons Carnival

The Centre For Contemporary Art, Lagos (CCA Lagos) will be facilitating during the 10th Lagos Book and Art Festival an interactive session and creative exchange for young cartoonists and comic artists with visiting comic professionals from Africa and Europe at the 4th Lagos Comics & Cartoons Carnival. This programme is part of the educational component for the Picha. African Comics, an international touring exhibition featuring 19 comic artists from all over Africa opening at CCA,Lagos on the 8th of November and continues to 20th December 2008.
- Hide quoted text -
Young cartoonists and comic artists are invited to come with their portfolios to the main exhibition hall, by Entrance 'C' of the National Theatre Iganmu, Lagos, venue of the 4th Lagos Comics & Cartoons Carnival (which holds from the 7th till the 9th of November 2008) on Friday 7th November 2008 from 3pm till 6pm.
Two of the artists Kola Fayemi (Nigeria) and TT.Fons (Senegal) with curator of Picha Joost Pollman (Holland) and Caroline Vedhuizen (Holland) will take turns reviewing and discussing individually the works of the young cartoonists and comic artists in attendance after which will be held an interactive session with the general audience. This is a capacity building / cultural exchange initiative from the CCA in collaboration with the Lagos Comics & Cartoons Carnival and the Committee for Relevant Art.

CORA ARTHOUSE FORUM

2008-09-22T12:13:00.000-07:00

10th Lagos Book and Art Festival, Nov 7-9, 2008

2008-08-19T09:29:00.000-07:00

Theme: Literacy and the Global Knowledge Society

DATE: NOVEMBER 7-9, 2008

Key Literary Events:
Panel Discussions . Dialogues . Conversations . Arthouse Parties

Details on www.lagosbookartfestival.com

Physical; CORASECRETARIAT,
95 Bode Thomas Street, Suruletre, Lagos
Contact; Toyin 08057622415; Jummai: 08023683651

Marketing Consultant:
INSPIRO PRODUCTIONS
c/o AYOOLA SADARE 08023044806; inspiro77@yahoo.co.uk

Building Knowledge capacity of the people of Africa

Preparations for the 10 th Lagos Book & Art Festival, scheduled for November 7 – 9, 2008 , began on the last day of the 9 th outing. The key goal of this edition, which is slated to hold in the spacious Exhibition Hall of Nigeria's National Theatre, right in the heart of the city, remains two fold: (1) To help improve the African human capacity through encounters with The Book and (2) to provide a site for the most informed, robust debates on the literature of the continent.

In pursuit of the second objective for this edition we have detailed the programme content for the three days in this brochure. Conversation will focus on Africa in the Eyes of the Other; The Moonlight Tale in Emerging African Fiction ; The Growing Popularity of the Child Hero in the New African Novel and The Search For A Reading Market.

The first objective – to help improve the intellectual capacity of the people of our continent, -- is a work in progress. We continue to work with libraries, educationists, governments, private sector, brand specialists, communication solution experts, to find the formula to build the knowledge capacity of the African people. We are getting there: Last year we had, 1,600 children attending reading workshops, book debates, drawing experiments, craft practice. LABAF is not a Book Fair, it's a culture carnival with a high book content.

This booklet is a first call for participation: For registration as a trade visitor, to the festival, or as an exhibitor, please fill the form on this brochure and mail to our address, visit our website, or call 234 -8022016495. Thank you.

TOYIN AKINOSHO

Secretary General.

Join us at the Feast

The Committee for Relevant Art invites the public within and outside Nigeria, to the Tenth annual feast of the written word. For exhibitors from anywhere, this is a huge market. A hundred and forty million Africans inhabit some 960,000 sq km of space in Africa 's most populous country.

Over 60% of this population are young people between the ages of 18 and 25. Lagos, where the event is holding, is home to 10 million souls.

Every year the Lagos Book and Art Festival plays host to a stream of visiting writers coming to take part in some of the most insightful conversation on literature, literacy and the book market in Africa.

This year won't be different and if you are a writer, an intellectual, a student, a book enthusiast, and you want to participate in any of our programmes, please simply go o the registration page, do the needful and fax to us. We are as keen to have this party filled with Kenyans, Ivorian, Algerians and Mauritanians as we are interested in welcoming Sudanese, Egyptians, Zambians, Angolans and South Africans.

If you have a proposal to do anything that's outside the template that we've put on the programme page of this brochure, please send it to me at jahblak@yahoo.com, or call me on 234-8022016495.

Lagos is an exciting place to be. You're welcome to share the human energy that animates this city on the edge of the southern Atlantic .

(0)ARTHOUSE PARTIES

9am ON FRIDAY, NOVEMBER 7, 2008
(a.) Opening Reception- The Book In My Life- Funmi Iyanda
(b.)Presentation To Winners of The The Green Story Writing & Telling Contest
(c.) Presentation To Winners of The The Green Comic & Cartoon Contest
(d.) The Festival Tour (where kids and their teachers are taken round the grounds of the Fair).
(1)COLLOQIUM

12NOON ON FRIDAY, NOVEMBER 7, 2008
• Theme: Wars Without End: The Child Soldier As The New Hero in The Emerging African Novel
Reviews, readings and discussions of Novels, and Non Fiction Works including Ahmadu Koroma's Allah Is Not Obliged , Uzodima Iweala's Beasts Of No Nation; Helon Habila's Measuring Time, Biyi Bandele's Burma Boy

(2) INTERNATIONAL DIALOGUE

2.30PM ON FRIDAY, NOVEMBER 7, 2008
• Theme: Challenges of Liberal Democracy In Africa
William Mervin Gumede, author of Thabo Mbeki and The Battle For The Soul of the ANC spars with Dare Babarinsa, author of House Of War
(3)YOUTH ON LITERACY

9AM ON FRIDAY, NOVEMBER 7, 2008

9AM ON SATURDAY, NOVEMBER 8, 2008

Talking Books with Aunty Sola & Friends" : A roundtable discussion on Eddie Iroh's 'Banana Leaves', by upper primary and lower secondary school kids.

10AM ON SATURDAY, NOVEMBER 8, 2008
*Presentation of "The Green Book ", an anthology of environmental poems, prose, plays and paintings by children and young people of ages 7-15.

(4.) PANEL DISCUSSION

12NOON ON SATURDAY, NOVEMBER 8, 2008

• Theme: Africa In The Eyes Of The Other .

Reviews, readings and discussions of Novels, and Non Fiction Works including Paul Theroux Dark Star Safari , V.S Naipul's Half A Life , Shiva Naipul's North Of South, Gil Courtemanche's A Saturday At the Pool In Kigali, Karl Maier's This House Has Fallen.

ARTHOUSE PARTIES-Part 2
2-3PM Saturday, November 8,2008 .
Music, Wine and Dance

Party For:
* Ambassador Segun Olusola at 75,
* Jazz Promoter Tunde Kuboye at 60,
* Filmmaker Tunde Kelani at 60,
* Painter Kolade Oshinowo at 60 and the actor * Zack Orji at 50.
(More names of “birthday people”, who have made significant contribution to the growth of culture production in the country, will be added)

(4.)SYMPOSIUM
3PM ON SATURDAY, NOVEMBER 8, 2008
• Theme: Dijns,Ghosts, Ghomids and Magical Spells: The reappearance of the Moonlight Tale in the New African Novel

Zakes Mda's Heart of Redness , Andre Brink's Imaginings Of Sand , Ahmadou Koroma's Allah Is Not Obliged
2PM ON SUNDAY, NOVEMBER 11, 2007

ART STAMPEDE

When Is The Profitable Reading Market?

Andy Akhigbe, Toyin Tejuosho, Otunba Lawal Solarin, Muhtar Bakare, Bibi Bakare Yusuf

Moderator: Tolu Ogunlesi

Presentation of Awards for participation

* This will be the result of the Green Book Contest published to mark National Creativity Day. It will be a contest whereby notable environmental authors will participate by 'writing' the 'first paragraph' of a poem, story or play to be completed by school kids. 21 winners of the contest will have their works published and launched during LABAF 2008.

Paintings will also be sent in and the winning illustration will be placed on the front cover of the book.

A REVIEW OF THE EIGHT EDITION BY RITA DAHL FROM FINLAND

http://arjentola.blogspot.com/2006_09_01_archive.html

THE 8th Lagos Book and Art Festival began on a wet note last Friday at the National Museum, Onikan, Lagos, as the heavens disgorged litres of water.

Had guests and exhibitors at the event organized by the Committee for Relevant Arts (CORA), chosen to sing the nursery rhyme “Rain, rain, go away...”, they would have been forgiven because the heavy rain almost became a kill-joy by holding up proceedings.

And although it succeeded in delaying the opening of the festival by over two hours, it took nothing away from the event as participants had their fill of books, art, comics, lectures, workshops, dance and drama which were in abundance for the three days the festival lasted.

Seyi Solagbade and the Black Face Band who returned from a music festival in Italy recently and Adunni and the folk music group Nefertiti, treated guests to sessions of music which would have been more than it was on the first day had the rains not delayed events.

Nonetheless, the opening ceremony finally kicked-off in a relaxed atmosphere with Chris Ihidero, a member of CORA doing the initial introduction before Jahman Anikulapo took over the formal introductions. Jahman began on a light mood by saying that the rains fell because majority of those at the event left their homes that morning without praying. He then highlighted the objective of the festival and explained why it is more than a book festival.

Jahman said art was added to the book aspect of the festival to showcase the creativity of Nigerians whom he stressed are very creative before explaining the choice of the keynote speaker, Chief Rasheed Gbadamosi. Gbadamosi, he explained, was invited to the forum as a playwright and for his contributions to Nigerian literature and not because of his affiliation to the Petroleum Pricing Regulatory Agency (PPRA), Ragolis Water or any other body.

Before he called Gbadamosi who is a leading patron of the arts to the rostrum, Jahman told him to prepare to launch Sola Olorunyomi’s Afrobeat: Fela and the Imagined Continent, which he was given the honour to launch because of his closeness to the late Afrobeat maestro.

In conformity with the prevalent bonhomie spirit, Gbadamosi who was dressed in a blue suit removed his suit and tie before he mounted the rostrum. Though he was scheduled to speak on The Book and The National Consensus, the keynote speaker who came without a prepared speech, spoke on writers and writings in the country.

He said he was aware Olorunyomi was working on the book but was surprised that it was ready. On new writers, Gbadamosi disclosed he met some at an event recently and was thrilled by the freshness of their ideas, styles and command of English language even though he is disturbed by the magic and fantasy some include in their works.

Gbadamosi, who mentioned Peju Alatishe, Chimamanda Ngozi Adichie and Promise Ogochukwu Okekwe among other female writers as those that thrill him however said he would love more plays to be written. He noted that new playwrights are not getting published and advocated a union between playwrights and stakeholders in Nollywood.

The economist and playwright equally tasked playwrights to produce enduring works and advised writers to produce text for all classes of students to encourage reading. He subsequently opened the exhibition mounted by four artists: Nkechi Nwosu Igbo; Mufu Onifade; Washington Uba and Jelili Atiku Olorunfemi inside the exhibition hall of the museum as part of events for the festival.

What women write
A session appraising the engagements of Nigerian female writers was one of the events held on the opening day of the just concluded 8th Book and Art Festival. Given the new heights female Nigerian writers have attained and the rave reviews their works are enjoying across the globe, four women, out of which three were present, enlightened the gathering on the theme of their works at a colloquium moderated by Deji Toye.

Before Peju Alatishe, Araceli Aipoh and Mobolaji Adenubi discussed their works: Oritameta: Crossroads; No sense of Limits and Splendid respectively, and also Helen Oyeyemi’s Icarus Girl, some women writers read excerpts from their works.

Ibiba Don Pedro, two-time winner of the CNN African Journalist of the Year Award read excerpts from her work Oil in the Water ; Kaine Agary took excerpts from Yellow-Yellow, her forthcoming novel; Veronica Uzoigwe read a poem entitled Dance Again; Virginia Ogah read The Journey So Far and Ndidi Enemoh took excerpts from her work Flight for Murder, which original title is in Igbo language.

In the presence of bookworms and art patrons like Odia Ofeimun, Professor Akachi Ezeigbo, Gbenro Adegbola, Professor Adebayo Lamikanra, Mr. Modupe Oduyoye, Mr. Gboyega Banjo, Chief Frank Okonta, Dr. Sola Olorunyomi, Rita Dahl, a journalist and poet from Finland who read a poem in Finnish language before Jumoke Verrismo read the English version entitled It’s Amazing and Gerd Meuer, former correspondent of the German Public Radio (ARD) who later facilitated a workshop on Reporting the Arts, the women dialogued and gave insights into their works.

Peju Alatishe, painter and author of Oritameta: Cross Roads revealed that she had always been passionate about females and always advocated on issues concerning them even though she is not a ‘feminist’. She said her writing evolved from her paintings and the accompanying poetry to explain them in response to the moderator’s observation that her work resembles advocacy for women.

On why women make the lead characters in their works, Alatishe explained that it is because no one can express a woman’s feelings and concerns more than a woman. She said women have not been done enough justice in the literature by men and that men need to explore their feminism more.

Mobolaji Adenubi, on her part, said women writers make women their heroines because they have been portrayed negatively by men. The former president of Women Writers’ Association of Nigeria (WRITA) said women have become what they’ve been told they are by men over time and that women in Africa before colonization are different from women after colonization due to changes wrought by colonization. Colonization, Adenubi affirmed, taught women to be submissive and take on feminine roles which, hitherto, were not part of their roles.

She said further that current women’s writing is still trying to find the place of women in the society and that the negative potrayal of women in men’s writing made WRITA organize a seminar with the theme ‘Writing Women Right’ some years ago.

Former ANA president, Odia Ofeimun, who was ‘stampeded’ to comment by the moderator identified with the women by declaring himself a feminist because WRITA was formed during his tenure as ANA president. Although he said Nigerian literature has been taken over by women, he stated that it does not follow that when they tell their stories, they tell it better.

On what she writes, Araceli Aipoh said she writes about “things she loves and hate; what is real and fantasy; what she has and will like to have; about everything”.

Reporting the arts
The workshop on reporting the arts facilitated by Gerd Meuer was the final event held on the first day of the festival before the floor was surrendered to Seyi Solagbade and his Black Face Band. Before the German who had sessions with arts reporters earlier in the week took the floor however, Arne Schneider, Director of the Goethe Institut, Lagos, made a brief remark. Schneider disclosed that his first contact with the vibrant arts scene in Lagos was last year’s book and art festival and told the audience about the German films The Edukators and Go for Zucker showed last Friday and Saturday evening at the Gosthe Institut.

Other events held at the three-day festival which ended on Sunday include a lecture entitled Book in My Life, by Professor Pat Utomi of the Lagos Business School; a celebration of the landmark birthdays of members of the arts and culture family; a seminar with the theme Is African Literature More at Home Abroad than in Africa?
On Sunday, the festival bouquet with the theme 45 years of CORA: An appraisal where

Odia Ofeimun and Bisi Sylva spoke and the usual stampede with theme 20 years After The First Nobel Prize.

A Stampede For Uncle Steve On June 29

2008-06-22T22:19:00.000-07:00

THE Committee for Relevant Art will hold a special art stampede for Steve Rhodes on Sunday June 29 at the National Theatre. It is not yet clear if the Steve Rhodes Orchestra will perform, but the plan is to have a range of personalities who have passed through the grandmaster, including alumni of the Steve Rhodes Voices and artists who have worked directly with him, to talk about how he rubbed off on them. The stampede is scheduled to start at 1pm, run for five hours, with musical interludes and a screening of Femi Odugbemi's documentary. The audience will retire to O'Jez Restaurant at the National Stadium for a huge highlife party for the departed patriarch. "CORA doesn't do art stampedes for individuals anymore, but this is special," says Jahman Anikulapo, the Foundation's programme chairman. "The most we do for individuals is an Arthouse Forum, which is more specific than art stampedes. But for us, Uncle Steve is Huge, very large." Anikulapo said, "some of the alumni of the SR Voices will come on stage and do some of the stuff that are in the Voices' repertory." He says that CORA expects the Orchestra to do his more recent work, "but we haven't concluded." CORA hopes that, with such personal testimonies, music and film pieces, and "we would be able to tell the artistic story of the man's life." Anikulapo said that a majority of the Art community who could not be part of the funeral would have been effectively engaged. CORA has decided that each of its remaining programmes for the year, including the Book Editing Workshops and the Book and Art Festival.

*Culled from ARTSVILLE, The Guardian June 22

75th ART STAMPEDE HONOURS STEVE RHODES

2008-06-21T04:04:00.001-07:00

DATE:
SUNDAY JUNE 29;

TIME
2pm;

VENUE:
Banquet hall, national Theatre, Iganmu, Lagos

The legendary Art Impresario, STEVE BANKOLE OMODELE RHODES died May 29 at age 82. He has since been buried.
The name Steve Rhodes represents for Nigeria an institution of inestimable value, having bestrode the entire landscape of the Art and Culture life of the country. He was a Broadcaster, Composer/Arranger of Music, Art Manager whose industrousness and Journalistic practice helped in shaping the career of such great Nigerian artistes as Fela Anikulapo-Kuti, Rex Lawson, Bobby Benson, Fatai Rolling Dollar, as well as scores of other younger artistes. (See www.steverhodesnigeria.com)

At his death, he had requested for a quiet funeral, which was respected by his family and associates. This means that the ARTISTES COMMUNITY to which he was colossus as well as an inspiration did not have opportunity to pay their last respect to him.

The COMMITTE FOR RELEVANT ART (CORA) has decided to dedicate its 78th Quarterly ART STAMPEDE (started since 1991). The objective is to avail the ARTISTES AND CULTURE COMMUNITY as well as other Nigerians (who
may wish so to do), the opportunity to pay their respect to his blessed soul.

Also, the CORA wishes to use the STAMPEDE platform to set up a process of INSTITUTIONALISING the name STEVE
RHODES, particularly towards helping to put his many unfinished projects on sound footing.

The event will feature
1. Reflections on his life and works by such eminent culture producers and patrons of culture as Mrs.Francesca Emanuel. Amb Segun Olusola; Profs. Duro Oni, Ahmed Yerima; Benson Idonije; Dr Peter Badejo (the Nigerian biggest Dance export) and a horde of many younger artistes musical performances; dance skits;
2. Musical performances
3. Dance performances
4. Screening of Steve Rhodes Documentary produced by
Femi Odugbemi; among others.

The details are:

DATE: JUNE 29
TIME: 2pm
VENUE: Banquet Hall
National Theatre, Iganmu, Lagos

Steve Rhodes (1926 -2008)

Musicologist, master of interpretative music, icon of multi-dimensional talent and leading arts and culture advocate, Mr Steven Bankole Omodele Rhodes died at age 82 on Thursday, May 29, in London. He had been ill for some time.

More widely and better known as the founder and director of the Steve Rhodes Voices, 'Uncle Steve', as some fondly called him, was a man of many parts whose talents earned him recognition as radio broadcaster, as producer of music and television programmes, and as arranger, and director of music. He was the first Nigerian Head of Programmes for Africa's first television station - the WNTV at Ibadan, and the first director of the first big band in Nigeria, the 15-piece NBC Dance Orchestra that cut across nationalities.

It is a credit to Mr. Rhodes that the Steve Rhodes Voices (SRV) quickly became, even in its early years, an award-winning vocal ensemble that took the first prize at the Llangollen International Musical Festival at Eisteddfod in Wales, a place described by Professor Wole Soyinka as "the source of the vocal art itself".

The group has continued on a path of tremendous success, performing to high-brow and appreciative audiences, and to rave media reviews. It could not be different though. Mrs. Francesca Emanuel says 'the discipline at SRV was unparalleled' adding 'I have not seen such discipline anywhere'. Uncle Steve was well-known for demanding high standards but even more especially, from himself; excellence was his watch-word. He had zero tolerance for mediocrity.

Said he on the content of our television programmes: "I grieve for the fact that after forty years, we should have been a long way down the road, but unfortunately we are still showing high percentage of garbage from abroad". A sticker for details and perfection, he maintained that Nigeria is yet to have a music industry in the proper sense of it because "an industry consists of various specialists that include singers, song writers, arrangers, managers, costumiers, and stage designers". He described as "crazy," a situation, such as common in these parts, whereby a singer will be his own song-writer, arranger, producer, and every other thing else .

• Whe he was 80

Steve Rhodes, educated and polished, lived a full and active life, he was respected and honoured in cultured societies and in high places. He did well for himself; he also did much for others, especially younger artistes who looked up to him for guidance and inspiration. For his country, he accepted to collaborate with Professor Wole Soyinka in his capacity as Artistic Consultant for the opening and closing ceremonies of the 2003 All Africa Games. It turned out a difficult and thankless job, but this elder, so worthy to be so called, was not one to complain in public.

He also served as the first president and later, member of the Board of Trustees of the Independent Television Producers' Association of Nigeria (ITPAN). He has left behind an example that is truly worthy of emulation by present and future generations of artists. He was devoted to his art, remaining active until his last moments. He will be missed by the arts community and by all patrons of good art.

— Adapted from The Guardian Editorial of June 20, 2008

Dancing for Kelani and Fosudo

2008-04-05T14:37:00.001-07:00

When two seasoned artists are billed to mount the highlife stage- on the same day- to mark their birthday anniversary, then one should expect a large turnout of guest, if not a crowd. Yes, the first experience was the edition that had veteran artist Kolade Oshino and frontline actor Zack Orji-that edition recorded large crowd.
However, the 78th edition of the monthly Great Highlife Party held last Sunday at the Ojez Restaurant, National Stadium, Surulere, to celebrate filmmaker Tunde Kelani at 60 and actor Sola Fosudo at 50, was another big bang! The hall was full to its capacity; even the lobby too. In fact, Ojez management had to source for extra seats from anywhere to accommodate the crowd that kept growing bigger and bigger every minute.
Last Sunday’s edition of the monthly highlife revival initiative also called Elders Forum was special. Oh yes, special in the sense that both celebrants graced the occasion with almost their entire family members, with each cheering their own whenever their names were mentioned. Dressed in a traditional outfit, Kelani was the first to hit the venue with his wife and very long entourage. Few minutes after he ‘colonised’ a section of the hall, Sola Fosudo made his way into the venue, followed by his wife, family members and friends, immediately, highlife tune rented the airwaves.
As usual, the regulars were present at the show, except for Elder Steve Rhodes, who was conspicuously missing in the fun-filled show; well, Chief Femi Asekun was present to conduct the rituals, a traditional prayer session offered for every celebrant at every edition of the show. Ambassador Segun Olusola joined in the celebration half way. Aside the in-house band that succeeded in taking most guests down the memory lane with refined highlife tunes, other veterans who performed at the event include Tunde Osofisan, Maliki Showman, Alaba Pedro and Fatai Rolling Dollar who had an energetic performance, striking his guitar with dexterity, even at 80! Meanwhile, Che Chukwumerije had his turn on the stage; he actually opened the show.
Oh, Femi Asekun, you need to see how the old man turned the audience wild in excitement when he managed to clutch one of the microphones in his hand. Not long he started singing, the dance floor was full with guests, dancing and responding to Asekun’s songs, which he rendered mostly in Yoruba. The anchorman, veteran broadcaster and music critic Benson Idonije was caught up in that wind of excitement. In fact, it took Idonije time to stop that particular session; he enjoyed it, yes, he actually confessed.
As for paying tribute to celebrants, hmmmmm, this is one function exclusive to the Secretary General of CORA, Toyin Akinosho and he does it in style. Trust Toyin, in just few minutes, the Chevron staff, sorry, former Chevron Staff practically x-rayed each of the celebrants, pointing out their achievements one by one off heart. Anyway, Toyin has a way with history. Just hang around him, he’s definitely going to feed you with the history of Lagos, especially his growing up in Ebute-Metta or his numerous experiences in Cape Town.
Both Kelani and Fosudo were sooo grateful for the honour done to them. Happiness were written all over their faces as the dig it on the dance floor with their wives, and latter joined by their family members and other guests. The Great Highlife Party is a highlife revival initiative of Ojez Entertainment, with the active collaboration of the Committee for Relevant Art (CORA).

For Kelani at 60; Fosudo at 50, a highlife party

2008-03-29T08:27:00.001-07:00

By Benson Idonije
(As published in The Guardian Friday March 28, 2008)
COME Sunday, March 30, 2008, the 78th Great Highlife Party also called the Elders’ Forum will be experiencing another milestone in its continuing push for the resurgence of a dying musical culture. On this special occasion, trumpets, saxophones, trombones, guitars, drums and indeed all the instruments of the orchestra will be at their frienziest as the entire art community congregate to celebrate Tunde Kelani and Sola Fosudo, two of its most distinguished artists. The party begins at 5.30 p.m. and terminates at 11 p.m. at the usual venue of OJEZ Entertainment, National Stadium, Surulere, Lagos.
A foremost Nigerian film maker whose creativity matches international standards, Tunde Kelani’s passion for this career is still as profound as ever-even at age 60. He does newsreel work for such reputable stations as BBC World and other international organisations in Nigeria. His passion lies mostly with the documentation of Nigeria’s rich cultural heritage including shorts and features where he turns out works that are resplendent with the creative treatment of actuality as well as the imaginative presentation of concrete facts. He has contributed immensely to most of the films made in Nigeria to date.
T.K. worked as cinematographer on Anikura, Ogun ajaye, Iya ni wura, Taxi Driver, Fopomoyo and Iwa which he also produced. This represents a sizeable segment of the popular Nigerian films made in celluloid medium.
More recently, with funding from South Africa as part of the M-net New Directions initiative, T.K. functioned as cinematographer on Twins of the Rain Forest (16 mm), A Place called Home (16 mm), A Barber’s Wisdom (35 mm) and White Handkerchief) (16 mm), which he also produced and directed.
As a director of photography, T.K. stretches the optical capacity of digital video close to its elastic limit. What he does is use light to create what he sees because light is his main tool. He then uses the camera to record as much of it as technology makes available to him before PHCN (Nigeria’s unreliable power utility company) switches off his light to disrupt his work.
As a director, T.K. is a man of profound imagination who digs deep into the innermost parts of his mind, drawing inspiration from the past and building a bridge across the past and the present. This is because at 60, his age has afforded him the opportunity of being exposed to Nigeria’s cultural past – unlike most of the young folks whose knowledge of the past is vague and so are prone to foreign influences. With the deeply theatrical culture of his Yoruba pedigree, T.K. appears to have perfected the art of conveying Yoruba traditional theatre on the cinema screen without necessarily importing the limitations of the stage to the screen.
One of the attributes of a good producer is the clear identification of his target audience. T.K. understands what the viewing public expects of him and one of the strategies for achieving his objectives is the strong relationship with the traditional Yoruba theatre movement which constitutes a major group from which he draws actors and actresses. And because his casting is in the right direction, they often acknowledge him as a vital link between their history on stage and presence on the cinema screen.
T.K. recognises the popular video work as digital film making and has managed to make no less than seven full length features which represent some of the best offerings of the prolific Nigerian video phenomenon. Some of them include such down to earth productions as Ti Oluwa nile, Ayo ni mofe, Koseegbe, Oleku, Saworoide, Thunder bolt and most recently Agogo Eewo.
T.K. is a firm believer in alternative technology for motion pictures in Africa and says with conviction, “My ancestors used wood, terracotta, bronze and whatever else they could lay their hands on to document their reality. If we do not use whatever we can to document our own present realities, our children will suffer identity crises if they have to resort to archaeology to find out how we lived in the age of multi-media.”
Like last month when the artist, Kola Oshinowo and actor Zack Orji were celebrated for their achievements, Sunday’s party is another double take, featuring in addition to Tunde Kelani, the consumate actor and dramatist, Sola Anthony Fosudo. At 50 he is at the prime of a successful and challenging career. He is also a theatre director, scholar, critic and Head of Department of Theatre Arts, Lagos State University (LASU).
As a versatile artist, Fosudo has registered considerable impression on stage and screen.
He floated Centre stage Productions essentially to discover and nurture budding talents. His exploits on stage speak loud even though he has also made his mark in Nollywood with a participation that has continued to introduce intellect and professional commitment to the home video movement, featuring in such movies as True Confession, Glamour Girls, Rituals, Strange Ordeal, Iyawo Alhaji among several others.
Fosudo’s interest in theatre began from primary through secondary school where he played prominent roles in the end-of-year cultural dramatic activities which snowballed into participation in National Arts Festivals. But the final polish was put to this passion and professional career at the University of Ife. Says he:
“No picture can best paint the serenity that was Ife in those days. It was a campus to behold with its array of lecturers. I was thrilled by the stimulating and challenging academic environment, the structures, the unending rehearsals, the songs, drama and so on. It was indeed a very great experience.”
Explaining how he settled down to the real business, he further says: “The first play I took part in was Ola Rotimi’s Kurumi. After Kurumi, I found myself picking lead roles in most other productions that probably showed that I must have impressed the lecturers in Kurumi. The lecturers in Ife back then were some of the best anyone could ever pray for. We had the likes of the Nobel Laureate, Prof. Wole Soyinka, eminent theatre director, Chuck Mike and a host of others who gave all they had to the theatre. After the training, I was retained by the troupe for another two years.
“While there, I often craved to be like my lecturers, and I realised that the only way I would become a lecturer was to go for further studies. When Obafemi Awolowo University (OAU) refused to allow me into a degree programme with my certificate, a friend advised me to go to the University of Ibadan where I later ran a diploma programme. I followed up with a Bachelor of Arts (BA) and later, a Masters degree.”
However, it was not the paper qualifications that prepared him for what he is today. Rather, it was the natural flair and urge to give vent to and lend expression to his talent that did it. While at Ibadan for instance, he reached out restlessly to the Nigerian Television Authority (NTA) and Broadcasting Corporation of Oyo State (BCOS) to act. He got involved in a number of TV plays and moved from stage to the screen. He produced a dance programme for BCOS, a Disco Jam fashioned after Soul Train. But Koko Close was perhaps the most challenging of them all.
When he came to Lagos, he was invited to join The Village Headmaster, The Third Eye and later Ripples which established him as an actor because it ran for five years, during which period he played several controversial roles.
But today, Fosudo is a master of situations with a level of involvement in theatre that transcends acting. He directs, produces, markets and teaches.
Kelani and Fosudo will be treated to the best of highlife on Sunday from some of the veterans of the music still alive. Headlined by octogenerian Fatai Rolling Dollar whose career began in the 1940s, the party is bound to swing as he reminds you about the past and the present – in live setting.
Singer Tunde Osofisan of Maria fame will be on hand to sing from the highlife era of the 60s. He operates from a wide repertoire that extends beyond Roy Chicago, his mentor and former band leader – to the Tempos Band led by Emmanuel Tetteh Mensah, the king of highlife.
Alaba Pedro whose palm wine guitar strokes evoke the nostalgia of the vibrant highlife of the 60’s will thrill the audience as he doubles on vocals while Maliki showman’s hard- driving sound will generate excitement for dancing – with vocals and saxophone.
In recent times, the scope and dimension of the music have been extended beyond the conventional by musicians who sound rather progressive because they are masters of their instruments. Veteran Eji Oyewole, a multi- instrumentalist will feature on a couple of vintage highlife tunes. Fred Fisher, perhaps the finest trombone player around will lend support to the ensemble sound. Biodun Adebiyi will excite the audience with his exuberant trumpet as he plays with tremendous fire and spirit, soaring off into high note runs with confidence and precision.
And of course, the Highlife Messengers, an aggregation of brilliant musicians will be playing exuberant highlife that speaks for the present even though it has its roots deep in tradition.
The trio of elders headed by Steve Rhodes and supported by Chief Femi Asekun and Ambassador Segun Olusola will be present to initiate the two great artists into elderhood.
The Great Highlife Party is a highlife revival initiative with the active collaboration of the Committee for Relevant Art (CORA).

Tempers Flare At the 74th Art Stampede

2008-03-16T11:01:00.000-07:00

(Culled from ARTSVILLE (16/3/08) by Toyin Akinosho)

JOKE Silva was upset. Mahmoud Balogun bristled and Umar Farouk Jibril was visibly rattled. Everyone was talking at the same time, at a point in the proceedings of the 74th Art Stampede (Packaging The African Cinema For A Global Audience) in Abuja last week. It seemed that the stakeholders had all come with set interpretations of how far Nollywood had come, why it works and why it doesn't, but the opinions were so tight that crossovers were difficult. The hint that the atmosphere was going to be charged came after the lead speaker, Ben Tomoloju, had delivered an hour long cerebral lecture on the road that Filmmaking had taken on the continent, citing references from Frantz Fanon to the Meiji Restoration. When the moderator, Ayo Arigbabu announced that members of the panel, comprising Balogun (a filmmaker), Sylvester Ogbechie (art historian), Francis Onwochei (Fimmaker) and Francis Duru(Actor/director), would respond to the paper, a murmur of protest went up from the audience and a number of hands were raised, including Jimi Johnson's, suggesting that the field should be open for questions. It was thus natural that words started flying all over the place the moment the panelists finished their comments. Clear takeaways from the discourse include that the Nigerian moving pictures industry may have become a phenomenon of sorts, but it requires some structure to take advantage of its potentials, in terms of aesthetics, global appeal, market access, distribution etc. But there are significant internal hurdles in Nigeria to clear. The Comittee For Relevant Art CORA, is finalising a communique form the proceedings, that will soon be published.

femag@hotmail.com, sundayreports@yahoo.com

*** TEXT OF TOMOLOJU'S PAPER

Packaging African Movies For A Global Audience
BY BEN TOMOLOJU
THIS paper aims at examining contending issues in the motion picture industry. In doing so, it approaches the subject, motion-picture, from the point of view of a realist. Against the counterpane of history and all the standards that have emerged worldwide, it argues for the legitimacy of the African initiative. With a few criticisms of the shortfalls in the production standards of African movies highlighted, it goes ahead to philosophically position African motion pictures as part and parcel of a universal development which the rest of the world should embrace.

Introduction: The Historical Paradox
THE origin of the science of motion pictures is traced back to 1824. From that year, through the rest of the 19th century, series of experiments were carried out by notable western inventors like Eadweard Muybridge, Thomas A. Edison, W. Friese-Green, the Lumiere Brothers and George Eastman who produced the first celluloid film. However, it was the Lumiere Brothers who did the first public-showing of motion-picture in a cinema-theatre in Paris in 1895.
Tracing the history of the motion-picture to the beginning of the cinema in 1895 is significant in evaluation the place and poise of Africa in the movie-world. It helps in determining how far the continent has come in the use of the powerful medium, its profile among contending forces in inter-cultural relations, the challenges faced by African motion picture practitioners past and present as well as the prospects ahead of them in the global setting.
Naturally, the history of the movies sings a different tune from culture to culture. In Africa, it is not different. Using Nigeria as a closest example, the first public showing of the motion picture took place in 1903, eight years after the western world. In fact, the United States of America woke up to the public screening of films just about the same time as in Africa. The difference, according to history, is that commercial screening started in 1905, well ahead of the African continent.
Against this backdrop, it would have been assumed that, in over a century of contact and connection with the movie enterprise, Africa ought to have stood tall in its mobilization and utilization of the medium in the overall interest of the Africa people. But here lies a serious contradiction.
In its history of 100 years, American motion-picture industry accounts for about half of the world’s box-office releases, grossing an annual revenue of over $4.5 billion at the turn of the last century. Nigerian movies, on the other hand, are still battling for global recognition, surviving on paltry budget and cost-cutting improvisation. This comparison is not meant to cast the Nigerian motion-picture industry in a bad light, but to simply show how disadvantaged it has been in the global scheme of things.
Motion picture in Africa did not begin as cultural property of Africans as it did in the Western world. Its utility-value was, therefore, not salutary to the African intelligentsia who identified in the development an attempt by the colonialists to undermine the dignity and integrity of Africans. While the motion-picture as art and science evolved out of the organic creative and inventive essence of western cultures and was utilized for the promotion of their respective national interests, the reality of its advert in Africa is antithetical.
The motion-picture served the purpose of entrenching the control of the colonialists over the colonized peoples of Africa, manipulating them mentally, subjugating them politically, exploiting them economically and denigrating their cultures.
In this connection, an analysis of the problems besetting the motion-picture enterprise in Africa and the proffering of possible solutions must take into account this contradiction. Certainly, modern history has not been fair to Africans who were once referred to by Professor Ali Mazrui as “the most victimised race” in the world.
For the fact that most of this history was documented by the white overlords, it could not have fared better. Nevertheless, this paradoxical chapter of the African story should not be dumped in the backrooms as sheer chronological happenstance. It is part of our reality, even in the travails of the motion-picture in Africa. It must be held under the powerful lens of African movie-makers as an object for historical and cultural reconstruction in consonance with the political, ideological advocacy of Walter Rodney in his famous book How Europe Under-developed Africa and, of course, the literary model of Chinua Achebe’s Things Fall Apart against Joseph Conrad’s Heart of Darkness.
Realistically, history once made can never be unmade. Its consequences can only be accepted as factors challenging the inheritors of its legacy, whether fair or foul.
The legacy of motion-picture, as inherited from the west by Africans, should serve the latter as a catalyst for self-reinvigoration and, ultimately, self-vindication.
African scholars and producers like Nigeria’s Wole Soyinka and Senegal’s Sembene Ousmane, among others, have had the cause to initiate a process of reconstruction in which African film-making reacts against “the western stereotype of the black man and his world” towards an objective which Hyginus Ekwuazi aptly describes as a restitution of the distorted culture” of Africa.
Expressly, the voice of the African movie-maker is calling the rest of the world to meet Africa on its own terms. Its persona is not playing the victim, but taking a principled stand as a thoroughbred in the crafting and interpretation of the complexities of a new, dynamic world order.
Concerning the African film, Ekwuazi states as follows: “in this functionalist view, culture becomes not just what it is at any time, but also its elasticity, its growth potentials. Besides, the dynamics of cultural elasticity makes culture the dialectics of growth by providing the thesis and antithesis out of which is born a synthesis; a richer culture, reaching out towards cultural convergence; a homogenisation which becomes more of a reality in each generation.
The African motion-picture is currently berthed upon the shoreline of a synthesis in the dialectical relationship between the continent and the rest of the world. It casts off the beggarly torso of docile end-user of foreign initiative and positions itself on the path of self-actualization. Such attempts at self-actualisation may not be palatable to the metropolitan mercantilists and their predatory collaborators in Bombay and Hong-Kong. But a fact which cannot be wished away and one with which African movie-makers can arm themselves is that the African motion-picture is a cultural-nationalistic insignia. It is part of our collective struggle against any form of domination. It is part of our struggle against the North-south Information Dichotomy. Though our culture relates to others on the basis of mutual respect and universal solidarity, the movie remains a part of the struggle for economic and political emancipation, a struggle for self-determination.
This, in one’s opinion, is the principle upon which the pedagogy of African movies for the global audience should be anchored. It provides the ideological super-structure upon which the paradoxical image of African motion picture is anatomised and refocused. And it does not fail to acknowledge the need to uphold universal standards which determination should not be the exclusive preserve of the west.

African Movies and the Credibility Hurdle
LET it be made clear that the end-in-view of this paper is to create a healthy environment for mutually beneficial cultural dialogue and partnership between Africa and the rest of the world, based essentially on equity and fair-play. It is not meant to obliterate the shortcomings of movies produced in Africa which have been flayed by critics locally and international.
In fact, packaging African movies for the global audience cannot be discussed without taking into consideration issues bordering on competence and accomplishment and, by extension, the credibility of the practice on the continent. In the past three decades or so, critical salvos have been fired at African movies outputs, most of them coming in this era of home-video releases.
Motion-picture industry in Africa is criticised for the paucity of trained professionals in its stables. Screenplays, in a number of cases, are hackneyed, pedestrian, banal or morally bankrupt. The sub-sector is vulnerable to the activities of pirates and all manners of criminal abuse. Enforcement of the copyright law is in a sorry state. The movie-industry is economically marginalised and this is even worsened by the lack of political will among members of the political class to adequately empower the sector.
In the sense that they are aimed at improves professionalism, enhancing the quality of production, its moral responsibility and economic security, these criticisms are genuine. Certainly, they do not apply to all the practitioners. A number of African movie-makers are distinguished professionals with world-class status in their own rights. But they, too, have to temporarily put aside the aura of individual accomplishment and accept these criticisms as a pointer to the challenges that African motion-picture practitioners have to work together to surmount in the process of a global outreach.
Some of the criticisms are valid. Others raise posers for further rumination. For instance, the two issues on non-release of movies in the cinema-theatre and that on the recourse to the video format serve closer scrutiny.
Releasing movies directly to the public by way of home-video is making its own point in a free-market environment. Bu there can be no adequate protection in home-videos the way a theatre-based network would secure the canned fortune of the movie-maker.
Concerning the preponderance of video over celluloid, its logic ties in directly to the principle of self-actualization as earlier enunciated. What African practitioners are doing with the video is determined by the peculiarities of their situation for which they should have no apologies.
The economic arrangement between the International Monetary Fund (IMF) and some African government which led to austere economic measures like the Structural Adjustment Policy (SAP) was a catalyst for new thinking in the movie world. In Nigeria, which serves as a prime example, SAP was very unpopular and the people had to embark on whole days of anti-SAP riot to express their disapproval of the obnoxious economic measure. As a fall-out of the adoption of SAP, the naira fell against major currencies of the world. Foreign exchange procurement was as difficult as a camel passing through the needle’s eye. The spending power of the average Nigerian was drastically reduced. Several companies folded up leading to capital flight, huge job-losses, near-extermination for the middle-class and brain-drain.
The impact of SAP on the movie industry was stultifying because practitioners, as a matter of necessity, had to process their films abroad. With low spending-power and scare foreign exchange, the survival instinct of Nigerian filmmakers led them to start improvising with the video and making the best of a bad situation. Considering the fact that, like culture, creativity is dynamic, it would be out rightly preposterous to fault the step taken by Nigerian movie-makers in this direction.
Looking around Africa, for instance, in a country like Ghana, foreign-induced economic downturn was so ravaging that it swept some of their best performing artistes like Evans Hunter, Dela Williams and Liz Hammond out as economic exiles seeking their fortunes here in Nigeria.
It was largely a continental bog, and certainly a universal burden caused by the prescriptions of the world’s economic therapists with dire consequences on film productions in Africa.
To make recourse to video should therefore be viewed with sagacity by the cosmopolitan critics as a commercial novelty and nothing less. To state otherwise would seem tendentious.
The truth, as pointed out by African film-scholars, is that modern technology, in accord with the resilience, dynamism and creativity of motion-picture practitioners in Africa, is also narrowing the borderline of the cinematic art generated by the celluloid and video. What is left is to make the best of whatever medium that is chosen.
On this note, the credibility hurdle is scaled, with the understanding that current development in the African motion-picture industry which deviates from the application of established motion-picture technology is a creative response to a problematic universal phenomenon.
Logically, the solution to such a problem is also of universal significance. As a component of the mosaic of universal aesthetic responses, it has a right to the attention of the rest of the world. What is desired now is to evolve strategies and map out actions for a profitable outreach of African movies across the globe.

Consolidating the homefront
INTERESTINGLY, the charity of global outreach begins at home. The way to earn the respect of outsiders is for one to put this own his own house in order. There is the need to firm up the home-front in terms of building a culture of excellence in all departments of the industry, through the standardisation of productions, efficacious distribution network and compliance with relevant laws.
In this respect, also, the local populace, when effectively sensitized and mobilized, are a formidable asset in enhancing the fortunes of the industry. They constitute not only the major consumers of the products, but also help in entrenching a movie culture which translates into a living heritage commanding collective loyalty and pride.
In Nigeria, for instance, such a culture is evolving. At the national level and the level of the African Union, governments should invest in this development to take the industry to greater heights because it has the advantage of mitigating some of the problems of individual nations. Apart from creating employment, the motion-picture is a tool for mass-mobilisation.
Promotional and marketing events such as FESPACO in Burkina Faso, Le Benin Festival International du Film in Benin Republic, Sithengi in South Africa, and the troika of BOB-TV, Zuma Festival and AMAA right here in Nigeria, apart from their numerous roles in the industry, serve to project proudly the image of respective African countries. They also promote tourism while consolidating the cultural calendar of individual nations. For these and other reasons, the support of both the public and private sectors of the economy for these major events is highly desirable.
One other factor to examine which may constitute a spoiler to the noble efforts of stakeholders, patrons, governmental and non-governmental agencies, is an unregulated or at the best over-liberalised distribution network. From personal interactions and experience at the local level, one is convinced that this area is not well supervised and monitored.
Lack of accountability and respect for the rights of creators is quite rampant in the distribution sub-sector. Its general state of indiscipline constitutes a drain on the fortunes of movie-makers and tends to open the entire industry to unbridled roguery by local and international syndicate.
In this connection, one are which serves just as an example is video clubbing. Video Club owners now have an association. On the basis of fundamental human rights, it is their inalienable right to do so.
On the positive side, they account for bulk purchases of movie releases and are, therefore, strategically important in the marketing process. The problem, however, is that the video club association has been turned to a cabal of buccaneers who levy and terrorize their members and make huge sums of money that do not, at the end of the day, translate into fortune for the original creators of the movies.
I think video-club owners association now is nothing short of a bunch of motor-park-tout look-alike exploiting the sweat of movie-makers for personal gain. This is unacceptable. Video-clubbing should be more intensely regulated. Every single club has a right to be or not be a member of the association.
But every single club should register with the Nigerian Copyright (Intellectual Property) Commission even if it is situated in the remotest part of the country. Club owners should pay an annual registration fee or levy, an agreed fraction of which should go to guilds recognized in the Nigerian Film Policy or to the Motion Pictures Practitioners Council of Nigeria (MOPPICON).
A directory of video clubs in Nigeria should be published and revised annually. Any club that is not listed will be deemed illegal. The clubs should also be subjected to periodic inspection to ensure strict compliance with the copyright law.
We can even go a step further. Every video-club operator should keep a register of movies in his/her stock with relevant information on sources and proof of genuine transaction. Ile la ti nko eso rode.
This is a Yoruba proverb which translates as in “Charity begins at home.” To consolidate the home-front in movie marketing and distribution, it cannot be business as usual. Nigerian marketers and their numerous outlets and retailers must respect and even protect the intellectual property rights of movie-makers.
This way, they will not play into the hands of international syndicates and the reciprocity clause in the copyright protocols will be easier to implement.

Standardisation of Movie-outputs
THIS is an imperative relevant to both the local and foreign markets. With regards to the former, members of the African community are now having easy access to the outside world via satellite technology. They are getting increasingly sophisticated and discriminating in their taste for good movies. Thus, it is incumbent on stakeholders to insist on quality in all areas of production – screenwriting, directing, cinematography, acting, designs, among others.
To win the foreign audience who, naturally, are weaned on numerous classics, the real is to present them with credible alternatives from Africa, not only in terms of cinematic craftsmanship, but also the pulsating grip of fascinating and inspiring African stories.
This, I dare day, is an area where a producer such as Tunde Kelani stands distinguished. His partnership with a highly resourceful creative writer such as Professor Akinwunmi Ishola in movies like O le ku and Saworo Ide combines the eloquence of the moving-image with the profundity of well-told African stories.
More of these are recommended. There is the need to search through our epic models, the trails of heroes and heroines, the communal essence of African life and epochal subjects in the contemporary social circumstance of Africans for rich African stories with universal appeal.
The stories of Sundiata, Chaka the Zulu, Mzee Jomo Kenyatta, Haile Sellasie, Kwame Nkrumah, Nelson Mandela, Patrice Lumumba and other freedom fighters, including those in Nigeria, will make a compelling viewing outside the shores of Africa.
Creativity is dynamic. Regardless of what works may have been done on some of these historical personages, as in Eddie Ugbomah’s Death of a Black President, fresh ideas and interpretations can sublimate into new and exciting classics.
Of equal importance in the sourcing of materials for the African movie-story is our creative literature. An outstanding work like Chinua Achebe’s Things Fall Apart deserves to go beyond the adaptation by the Nigerian Television Authority. Kongi’s Harvest by Wole Soyinka has been adapted and produced on celluloid, but, from all indications and with the objections raised by the playwright himself against the director’s intervention, there is certainly another room for a movie excursion into the fictional world of an African dictator. Ngugi wa Thiongo’s The Trial Dedan Kimathi is a gripping story on popular struggles. And, on the comic side, Efua Sutherland’s The Marriage of Anansewa and Femi Osofisan’s Who is Afraid of Tai Solarin are succulent offerings waiting to be explored. In his introduction to an anthology of Best American Screenplays (Volume 2), Sam Thomas presents aptly the interface between literature and motion-picture. On an optimistic note concerning the literacry quality of movie-scripts, he writes: “We look forward to a time in the very near future when screenplays will become common reading, not only in university and high school film course, but in English departments as well, alongside the novel, the stage play and poetry."
The statement is unambiguous. Literature can be very useful to screenwriting. What is important in the case of the African movie is to utilise materials sourced from Africa to make the difference.
One may only add that producers should find a way for mediation between the literary and the cinematic. No doubt, the African motion-picture, in communicating with the rest of the world, will respect the prime position of the moving-image. It should, however, see the literary as an added resource, especially for its condensed sublimity in complementary relationship with the moving-image. Taken straight from Things Fall Apart one could feel the emotional impact visually and verbally when Okonkwo was forewarned concerning Ikemefuna: That child calls you father. Do no have a hand in his death.”
These are the kind of words from the African repertoire that can give the screen a poetic resonance.

Foreign Connections:
ONE of the strategies in audience cultivation is to “use what you have to get what you want.” Another is, “you rub my back, I rub your back.” One has preferred these descriptive simplifications in the popular lingo to illustrate possible outreach strategies in packaging African movies for the global audience because they drive the point home directly.
One of the reasons behind the influx of western movies into Africa was that virtually all the nations in Africa, with the exception of Ethiopia, were colonised. As such, citizens of the new African nations were like anxious brides waiting to be groomed. The metropolis has all things going for them because their unctions were hard to resist. In the case of contemporary Africa, there are no conquered territories to goad.
But one vehicle that we have in projecting our movies to the outside world is the formidable presence of Africans in the diaspora. Already, this factor is being exploited by individual film-marketers.
It, however, needs to be comprehensive. Stronger arguments deriving, for instance, from the leadership position of Nigeria in the black and African world as well as the restoration of cultural links can be put to use in the attempt to cultivate a devoted clientele for African movies in the African Diaspora. For example, one can imagine the kind of reception an epic movie on Emperor Haile Sellasie will have in the Rastafarianism infested countries of the Caribbean. Definitely, as I have had the opportunity to note in a trip to the Caribbean some years ago, our African brothers and sisters whose ancestry were long severed from the mother continent are yearning for this arm of re-union.
Beyond the African Diaspora, other countries in Europe, America, Asia and Oceania have signed one form of cultural agreement or the other with African nations which entail cultural exchange programmes and trade. Recently, during the visit on Nigeria’s President, Alhaji Umar Musa Yar’Adua to China, a Protocol on Cultural Exchange and Education was signed between the two countries.
Already, the Chinese are rushing into Africa, utilising various agreements to project and market their products and skills. It is, therefore, incumbent on movie-makers of Africa just as it is on every professional to utilise these agreements and protocols in marketing their products.
In these documents are enshrined an order of reciprocity — you rub my back, I rub your back. A partner in the bargain who consigns his own prerogative to dormancy can only have himself to blame.
If the Chinese come to Africa flapping their own copy of the protocol, Africans should go to China to flap their own copies. If the British Council moves around Nigeria flaunting the Commonwealth instrument, Nigerians should, without apologies, go to Great Britain flaunting our own commonwealth instrument as it pertains, especially, to cultural relations, trade and education.
If the United States beams its way into our living-rooms via satellite television, and on the basis of globalization, the AIT satellite television should beam into the heart of America branding the globalisation instruments.
This brings us to the “Heart of Africa Project”. Former Minister of Information and National Orientation, Frank Nweke Jnr. Was quite enthusiastic about this project. One is not so sure what the situation is at the moment, whether the momentum is sustained or whether it has dropped.
Whatever, one believe that the Federal Government of Nigeria, for the sake of Nigeria and Africa at large, should sustain the “Heart of Africa Project” as a cardinal initiative in spirit, letters and action.
The interest showed in Nollywood should also be sustained because this will ensure the packaging, promotion and propagation of Nigerian movies abroad, open the door for other African countries, with all the attendant benefits in the promotion of the country’s national interest.

Global Networking and the African Motion-Picture Consortium
GRANTED, African motion-pictures are making an appreciable impact around the world. There is, however, a great room for improvement. More movies have to be produced on an ambitious scale, which should go beyond whatever has been done in The Battle of Musanga, Sango, Sitanda or Amazing Grace. And all the inputs, including distribution and exhibition locally and internationally, have to be correspondingly ambitious.
One is looking at African movies getting the big headlines in the international media, making waves in the big cinema-theatres of the international capitals and attracting huge revenue for their robust artistry technical excellence.
Without doubt, producing such movies of epical dimension entails a lot of capital. Furthermore, it would require deliberate policies and actions on global networking for African motion-picture. It certainly is an onerous task.
But it can be done. In the free-market economy such as is currently being operated in this era of globalization, participation in such global networking can involve individuals, companies or whole consortia.
In view of the liquidity problems in sole-proprietorship and private companies, it seems that a consortium of African motion-picture practitioners would easily carry out this objective.
Already rudiments of this idea exist at certain levels of the production of motion-pictures in Nigeria. One is aware that indigenous practitioners in Yoruba engage in a kind of labour-based co-operative which reduces the financial burden of individual producers. Recently, a group of producers got together and established a marketing outlet in Lagos. Also it is on record that some Nigerian marketers – though in controversial circumstance – stood down the production of movies at a stage when there was a glut in the market. All these are business initiative, which indicate that practitioners can mass together all resources available and embark on gigantic projects for large scale export in their own best interest.
Such ambitions production designed only for the making of quintessential classics with the best possible technical back-up can take off at national or continental level. Guilds of screenwriters, cinematographers, producers, directors, actors, editors, designers and other experts in the field have a vital role to play in this respect.
The Motion Picture Practitioners Council of Nigeria (MOPPICON) or a similar umbrella body in any African country should lend policy weight to it.
In the same vein, governmental agencies, on line of duty and on account of practically implementing existing bilateral and multilateral protocols and agreements are germane to this cause.
By the consortium, one is speaking of total engagement in which production capital is multifariously subsidized in cash or kind from production stages to the establishment of distribution networks and cinema across the globe for African movies.
On the grounds of globalization, a horde of businessmen and women from Asia, Europe, America, Oceania and the Middle East are finding their ways to Africa.
An order of reciprocity as a matter of right has to be brought to bear on contemporary global economic trends so that Africans will also penetrate other limes with equal vigour with their skills and businesses and sell their products under a free-market, non—protectionist arrangement.
Let it be stated unequivocally, therefore, that African movies are a prime-product for export; that Africa boast of a quantum of high-skill in the film industry that can impact positively on the global consciousness.
The flag of this position will be carried by the consortium using all possible international treaties as a launch-pad, re-tying the bonds of kinship in the African Diaspora and winning the solidarity of professional counterparts abroad for safe-landing.
With a vigorous and assiduous pursuit of this objective, alongside other suggestions earlier made, one is certain that a route will be carved for the smooth flow and acceptability of quality movies from Africa to the rest of the world, with the attendant economic and other benefits guaranteed.

Conclusion
In this exercise, one has attempted a general overview of the movie industry in Africa. One would only like to conclude by extracting in a distilled form some of the recommendations for further discussions.
• The pedagogy of the motion-picture industry in Africa should be based on the universal significance of the merits of innovations that African movie-makers have brought into the practice which, in a process of confidence-building, should recommend their works for global recognition and acceptance.
• Standardisation in all departments of the motion-picture industry in Africa should be a sine qua non.
• Internal cohesion, full capacity-utilization and a culture of excellence should be ensured locally to earn the respect of the global community.
• The public and private sectors of the economy should take advantage of numerous benefits of the motion-picture industry by giving it maximum support and empowering its practitioners.
• The general indiscipline and lack of respect for the rights of intellectual property owners in the marketing and distribution of African movies should be checked to avoid pernicious collusion with international syndicates.
• African movie-makers should do more to exploit the African story in their screenplays to make the difference.
• Restoration of cultural links with the African Diaspora should form part of the strategies for cultivating a massive global audience.
• Africa movie-makers, in collaboration with relevant governmental agencies, should be pro-active in putting to use all bilateral and multilateral instruments that can open doors for African movies worldwide.
• The Nigerian government should sustain and pursue more vigorously the “Heart of Africa Project,” especially for the vital role the motion-picture industry can play in the realization of its noble objectives.
• Practitioners at national and continental levels should embark on global networking on an ambitious, massive scale through a consortium to establish viable and thriving outposts for African movies across the globe.

-Being a Paper Presented by Ben Tomoloju, Executive Director, BTC – Media and Creative Consultants, Lagos for BOB – TV 2008, Abuja, Nigeria seminar on Tuesday, March 11, 2008, Co-ordinated by the COMMITTEE FOR RELEVANT ARTS (CORA).
1.

Oshinowo, Orji dance on highlife stage

2008-03-13T13:36:00.000-07:00

BY CHUKS NWANNE
IT was double celebration at the Great Highlife Party held last Sunday at the O'jez Restaurant, National Stadium, Surulere, Lagos. The monthly show, also known as Elders' Forum, was used to celebrate the artist, Kolade Oshinowo, and actor Zak Orji, two people who have distinguished themselves in their chosen professions. Oshinowo recently clocked 60 while Orji celebrated his 50th birthday.
Organised by O'jez Entertainment, in collaboration with The Committee for Relevant Art (CORA), the event attracted friends, relatives and professional colleagues of the celebrants.
Elder Steve Rhodes, Pa Femi Asekun and Ambassador Segun Olusola — the three grand fathers of the country's art — who are considered the 'three legs' of highlife party, were present. So, was Richard Bezuidenhout, winner of Big Brother Africa 2.
While paying tribute to the celebrants, the Secretary-General of CORA, Toyin Akinosho, said the contributions of the two to the country's arts was invaluable.

The grand elders of the forum, Rhodes, Asekun and Olusola performed the traditional ritual (prayers).
Veteran highlife musicians such as Fatai Rolling Dollar, Alaba Pedro, Tunde Osofisan and Maliki Showman kept the atmosphere lively with refined highlife tunes that took most of the guests down the memory lane.
Che Chukwumerije was also on stage, belting out his palmgroove beats to the admiration of the crowd.

Since his graduation from the Ahmadu Bello University, Zaria, where legendary veterans such as Bruce Onobrakpeya, Yusuf Grillo, Demas Nwoko, Uche Okeke and others had their art training, Oshinowo has had a distinguished career, not only as a painter, but also as a teacher. The testimonies of lecturers and students of the Yaba College of Technology where he taught from 1974 before he retired voluntarily after 34 years of meritorious service in February this year, speak volumes of his creative ingenuity, commitment and good sense of administration.

Arguably one of the country's best actors, Orji, the Enugu State native, is one-time president, Actors Guild of Nigeria (AGN). He has been a major act in many Nollywood films. In fact, the actor and musician was voted AGN president due to his ability as an actor, director and producer on one hand, and his good reputation on the other. Through his efforts and creativity in the movie industry, he has helped give Nollywood a recognisable image both at home and abroad.

Tomoloju Leads The Stampede On Film Appreciation At BoBTV

2008-03-03T22:07:00.000-08:00

(CULLED FROM ARTSVILLE, BY TOYIN AKINOSHO IN THE GUARDIAN SUNDAY MARCH 3, 2008)

Ben Tomoloju, the creator of the modern newspaper arts segment in Nigeria , will lead the discussion at the 74th quarterly art stampede, dedicated to the cinematic arts, on March 11, in Abuja . The stampede is essentially the colloquium at the Best of the Best TV and Films (BoBTV) Festival, taking place in the Federal capital from March 9-13. Tomoloju will deliver an address on: “Packaging African Cinema for a Global Market", with a particular focus on the rapidly increasing influence of Nollywood around the world. The doyen of Nigerian culture journalism will look at how African homegrown films have featured in the marketplace, and contrast this general reception with Nollywood’s influence on its audience. Critics have argued that whereas Nollywood has worked magic on audiences in Africa , and the African diaspora, the response by others have been limited to scholarly appreciation. There are scholars in America and Europe queueing to do rigorous research into how an informal production millieu has grabbed the imagination of an entire continent, but are Indians, Americans, Englishmen, Germans rooting for Nollywood as Kenyans, South Africans, Congolese and Ugandans do? Mr Tomoloju would be joined on a panel discussion by some of the leading lights of the Nigerian cinema scene, as well as keen observers of the industry. The discussion will take place at the Ladi Kwali Conference Centre, Abuja from 11:00 am - 3.00pm prompt. It would be the first time the art stampede, an award winning discursive forum, will be taking place in Abuja . In all its 17 year history, the stampede has only happened twice outside Lagos ; once in Ibadan in March 1996 and in CapeTown in June 2006.

The 74th ART STAMPEDE

2008-03-03T22:01:00.000-08:00

THE 74th ART STAMPEDE

The 74th Art Stampede of the Committee for Relevant Art (CORA) is scheduled to hold at the Ladi Kwali Conference Center, Abuja on March 11th, 2008 from 11:00 am - 3.00pm prompt. Organized in collaboration with the 5th African Film and Television Programmes Expo: BOBTV 2008 where the stampede will double as The Colloquium on African Cinema, this stampede which will be the first of the quarterly discursive forums on the state of the arts of Nigeria organised by the cultural and art advocacy organisation will be centred on the theme: Packaging African Cinema for a global audience.

In keeping with the stampede tradition, a lead paper will be delivered by Dramatist, Theatre Director, Culture Communicator and Activist, Ben Tomoloju who since 1987 has been involved with international presentations of Nigerian artistic and cultural productions and ideas around Africa, Europe, America and parts of Asia. His presentation will be followed by an interactive session involving a cross section of practitioners in the film industry and sectoral/guild heads in the industry. Questions and reactions will be entertained from the audience to wrap up the exchange and a communiqué will be issued on the resolutions arrived at.

CORA hopes through this stampede to interrogate matters arising on the creation and distribution of African films for global appreciation and patronage against the backdrop of the overwhelming global attention the Nigerian film industry has garnered over the past decade and its recent attempts at self regulation. The stampede will address the theme from two perspectives:

1. The challenges of producing value for the ever increasing viewership all over the globe.
2. The challenges of meeting the growing demand for African films across the globe.

“The March stampede has focused on the film industry for the past decade or so” says Toyin Akinosho, Secretary General of CORA and publisher of Africa Oil and Gas Report, “It is therefore only appropriate that we should collaborate with the organizers of BOBTV to amplify our-now-annual discourse on the 3rd largest film industry in the world through their unique platform. Judging from last year’s Colloquium on African Cinema on which CORA collaborated with BOBTV and which was highly engaging and well attended by practitioners, enthusiasts and students of higher institutions, this year’s edition will aggregate the best minds in the industry and it can only be expected that the outcome of their deliberations will define in clear terms what path the industry should follow in consolidating on its huge global acceptance.”

Peppersoup For Oshinowo

2008-02-25T04:34:00.000-08:00

(culled from Artsville by Toyin Akinosho in The Guardian, Sunday February, 24, 2008)
The people’s painter will be honoured at a forum of elders this evening at O’Jez Club. The Committee for Relevant Art is feting Kolade Oshinowo, a leading member of the third generation of contemporary Nigerian artists, with evergreen highlife music and goatmeat peppersoup at the club. Oshinowo is the painter of market scenes and peoplescapes, who distinguishes himself in delivering elaborate street scenes in monochromes. His key area of achievement is that he has been able to live from the proceeds of his work. His society demands his art and pays appropriate prices, enough for him to set up a proper structure. His life is a sort of lesson in the business of the arts. Uncle Steve Rhodes, Ambassador Segun Olusola and Chief Femi Asekun, the three key legs of the elders’ forum, will induct Oshinowo into the club of elders.

* Compiled By Staff of Festac News Press Agency

A Painter meets an Actor on Great Highlife Party Stage

2008-02-25T04:09:00.000-08:00

Highlife party celebrates Kolade Oshinowo at 60, Zack Orji, 50
By Benson Idonije
(As published in The Guardian, Friday Feb. 22, 2008)
IT's going to be a double take for the Great Highlife Party also called the Elders' Forum on Sunday, February 24, 2008. The great artist, Kolade Oshinowo will be dancing on the same floor with the actor, Zak Orji as they both clock 60 and 50 respectively, with the collaboration of the Committee for Relevant Art (CORA). The event is holding as usual at OJEZ Restaurant, National Stadium, Surulere, Lagos from 6 pm till 11.p.m.
In the last two months, so much has been written about Kolade Oshinowo as a consummate artist, art teacher, mentor, administrator and president of Society of Nigerian Artists. But it is perhaps as artist, teacher and mentor that he has garnered the highest volume of tributes and accolades. And of the many tributes that have been paid to him by art writers before and after he turned 60 on February 6, 2008, I find the one by Akin Onipede most incisive and graphic.
I have always known that he is an artist of repute and substance even though I did not bother to ask for details. Since the '90s, when I started to attend art fora and activities passionately, I have always seen Oshinowo. Of a truth, he has attended almost all the art stampedes organised by the Committee for Relevant Art and the annual Book and Art Festivals religiously. Even when I got to know him at close quarters last November at the National Theatre during the last Book and Art Festival, we merely greeted and exchanged pleasantries. But it was his contribution to the discussion we had about art writing that compelled me to ask, not from him, but from some one else, whom he really is.
The testimonies of his lecturers and students at the Yaba College of Technology where he has been teaching since 1974 speak volumes for his creative ability, sense of commitment and good sense of administration. With a record of over 60 exhibitions and numerous commissions, Oshinowo has painted his way as it were into the hearts of almost every art lover.
Oshinowo is one of the most effective art teachers ever known. While most teachers rely only on the Lecture, which is a mere verbal symbol medium that puts knowledge at the cognitive, he takes his teaching a step further to a psycho-motor process in order to drive his point home in practical terms. With a studio where he paints and the various exhibitions he has put in place, he is able to extend his training methodologies into Demonstration and Evaluation, which are perhaps the most crucial and rewarding of them in all training interventions.
After our meeting last November when Oshinowo's artistic prowess and background were revealed to me, I took time out to see some of his paintings. I cannot agree more with Akin Onipede who has a correct description of his style. He says:
"He can be described as an impressionistic variant of naturalism. He paints everyday scenes in alluring colours and brush works, which are sometimes muted and at other times flamboyant. A draughtsman of impeccable rendition, he makes people, villages, festivals, bus stops, market places etc come alive on two dimensional format." Onipede further says, "With Oshinowo, there is no ambiguity in pictorial representation and interpretation of forms, he is simply magical."
Since his graduation from the Ahmadu Bello University, Zaria, where legendary veterans such as Bruce Onobrakpeya, Yusuf Grillo, Demas Nwoko, Uche Okeke and others acquired their artistic training and expertise as the first generation of students, Oshinowo has distinguished himself not only as a painter but also a teacher.
As a professional artist, Oshinowo has inspired a whole generation of young followers who admire him not just for his talent as a creative and profound artist but also the way he carries himself. Looking clean, simple, likeable and attractive with elegant manners, Oshinowo's image has given the profession respectability and nobility.
As an icon of the arts, a colossus, he will be greatly missed by Yaba College of Technology as he disengages from an institution he has served meritoriously for almost 34 years.
Several parties and events have been held in Oshinowo's honour to mark this landmark in his life, but the Great Highlife Party will perhaps round-up all the celebrations with a highlife feast which will require him to put his best foot forward and dance to the highlife of some of the great veterans still on the scene.
The climax of the event will be his admission to elderhood in a ritual performed by elder Steve Rhodes in conjunction with a triumvirate that also includes Chief Femis Asekun and Ambassador Segun Olusola.
The actor and musician Zak Orji will also enjoy the blessings of elders, but in his own case, he will be admitted to the lower cadre of elderhood, at 50, a transformation he is going to experience as a seasoned actor and producer.
Zak has been principal actor in numerous films, always the victim, the good guy so to speak. Does he choose these roles? Is it in keeping with his religious faith?
"In our line or work, we are usually put in a box. You deliver a role creditably, and a lot of such roles keep being offered to you." Continuing, Zak explains from a professional stand point, "Sometimes one has to turn down some offers because the fee is not okay, or the script is lacking in depth and coherence, or you want some things built in or altered and the producers do not agree, or some other reason. Only once in no occasions do I choose my roles."
Zak is the president of the guild, which is spread across 16 states of the federation. As president he is like the chief executive officer (CEO). Every state has a chairman and his officers who oversee the day-to-day running of the guild. When matters are unresolved at state levels, they are referred to Zak who has authority to ratify the expulsion of any member. And, as the image-maker of the guild, he represents the guild in all functions relating to other bodies.
Zak was voted into this office because of his ability as a profound actor, director and producer on the one hand, and his good reputation on the other.
There is now a formidable group of veterans who, for the purpose of the Great Highlife Party goes by the name, the Highlife Messengers. Including such towering individualists is Biodun Batique on trumpet; Fred Fisher on trombone; Abel on bass among others, the standing orchestra is versatile and capable of playing highlife with conviction and finesse. There are two guest saxophonists cum singers featuring Eji Oyewole who comes all the way from Ibadan. The other veteran is based in Lagos and helps to extend repertoire to the Eastern part of the country-to capture the memories of Celestine Ukwu, E.C., Arinze Ralph, Amarabem and Stephen Osadebe.
The regular veterans who are the stars of the show include Tunde Osofisan of Roy Chicago fame whose voice continues to reach out vibrantly in all the registers, with ease. He reminds you always about the golden days of Roy Chicago's Rhythm Dandies for whom he sang until it disbanded.
Guitarist Alaba Pedro is also a graduate of Roy Chicago's Rhythm Dandies, a group for which he provided palm wine guitar chords and singles notes until its exit. His fingers are still as flexible as ever, generating chorded solos at the octave, and singing at the same time.
Maliki Showman who created the Joge beat in the late '70s brings the highlife party alive with vocal renditions and saxophone solos that remind you about the past. But of course, Fatai Rolling Dollar, the living legend of highlife will set the place ablaze as top of the bill with an ensemble sound that is like no other. Still as strong as ever on stage at 80, Fatai is unleashing on his fans, the true sound of early high life which he refused to compromise when it was being watered down to an urban social music type by the likes of Ebenezer Obey, Sunny Ade and their numerous disciples.
Tributes will be paid to Oshinowo and Orji by the Committee for Relevant Art (CORA) and their friends and well wishers.
The Great Highlife Party also called the Elders Forum is a highlife revival initiative with the full involvement of the Committee for Relevant Art CORA- in a project that takes place every last Sunday of the month.

Great Highlife Party for Asekun @ 76

2008-02-04T11:49:00.000-08:00

IF there’s any man who has assumed the face of the monthly Great Highlife Party (originally named Elders’ Forum), that must be the veteran broadcaster, and music enthusiast, Chief Femi Asekun.
Right from the inception of the programme at Ojez Restaurant, Iwaya, Yaba, Lagos on October 2, 2001, up till three years ago, when the show was moved to the Restaurant’s National Stadium annex, Asekun has not only been consistent, he’s been totally involved, especially officiating the session in the absence of the Impressario and ElderArtsman Steve Rhodes, who traditionally leads the ‘rituals’ (prayer session). The third leg of this officiating elders is the veteran broadcaster, actor and diplomat, Chief Segun Olusola. Together, the trio supported occasionally by other equally elderly artistes that showed up in the house, have helped to sustain the programme in the past six years.
You now understand why the organisers, management of Ojez supported by the Committee for Relevant Art (CORA) resolved to dedicate the 76th edition of the show to mark Asekun’s 76th birthday held last Sunday. You hardly would find a greater coincidence!

The hall was full with guests — both regulars such as Steve Rhodes, the celebrant Femi Asekun, Alakija, Femi Esho, Tomprai Abarowei of Radio Nigeria among others, an first timers such as Danniel Kotter and Constance Fischbeck, Video artists from Germany, who came into the country barely an hour into the show; and a whole lot of other guests. There was a group of expatriates who came all the way from Abuja to see the show for the first time. The event was indeed a thriller.

You need to see the celebrant digging it on stage with both the young and old that graced the occasion. In fact, even at 76, from his performance at the show, Chief Asekun will still hold his floor in any dance competition. And with veteran highlife artistes such as Alaba Pedro, Tunde Osofisan, Maliki Showman, Eji Oyewole and Fatai Rolling Dollar taking turns on the bandstand, highlife music was at its best. However, Che Chukwumerije, son of Senator Uche Chukwumerije,and an aviation senior executive, took the slot of the younger generation with his band. He has become a regular feature at the monthly music feast. He is perhaps the testimonial the organisers have to flaunt -- in claiming that they have accomplished a key objective of the show; which is to encourage young ones to take to the music that until recently was considrede a dead or dying heritage. – he performed on stage at the event.

Meanwhile, have you observed few changes at the last show? Yes, the new in-house band has added a new twist to the show by playing highlife songs from the eastern part of the country. You should have seen the excitement that enwrapped the Actors Guild of Nigeria president, Ejike Asiegbu at the event; he nearly jumped from his seat when the band played a popular Igbo highlife tune. But as the presido, he only resulted to only raising his two hands up in satisfaction.
As a pioneer staff of NTA, Chief Asekun’s zest for arts and music is commendable, and at the monthly Great Highlife Party, you will see him conducting affairs. He had, at a young age, performed in Norway, England and France, and has indeed, remained in practice even into his septuagenarian age.

PICTURES FROM THE CORA RETREAT

2008-01-29T09:10:00.000-08:00

For the first time since its inception 15 years ago, The Committee for Relevant Art (CORA), which was conceived by the geologist and arts writer, Toyin Akinosho, more than 15 years ago along with Yomi Layinka, Tunde Lanipekun, Jossy Ogbuanoh and Chika Okeke, CORA won the 25,000 Euros price from the Prince Claus Foundation based in the Netherlands last year for its arts advocac, had a three-day retreat at the Eko Hotel & Suites last Thursday the 24th of January, to plan the direction of the organization over the coming years. The event was co-ordinated by Deji Toye, and it lasted late into the night, with discussions on matters of Arts and Culture in Nigeria.

Two of the resource persons, Obi Asika (CEO, Storm Records), Muhtar Bakare (MD, Kachifo Limited, Publisher of Farafina Magazine) with Deji Toye of CORA as the discussion veers into the future of books and music in Nigeria.

Programme Chair, Jahman Anikulapo (Editor Of the Guardian on Sunday and Life Magazine, Programmes Chairman of CORA), Deji Toye( Writer and Lawyer) and Toyin Akinosho (The General Secretary of CORA)

Toni 'Kan' Onwordi (Corporate Services Executive of Visafone and writer) talking to CORA members on the first day of the event.

Toyin Akinosho, Sola Alamutu, CEO of CATE Foundation and Ayo Arigbagu (Writer and Architect)

Group photograph, after the session with Toni 'Kan' Onwordi

Film-maker Mahmoud Alli-Balogun and Deji Toye

Panin Kaniyuk and Azu Nwagbogu of the African Artists' Foundation and Jahman Anikulapo

REVIEWING THE YEAR OF THE WRITER

2008-01-03T09:05:00.000-08:00

2007: The Year Of The Nigerian Writer
BY JUMOKE VERISSIMO
(As published in The Guardian on Sunday 30/12/07)

2007 steps into history tomorrow, but it gave birth to fond memories in the writing community. Sour, bitter, sweet, and simply bland. The year has left a taste that would tingle into the New Year in the consciousness of many Nigerians. This year has been rather eventful for the Nigerian writer, bountiful ‘good books’, awards and more and more.
It seems rather certain that it will take a long time, for this year to go out of our memories. There is the attention on Nigerian literature, which is sure to spill into the New Year, 2008. And while we remain basking in the goodness of what came, and for the glitches of losing some writers, who were dear to our heart, we pray not for more laughter than pain in 2008.
While the events of the year may not all be captured, here are some that will remain in our memory, for a long time to come.
Prof. Niyi Osundare’s Tender Moments, his collection of love poems, Helen Oyeyemi’s second book, The Opposite House and Segun Afolabi’s first novel, Goodbye Lucille, all came out during the year.
JANUARY brought goodness, with the coming home of Half of a Yellow Sun, which has won so many awards.
FEBRUARY: So many things began in the month, as the writer, Muhammed Sule died on 12th. Helon Habila, Caine Prize winner, published his second novel, Measuring Time in the UK and later in November in Nigeria, by Cassava Republic. Tolu Ogunlesi won the Dorothy Sargent Rosenburg Poetry Prize, with his poem, Visiting the Yellow River. Abidemi Sanusi, author of Kemi’s Journal was in Nigeria for a creative writing workshop, in Lagos and Abuja.
MARCH: There was celebration of the life of Nigeria’s own Osundare, who not only celebrated his 60th birthday, but was also celebrated for escaping hurricane Katrina, which ravaged his base, New Orleans, United States of America in 2005. The Committee for Relevant Arts (CORA) celebrated him at the Ojez nightclub, for his contribution to literature, and of course for his life.
APRIL was another month when writers were quite productive, and there was a good show of the winning spirit, but it was also a rather sad month when the community lost Ebereonwu the poet, playwright, movie producer/director and member of Association of Nigeria Authors (ANA) in a motor accident. Jude Dibia’s Unbridled was also released. Though no Nigerian won the Caine Prize, there were three on the shortlist for the year. The three are artist and writer, Ada Udechukwu, for her story, Night Bus, published in The Atlantic Monthly. Uwem Akpan, a Jesuit priest for his story My Parent’s Bedroom published in the New Yorker and E C Osondu for his story Jimmy Carter’s Eyes published in Agni. Abubakar Adam Ibrahim also won the BBC World’s service’s African Performance Playwriting competition 2007.
JUNE was the month that ruled it all, as “the year”. And why Ousmane
Sembene is not a Nigerian; his death was not one that Nigerian writers could ignore. Distinguished elder and statesman, Chinua Achebe was awarded the Man International Booker, a week after, Chimamanda Ngozi Adichie won the Orange Broadband Prize for 2007.
Adichie and Wainana taught a creative writing workshop sponsored by Fidelity Bank later in the year.
NOVEMBER: Just as writers were getting ready for the 9th Lagos Book and
Arts Festival (LABAF) organised by CORA, they woke up to hear the news of the death of Cyprian Ekwensi, the man who is said to have captured city life the most in Nigerian literature. The CORA organised festival, with the theme, Literacy as Democracy Dividend, was dedicated to him. He had been billed to formally open the festival, but died some five days to the event.
London-based Molara Wood got a Highly Commended Award in this year’s Commonwealth Short Story Competition for her short story, Trial by Water.
Habila toured Nigeria for his newest book, Measuring Time. He visited five states, Lagos, River, Nasarawa, Plateau, and Gombe. Chika Unigwe also came into the country to promote her novel, The Phoenix, the translation of her first book, De Feniks, her first novel. Her second book, Fara Mogana was released this year, but in Flemish; it’s going to take 2009, before English speakers know what it is about.
And Biyi Bandele now wears a shaven head. That is eventful too!

—

Writers on why they write

By Jumoke Verissimo

Funso Aiyejina, author, Legends of the Rockhill On why he writes:
“I write because I have a compelling urge to write. There are many people, who have compelling urge to go out there and slap somebody, but they don't go out to do it, (Laughs), so why do I do it and why do I continue to do it? Maybe because I think that any society without a literary tradition is not a human society, it is a barren society. It is a backward society. I think I have something to contribute to the literary tradition; so I write. . Secondly, I think literature has a central role to play in the shaping of the character of a people, and that if I can write one line that speaks to my people, however you define, the notion, I would have done something to satisfy myself.”

Abidemi Sanusi, author, Kemi’s Journal on problem of readership in Nigeria, “I guess when compared to buying food and making ends meet, reading books is not a priority for many people but at the same time, those that do read tend to narrow their reading lists to ‘success’, commercial and religious books. Everybody wants to be a success because nobody wants to be identified with failure especially in Nigeria. This means that the bookshops are flooded with such books because there is a market for them. The religious books certainly can be better written/edited and I’m not entirely sure that some of what’s written is theologically sound; but that’s just my opinion. The danger with this is that wonderful literary works are by and large not appreciated which is a real shame. Books can empower, challenge and influence societies in more ways than one. Think of Karl Marx and Das Kapital. Marx died in 1883 and 124 years after, his books are still influencing societies around the world.”

Chimamanda Ngozi Adichie, author, Half of a Yellow Sun on getting published "there is an element of being lucky, but also it is not just luck. First, you have to have the talent itself. We don't make the talent ourselves. The talent is a blessing that we are fortunate to have, but then, the task you must give yourself is hardwork. So, you are blessed with talent, but, you have to do the work, and it is hardwork. You have to write, you have to edit. You have to do the work to find the publisher yourself. See, Tolu Ogunlesi. He proved that hardwork can get you published. Send it. If you get rejected, send again. That is what I did, before I was published. The element of luck comes only, when finally you get an editor who likes you, but it has to be you, trying and trying."

Mobolaji Adenubi, author, Splendid, on publishing, “has gone the way of business — commercial; not that it wasn't commercial then, but, I don't want to say that the public want to buy many books that they don't need, unless these books are required, unless it is a prescribed text book. And I think the economy has much to do with it because you don't have that much money to throw about."

Victoria Kankara author, of Hymns and Hymen, on why she writes, “I write because that is the only way I can be heard. If I don't write and get published I won't be heard, no one would know what goes on in my mind. Writing for me is a way of putting down what I have learnt from other people's experience. When I learn from other people's experience; it helps me to document my own experience.”

Tolu Ogunlesi, author, of Listen to the Geckos Singing from a Balcony on writers and writing, “Much of it is not in our powers, as much as it lies within us. We need to be committed; we need to work hard, and we need to take ourselves more seriously, and we should never underestimate the power of networking, because I personally cannot count the number of people who have been of help to me, people who I met online…”

Ayo Arigbabu author, 3kobo Book on the creativity and posterity, “It is usually left for people coming behind to really change things, and we are seeing things changed. From 1996, we can see how the music industry has changed… like from Remedies to Mode Nine. Ty Bello, a world class photographer… you see the creativity is there, you can feel it. You can taste it on the streets.”

Akeem Lasisi author, Iremoje, on the politicising of writing by some people, "I think as writers we should concentrate on working on our own craft. It is highly inspiring that Nigerian writers based abroad have been doing well, we all love it, but we want a situation where people here get as much as we're doing. I don't want us to become like footballers, who are divided into professional and home-based."

Akin Adesokan, author, Roots in the Sky, on contemporary Nigerian literature on the global scene, “the writings by Nigerians are an interesting phenomenon right now, in the world of letters. They are an integral part of a global tendency in writing. The writers we talk often about these days are doing incredible work, whether they are published in New York or in Lagos. I know most of them personally, communicate with them, sometime I hang out with them when I see them, teach their works and so on, as I teach writers from Uganda, South Africa, Jamaica, Sri Lanka, and of course the US. I wish many more of these writers are available in print. I would love to read a novel by Ike Okonta, or by Omowunmi Segun, or by the Cameroonian writer, Patrice Nganga. I think what's important is that the kind of attention Nigerian writers now command, that it translates into really ambitious works that will shatter all sorts of notions about nations, literary genres, and so on. There are good signs.”

Helon Habila, author, Measuring Time. On Nigerian writers, "I think we have achieved what nobody thought we could achieve in that short time. From the death of Abacha to the present we have seen previously unheard of writers, like myself, like Abani and Atta, and Iweala and Adichie making name for themselves not only at home but on the international stage. People are beginning to talk of Nigerian literature, not the generic African literature. We are being compared to the Indians. There are lots of reasons for this – one being that there is a desire in most people to hear African or Nigerian stories from Nigerians, and we are rising up to the challenge. And local conditions also prepared us for this."

2007 Authors Of The Year

(As published in Daily Independent, Mon, 31 Dec 2007)

By Yemi Adebisi

World literary community applauded the progress that visited giant of Africa, Nigeria, in 2007 with regards to the number of international literary awards Nigerians captured during the year.

Sources said that an American poet declared that the god of literature was a Nigerian.

The first major literary breakthrough of the year was when Chimamanda Ngozi Adichie, a Nigerian-born London-based writer, won the Orange Broadband Prize for Fiction. She beat five other contenders for the £30,000 women-only award, including Kiran Desai, short-listed for her Booker Prize winner The Inheritance of Loss. Adichie's novel, Half of a Yellow Sun, is her second work and set during the Biafran War of the 1960s. Half of a Yellow Sun tells the story of people caught up in the unfolding political turmoil in West Africa, whose loyalties are acutely tested when troops advanced on the dusty university town they inhabited. The novel examines ethnic allegiances, moral responsibility, class and race.

The award ceremony took place at the newly refurbished Royal Festival Hall in London's South Bank, and the judging panel included broadcaster Muriel Grey and best-selling writer, Marian Keyes. Previous recipients of the award included Zadie Smith for On Beauty (2006), Andrea Levy for Small Island (2004), and Helen Dunmore for A Spell In Winter (1996).

Born 1977 in Aba, Nigeria, Chimamanda was educated in the university town of Nsukka. She has a Masters degree in creative writing from Johns Hopkins University, United States of America. She is a Hodder Fellow at Princeton University, where she teaches introductory fiction.

Nigerian novelist and celebrated literary icon, poet and literary critic, Chinua Achebe, also won the 2007 Man Booker International Prize. The £60,000 prize is awarded once every two years to a living author, whose work "has contributed to an achievement in fiction on the world stage". This is the second time the award has been won after Ismail KadarÈ in 2005.

Achebe is probably best known for his first novel, Things Fall Apart (1958) and the Booker Prize short-listed Anthills of the Savannah (1987).

One of Chinua Achebe’s many achievements in his acclaimed first novel, Things Fall Apart is his relentless unsentimental rendering of Nigerian tribal life before and after the coming of colonialism. First published in 1958, just two years before Nigeria’s independence from Great Britain, the book eschews the obvious temptation of depicting pre-colonial life as a kind of Eden. Instead, Achebe sketches a world in which violence, war, and suffering exist, but are balanced by a strong sense of tradition, ritual, and social coherence.

One of the greatest and controversial episodes of the year in Nigeria’s literary community was this year’s Nigeria Liquefied Natural Gas (NLNG) literary award won by both Mabel Segun and Akachi Adimora. The Committee for Relevant Arts (CORA), and the Association of Nigerian Authors (ANA) held a workshop for stakeholders in the art sector for a review of The Nigeria Prize for Literature on Wednesday, August 29 at Ocean View Restaurant, Victoria Island, Lagos.

It was organised to assess the impact of the literary prize on the sector. Guest speakers at the event included Mr. Mbanefo, who represented NLNG, and President of ANA, Dr. Wale Okediran. The panel were Dr. Wumi Raji (poet, literary critic), Toni Kan (writer, literary enthusiast), Chike Ofili (poet), and Nike Adesuyi (poet, fiction writer). Others were Folu Agoi (poet, chairman, ANA Lagos), Ropo Ewenla (actor, poet, literary enthusiast), and Grace Daniel, chairperson, Women Writers Association (WRITA). The forum was where argument over the continuous sanctity of the award was revisited.

The organisers decried the invitation of former Nigeria’s head of state, Ibrahim Babangida, to give a keynote address at the presentation.

Contrary to what literary critics felt about Babangida’s invitation, Mr. Ifeanyi Mbanefo, spokesman for NLNG, declared that the intention was not politically motivated. Things really fell apart at the meeting because many stakeholders were indifferent to this arrangement, which they declared did not glorify the award.

Members of the ANA therefore, were told to boycott the ceremony by Nobel Laureate Wole Soyinka. He called a press conference where he declared that Babangida was not qualified to chair an intellectual gathering in Nigeria, having bastardised the economy, encouraged corruption and destroyed the legacy of sustenance of the future of the Nigerian youth.

Despite all threats on pages of newspapers by Soyinka and Babangida, the event took place in Lagos and Babangida attended, though some Nigerian authors including Wale Okediran boycotted the event.

It would be recalled that the NLNG Literature Prize was born in 2003. Siene Allwell-Brown, general manager, external relations of NLNG, announced reason for the prize as, "Our vision is to ensure that no scientist or writer is viewed with scorn and that those who aim at excellence in these fields will live and work with dignity, with a sense of self-esteem and confidence in their future."

There have been lots of reactions to this development since presentation of the controversial award. Some people felt the organisers had lost their focus and have allowed politics to sweep away their golden gesture.

Speaking in an interview with Daily Independent, Helon Habila, 2001 Caine Prize winner Nigerian writer based abroad, declared that the organisers of NLNG have missed their priority and the presentation was an arranged stuff of competition. "I don’t know what is happening with this prize. Well, I am not qualified to contest so I am not interested. I think it’s what I call compromise. Maybe because they are old, they might feel threatened by younger writers. They are happier to give the prize to these established figures. They are happier to give this year’s award to Mabel Segun, who is 100 years old or thereabout. I really want to see younger people winning because it would encourage them and they need the money. Mabel Segun, for instance, does not need further encouragement. It’s her career. She doesn’t need the money as much as someone younger may probably do. I think they need to rethink what they are doing. There is a lot of unhappiness and dissatisfactions. Most ANA guys are not happy about this development. May be Soyinka’s prize countered that since he gave it to Sefi Ata, a younger writer."

After ANA concluded this year’s convention at Owerri, where the same set of people were asked to continue the literary politics in Nigeria, the worst news came to the literary family. World literary legend and most published African writer, Pa Cyprian Odiatu Duaka Ekwensi died on Sunday, November 4, at the age of 86 years. His funeral activities commenced in Lagos last Thursday while final burial rites would be performed at Enugu in January. Ekwensi, a pharmacist and author of global recognition, has up to date authored nine novels between 1954 and 1987, among which is the popular Jagua Nana and Beautiful Feathers; 14 novellas between 1947 and 1988; 13 short story collections for young people between 1951 and 2001, making up to 36 books.

His last book, Cash On Delivery (COD), An Anthology of the Recent Writings of the African Novelist, reviewed by Prof. Femi Osofisan, which was launched September 21, 2006, to commemorate his birthday, had to do with his early life and experiences. The book, according to the reviewer, contained five stories of varying length, written at different times over a period of more than 30 years. In this book, Ekwensi recollected Remembrance Day of November 11, when people were dressed in Flanders poppies, and May 24, when students ate rice, meat and stew in school and sang British anthem on colonial Empire Day. The Obasanjo administration awarded him the national honour of Member of the Order of the Federal Republic (MFR).

Yemisi Ransome-Kuti: A great highlife party for an Amazon

2008-01-02T11:40:00.000-08:00

• As published in The Guardian, Wednesday January, 8)

• The celebrant being inducted into the Elders’ fold

By Armsfree Ajanaku
SOMEONE whispered that she sat and gazed with the mien of a queen. There was also a radiant smile that lit up her face. Her dress was sleek and black, and she draped her shoulders with what looked like an Aso Oke. Yemisi Ransome-Kuti left no one in doubt that she was the one being celebrated at the edition number 74 of the Great Highlife Party, otherwise known as the Elders’ Forum. Not even the craze for football (there was an English Premier League game being shown on the flat screens at O’Jez restaurant) could take the shine off the event put together by the Committee for Relevant Art (CORA) and O’Jez entertainment. So it was that as the celebrant sat waiting for adherents of “African time” to arrive, so that the party gets underway, she was constantly inundated with hugs from admirers and well-wishers.
Even the sound check from the bandstand got everyone present swaying on their seats as the sonorous combination of saxophones, trumpets and drums filled the cosy evening air.
That was the point when compere of the event, the indefatigable Benson Idonije welcomed guests and declared that the night was one of celebration. Fat and juicy hits from the highlife scene in the 1960s came pouring down from the band, and the applause that followed after each rendition showed that the audience was increasingly getting into the groove.
Then came Maliki Showman who brought his energy as a performer to bear on the show. He made amazing music with his sax and tried to get the crowd dancing. As his sax led the way during what proved to be a musical journey into the past, it was backed up by the tingling slaps from Joseph Daniel and Papa Wori on konga. However, the audience was just content with enjoying the music from their seats.

• Yemisi at the show

All that changed the moment Fatai Rolling Dollar came on stage.
The octogenarian strummed and stroked his guitar with the expertise of the virtuoso that he truly is. Unlike the previous performances, the saxophone and other horn instruments did not feature in Rolling Dollars’ performance, but the sounds of his guitar, the drums and the keyboard created a rhythm that was too difficult to resist. This resulted in every available space being taken up by dancing crowd. Yemisi was so impressed with the tunes from Rolling Dollar that she got him to autograph one of his CDs for her.
For those who do not know, the Elders’ Forum, beyond celebrating icons in society also initiates qualified celebrities into elderhood in a ritual marked by prayers for the celebrant. Yemisi was initiated into Elderhood by the elders themselves. The trio of Steve Rhodes, Ben Lawrence and Lekan Animashaun performed the ritual. The prayer by the elders was for more strength and the ability to carry on the good works that the celebrant has been involved in.
There was also unanimity that the honour done Yemisi by the Elders’ Forum was richly deserved. Speaker after speaker extolled her talent as an artiste and her forthrightness in the defence of the voiceless.
In her response to the honour done her, the mother of four and grandmother of four sounded a bit overwhelmed. She paid glowing tributes to the Forum, and even suggested that Idonije, should have Ransome-Kuti added to his name because of the long relationship he has had with the Kuti family. This generated an applause and laughter.
Yemisi did not however allow the celebration to eclipse her activist leanings. The activist in her was glaring in her lamentation of the “poverty and desolation” in the country, despite the abundant wealth available.

• Esconsced by the elders

Also, to show that the artiste in her had not been affected by her foray into the NGO world, Yemisi did soulful rendition of a song composed by her grandfather, Ise Oluwa. The song speaks to the indestructibility of the work of the creator and to show that Nigeria is a work of the almighty, she ended the song by declaring in an emphatic voice: “Nigeria will be great again.” It was a moment of profound expression of patriotic fervour and love for motherland.
The event provided the celebrant an opportunity to talk a little about her life. She talked about her children with pride. She enthused on their very successful standing: “I have a son that is an engineer, and a daughter who has a Master’s in International Public Policy, she is currently working in Chatham House, which is one of the number one think tanks in the United Kingdom for international policies, and of course I have a son who is also doing very well with the British Railways in the UK. I equally have a daughter who is an artiste in the UK”.
With nostalgia, she recalled the upbringing of her children: “There have been joyful moments, seeing them grow up and overcoming the challenges of being born into the family they were born into, which is not the usual family. So they have had to understand how to adapt the modern to the traditional, by retaining what is good in our culture, and at the same time be forward-looking people.”
On the struggle for a greater Nigeria, the civil society activist called on the younger generation to start seeing the struggle as theirs, since it was apparent that the older champions of democracy and good governance were already leaving the stage due to age. “ They (the youths) must begin to know what these human rights are about. They must see themselves as humans first of all, because if they do not respect their own humanity, then they would allow people to treat them anyhow. There is no reason why young persons should not achieve their dreams, but the obstacle on our way now is those we have selected into power, or those we have allowed to select themselves into power.”

• Guests at the event: Steve Rhodes; to his left, Chief Femi Asekun; Tunde Osofisan; and Kunle Idowu and other guests

Reacting to whether she has any regrets, Yemisi replied that she has always seen life as a problem solving exercise. “As a unique creation of the almighty, you have been given certain challenges, and it is the overcoming that makes you who you are. If you don’t have challenges in this world, you are nothing and so you must embrace your challenges, not to let them overwhelm you, but to believe that they have come because you are the best person that can solve that problem”.
As expected, the place of the Nigerian woman did not escape her incisive analysis. Sadly, she noted that Nigeria might have to wait some time before it would produce its first female leader. This she surmised is the result of the patriarchal nature of the society, where the man sees himself as superior even if there is evidence to the contrary. “Because of the patriarchal culture we have, we tend not to respect women. They are our mothers, our sisters and wives, they control the men one way or the other, but the psyche of the average man is that he is superior.

• Yemisi and a friend, Tokunbo Akintola-Williams

The night got darker outside, but inside the venue of the Great Highlife Party, the celebration of this artiste, activist and icon continued with pleasant Highlife tunes from the veteran Alaba Pedro… and the party rolled on to near midnight before the last note died off the stage.

Highlife party for Yemisi Ransome-Kuti at 60

2007-12-28T13:04:00.000-08:00

• Article by Benson Idonije as published in The Guardian December 28, 2007.

THE end-of-year edition of the monthly Great Highlife Party (also called the Elder’s Forum) falls due on Sunday, December 30, 2007 at the National Stadium Annex of O’Jez Entertainment. Happening with the collaboration of the Committee for Relevant Art (CORA), this edition is a Christmas Party of sort for the dynamic and hardworking diva, Yemisi Ransome-Kuti who turned 60 recently. The party will take off at 6 o’clock in the evening and last till 11pm.
An activist to the core, Yemisi is a patron of the arts, mover of civil society and Executive Director of Nigeria Network of non-governmental organisations, (NGOs). Her views on corruption and the need to protect the girl-child are very strong. She has championed this cause for years and has made considerable impact. A typical Ransome Kuti, with rebellion and activism running in the blood, Yemisi has made good her aims and objectives. She has scored success in practical terms, finding solutions to many issues surrounding women and the girl-child.
She strongly believes that every girl-child must be educated and that she should not be discriminated against on account of her gender. This is true to her words: “The Federal Government has done a lot in this area. Different schemes have been set up to ensure that education is available at a qualitative and quantitative level. But the mindset of Nigerians has got to change, first of all, to value having a daughter. There are so many women that are excelling in every field that no man should feel, oh. I’ve got a girl.
“You’ll be who you want to be, depending on the kind of training and value that has been with you. And we should equip the girl-child with not just the education capacity but psychological power because there are still some who are educated but still feel inferior. The girl child should be brought up in an environment where she is treated as a human being”.
A mother of four and two grand children, Yemisi, who has great passion for this cause, always teaches with her own example. “That’s what has made me what I am. I was never treated any differently from Fela, Beko or any of the boys around. And I was given the same challenges, same responsibilities, and taught that I had to be independent and had to be able to take care of myself and my responsibility I bring into this world. This is the kind of environment that we must provide for the girl-child, to allow her to blossom and to realise her own potentials, to understand what talents she has and utilise those talents comprehensively.”
With regard to the Triple N.G.O, Yemisi is enjoying her work as the Executive Director of the Nigeria Network of Non-Government Organisations. In the process she is harnessing the energies of civil societies, both in voluntary and the organised private sector, focusing on issues that will assist them in meeting their Millennium Development Goals (MDGs).
The Committee for Relevant Art (CORA) considers Yemisi’s aspirations and achievements rather spectacular and people-oriented. The only way it can sufficiently demonstrate appreciation and commendation is by honouring her on the platform of the Elders Forum as she turns 60. She falls within the purview of the Committee’s idea of celebrities. She has been committed to this selfless service to mankind for over ten years.
Tributes will be duly paid to her by the Committee for Relevant Art in conjunction with special guests and friends who admire her. In addition, she will have a chance to tell the audience the present state of her NGOs and the plans she has for the future.
Yemisi will be celebrated with highlife music, the music that helped to usher in independence for this country. And in doing so, veterans of the music have been lined up. She is particularly lucky in that she will be the first celebrity to enjoy the highlife of the new, improved Highlife Messengers, a crop of veterans who are individualists and masters of their various instruments.
They will provide accompaniment to the music of such veterans as Tunde Osofisan, Maliki Showman and Alaba Pedro. But perhaps the act she will find most exciting is that of Fatai Rolling Dollar, and eighty year old veteran who truly represents vintage highlife. The interesting thing about his music is that it is a mixture of the old and the new. Young female singers lend fresh voices to the music while Fatai himself introduces new elements to the rhythm section through vibrant syncopations and guitar strokes.
The Great Highlife Party has come a long way. It’s been on for over six years, and this being the concluding session for the year, will be exciting and colourful with Yemisi Ransome-Kuti as celebrant.
The out-going year had many exciting sessions and celebrated several great people, among them Dr. Yemi Ogunbiyi, Dr. Bruce Onobrakpeya, Paschal Orts and others.
But perhaps the most interesting edition was the one that was based on an issue rather than the celebration of a selected person. It was on the Nigerian civil war which lasted from 19967 till 1970 and the way it affected highlife. This topic was influenced by the theme of the very successful Book and Art Fair mounted for three days at the National Theatre, Iganmu early in November by CORA.
Speakers included Mr. Aderinokun and Ajibade Fashina Thomas, veteran journalists who witnessed the impact of the war at the time. But perhaps the contribution that helped to boost the event was the one that came from Kevin Ejiofor, former director General of the Federal Radio Corporation of Nigeria (FRCN). He gave an insight into the goings-on on the other side of the divide, telling the story from the beginning to the end.
The Great Highlife party started as an Elders’ Forum, with the hope that only the elderly would be keenly interested in highlife. But events have since proved this theory wrong. The forum is now being dominated by the youth for whom it is actually meant as a highlife revival initiative. It is the youth who did not experience the flourishing days of the music in the 50s and 60s that actually need to hear it now. And they are responding in large numbers.
On the 14th of December 2007, the Edo Chapter of the Great Highlife Party was officially inaugurated at the Hexagon Hotel, Benin City. There, a formidable highlife band has been playing regularly, but the Highlife Messengers, Fatai Rolling Dollar and Tunde Osofisan from Lagos, all went to Benin to help establish the forum. Again, the audience was dominated by young people who all sat down and listened with engrossed interest to highlife music.
In the case of the Benin experience, the fruits of the highlife revival initiative are visible. Two young people who are taking highlife to the next level are Mariam Alile, the daughter of veteran actor, Alile who gave the audience a new dose of highlife, singing and playing guitar. The second happens to be the son of Osayemore Joseph, another veteran musician who goes by the name, Oriri Joseph. He sang his own compositions and played guitar. This is the kind of experience we expect to see in Lagos.
And, who knows, some of them may come forward on Sunday, December 30, 2007 when the Great Highlife Party celebrates the activist, Yemisi Ransome-Kuti.

2007-12-21T14:09:00.001-08:00

From left, Otunba Lawal Solarin, Publisher Literamed, Mr. Joe Musa DC, National Gallery, Deji Toye (moderator), Abdul Bangbopa, Director Nextzone, Mahmoud Ali-Balogun, MD Mainframe and Mr. Afolabi Kofo-Abayomi, Special Adviser to Gov. Fashola on Special Duties

What Budget has to Do with Culture Production

2007-12-21T13:33:00.000-08:00

For a fair share in the budget, artistes brainstorm
By Chuks Nwanne and Jumoke Verissimo
INADEQUATE funding and poor attitude by government at all levels have remained the major headaches of the art and culture sector of the economy. Unlike other sectors, budgetary allocation for the arts is very poor, and even the lean provision is hardly properly distributed by political heads of the culture ministries in both state and federal levels.
The Committee for Relevant Arts (CORA), took the bull to a slaughter house on Sunday, December 16, 2007, when it constituted a panel of policy makers, art enthusiasts, and those in the private sector to examine the effect of budgetary policies on Arts and Culture in Nigeria.
With the theme, "What Has the Budget Got to Do with Culture Production?" the 75th Art Stampede had on the panel the Director General of National Gallery of Arts, Mr. Joe Musa; Chairman, Nigerian Book Fair Trust, Otunba Yinka Lawal Solarin; notable movie maker and activist Mahmoud Ali-Balogun; the Special Adviser (Special Duties) to Lagos State culture; Folabi Kofo Abayomi and Mr Abdul Bamgbopa of NextZone. The session was moderated by CORA's member, himself a writer and lawyer, Mr Deji Toye.
In his contribution, Folabi Kofo-Abayomi expressed the need for artistes to partner with the private sector by involving them in their programmes. He explains that when the issue of showcasing Art and Culture comes to the fore in government budgetary discourse, dance, drama and such mere performances are what comes into the policy makers' contetion. This he sais, maekes it rather difficult to determine a serious budgetary allocation for the sector. While this seems problematic, the special adviser to Governor Fashola, informed that in other parts of the world; the interaction between the private, non-governmental organisations and government agencies ensure that large money is voted and expended on artistic and cultural projects.
"Whatever we count ourselves to be as a people, it is really the art and the culture that typify what you really are as a nation. Considering the diversity and the interrelationships, we then begin to see that we have a lot to offer."
However, Kofo-Abayomi observed that for the government, issues about responsibilities concerning what it has been elected to do and the overwhelming problems it has to deal with usually come first.
"How do we now prioritize resources and at the same time put Arts and Culture in its proper place? Not just in an allocation of say, 'Let's just give it 1per cent or 2per cent, but the proper way to allocate these resources is a major problem."
Otunba Lawal-Solarin observed that, funding is a major problem in the sector, citing the Nigerian Book Fair Trust, organisers of the International Book Festival as an instance.
"We have not received money from the Federal government as expected, rather the organisation has been faced with as much challenges as other art organizations seeking fund from the government."
He pointed out that the policy for National Arts and Culture does not include anything about budgetary allocation.
"It simply says there should be provision of allocation for infrastructure." In essence, the government from the outset has removed itself from the provision of fund for the sector.
The Director General of the National Gallery of Arts Mr. Joe Musa outlined some challenges being faced by the sector during budgeting, which he described as frustrating. The DG reasoned that there is an urgent need for art organisations to unite in pursuing their agenda. He also frowned at the poor representation of the sector in government.
"At the moment, there is an absence of enough culture workers in government. Culture workers are lacking in the ministries; we don't have them. The artists are not always in the corridors of power to push their agenda. We need more people to come and join us. You are existing in an environment at a time when your contribution is necessary, not when you are dead. The best for the industry would be first and foremost, the art organisations uniting to articulate their needs and desires from the government. This is the opportunity to ask many of us, how we can also be involved in the policy making, " he quips.
Musa, apainter and art journalist himself, informed the gathering of the need for an edifice for the visual arts, which he says, would help in the area of fund raising.
"We don't even have an edifice; the National Gallery of Art does not have an edifice, a proper edifice that can match any international standard gallery. There are international galleries all over the world. There is the Louvres in Paris. Let me give you an example, you need to pay 8 euros to enter the Louvres and they received up to 80,000 visitors a day. That is money. "Since I have been in government, I have been fighting that if we do not achieve anything, we should at least, have an infrastructure on ground. Let's have an edifice on ground first of all in addition to designing other policies that we've been working on, " he said.
In his contribution, Femi Jarret believes that the first step in the struggle is for the artists in government to examine themselves. "We need to examine ourselves. For these guys to succeed, we need to co-operate with them. If we can gang up together, we can make it happen. I remember a few years back, a reporter came to ask me what I think about Nigerian movies, and I said, 'it will thrive'. Whereas, a few weeks back, some of my contemporaries were rubbishing home movie. I told them, 'look, it's true there are some bad movies, but it will sort itself out. Today, Nollywood is number three in the world." Abdul Bamgbopa, from Nextzone, an investment, financial services firm with interest in entertainment, charged artistes to come up will programmes that will improve the current status of the sector. He said that the availability of such programmes and ideas will surely attract investors to the sector.
"Many of the art products are "abstract" to the audience it is directed to. There is the need to involve organisations in our programmes, but first of all, we need to make them marketable."
Mr mahmoud Ali-balogun, an art activist, movie maker and ex-President of the National Association of Nigerian Theatre Arts Practitioners, NANTAP, stressed that unless the artistes themselves primed themselves ready to participate actively in the desire to redeem the abject state of the arts and culture sector, the sector will remain short-changed in the national scheme of things. He was worried that not many artistes even show interest in the affairs of the sector. All they know is just to perform; they do not ask questions from their fellow artistes who have been appointed by government to head the various cultural agencies; so how do they expect to have their voices heard,' he asked. Ali-Balogun also charged the few artistes in government to work for the common god of the sector instead of seeing their current positions as tickets to their personal conveniences and riches.
Meanwhile, CORA has proposed that a communique for the programme will be made available soon. It also promised that some of theme will be examined at a gathering in April.
• Culled from The Guardian, Wednesday december 19, 2007

From the archive: Music for Book

2007-12-21T12:56:00.000-08:00

* At the Book Trek segmemnt of the 7th Lagos Book and Art Festival, LABAF 2005, Edaoto jams with Awoko (on guitar) and the Edun twins on drum. The book Trek is an educational initiative which takes book reading culture to the campuses.
PHOTO: ROPO EWENLA

WHAT HAS BUDGET GOT TO DO WITH CULTURE PRODUCTION

2007-12-10T13:46:00.000-08:00

3RD STEVE RHODES CARNIVAL DISCUSSES BUDGET AND CULTURE PRODUCTION

The 73rd ART STAMPEDE holds on Sunday December 16, 2007 at the National Theatre, Iganmu, Lagos. Time is 1pm.
Otherwise called the 3rd Steve Rhodes Carnival, the theme of the Stampede is
What Has the Budget Got to Do with Culture Production? It is to examine, in this season of budgetary planning and review in Nigeria, the implication of Federal budgetary practices in the promotion of our Arts & Culture.

PREAMBLE:
Art and Culture received its own Ministry eight years ago, thus raising hope that this crucial aspect of our national development would begin to receive its due attention in the scheme of things. However, as it has turned out, Federal budgetary practices have not justified such optimism. It is said that the Ministry, with its four departments and ten parastatals, receives less than 1% of annual budgetary allocation out of which, in the last fiscal year, the parastatals received anything between 3% and 30% of the already paltry allocation. What is the implication of this for our Culture and Tourism industry in view of our vision of positioning as “the Heart Beat of Africa.”

There is a converse argument, which is that, this is the era of liberalization, or private participation in otherwise public sector space, and that public funds appropriation alone cannot sustain the production of our Arts. But then, some other watchers have argued further that, without the appropriate structure amenable to private sector participation, out Art and Culture industry, including the Billion naira Home Video industry, will miss out on the current investment boon in the private sector.

Speakers include Culture Bureaucrats from Federal and State agencies; Culture producers; Culture patrons as well as academics and art enthusiasts. They include Honourable Minister for Culture, Tourism and national Orientation, Chief Tokunbo Kayode (SAN); Mr. Joe Musa, Director-General,National Gallery Of Art; Otunba Yinka Lawal Solarin, Chairman, Nigerian Book Fair Trust; Folabi Kofo Abayomi, Special Adviser (Special Duties), Lagos State Governor; Mahmoud Ali-Balogun, frontline movie maker and activist among others.

Venue: National Theatre
Date: December 16, 2007
Time: 2pm.
Performing Groups: Adunni Nefertiti, Pelumi's Crew.

Regards

Toyin Akinosho

The Stampede will also feature dance and drama skits; as well as the CORA end-year party.

Words from the Book and Art Feast, November 9-11, 2007

2007-12-10T12:33:00.000-08:00

He wanted to be present
(A Tribute to Cyprian Ekwensi)

Sunday November 5, 2007. Members of the CORA Collective stood in front of their secretariat at 95 Bode Thomas Street, Surulere, Lagos. The gathering was an extension of a long meeting that had stretched from 2pm call time to that time – about 8pm. Someone raised the question: how far are we with Cyprian Ekwensi? Would the old man make it to the opening of the Book festival? I responded that I had had a chat with the wife; and she was not certain the man would make it. One he was ill; two, he was in Enugu and flying him to Lagos is not visible.
The members were disappointed at the news, but they understood.
Unknown to us, at the time we were deliberating over him, the man famously called the ‘Grandfather of the City Fiction’ had passed on.
Cyprian Ekwensi died on Sunday November 5, 2007. He was 86 (born September 26, 1921).
Of course, the passage of the man has altered drastically the entire plan for the 9th Lagos Book and Art Festival. He will not be joining us at this opening as we had envisaged, but his Spirit and his Letters shall be with us. The man has changed the landscape of our literary world forever. He has also changed the texture and tenor of this particular edition of the annual festival.
Were we being clairvoyant when we decided to honour him at this festival?

This festival has been dedicated to the memory of the man who documented city life in his works. You can say then that this is a CYPRIAN EKWENSI LAGOS BOOK AND ART FESTIVAL.
Last year on occasion of our 15th anniversary, the Committee for Relevant Art (CORA) was made a recipient the Prince Claus Fund, the foundation for culture and development based in The Netherlands. And that also changed the character of not only CORA but also the nature and size of our dream.
This festival is a manifestation of the change in the colour of our dream.

CORA came into being on June 2, 1991, as a non-profit making, non-governmental, cultural activist organisation. Its main goal is to explore all legitimate means of building the perfect environment for the flourishing of the contemporary arts of Nigeria.
To this end, the Committee produces a range of programmes and products, including, the quarterly Art Stampede; the monthly Arthouse Forum; the annual Lagos Book and Art Festival; the annual Lagos Cinema Carnival as well as publication of the quarterly Lagos: The City Arts Guide.
In its fifteen (15) years of existence, CORA has convened:
• 71 Art Stampedes
• Seven monthly Arthouse Forums
• Six editions of Lagos: The City Arts Guide,
• Eight editions of Lagos Book and Art
Festival and;
• Two (2) Annual Lagos Cinema Carnivals, which have been in collaboration with Mainframe (Opomulero) Film and Associates
• We also collaborate with Moving Movies in the staging of annual BOB TV among other programmes.

• The Quarterly Art Stampede is an open air informal discursive platform at which the most burning issue regarding the contemporary arts of Nigeria are tabled. The
workshop-like sessions feature a gathering of artists, culture administrators and culture enthusiasts who engage issues and ideas surrounding the quality of the arts and the
management of the culture sector. CORA’s arts advocacy through this “parliament of artists” has propelled the arts onto the front burner of Nigeria’s national debate.

• The Annual Cinema Carnival is designed to showcase and celebrate the African Film, set a standard for, and challenge Nigerian film producers in the context of telling the story of an understated continent. On the last week of September every year since 2001, a large, tall screen is hoisted on the front lawns of the National Theatre in Iganmu. At least, 10 high quality African movies are screened on three weekend evenings.

• Lagos: the City Arts Guide is a quarterly calendar of the artistic and cultural events in Africa’s most vibrant city. It compiles forthcoming art exhibitions, drama performances, and musical shows. It previews and reviews homegrown movies and serves as compass to the hottest new spots in town.

* Of all these, the Lagos Book and Art Festival is the most important event in our illustrious annual calendar. An open-air market for books and art, the LABAF features live music and drama, dance sketches, workshops for kids, readings of poetry and excerpts from prose works, book parties and seminars around books. The focus of this event is to highlight the importance of the book in the development of the human capital. This event is located around the National Creativity Day to emphasise the fact that the quality of our collective and individual creative productions are measured by the quality of documents we record them on; and the number of people we can convince to access them.
Major segments of the LABAF are sessions specially designed to initiate the youngest of Nigeria’s teeming citizenry into the rites of reading. One of such is the workshop for kids on a wide range of issues that can capture their attention. Another of such was the Secondary School Essay Competition, which was introduced to the format two years ago.
We are working on improving that format.
The past eight editions of the festival have seen a tremendous growth in the rate of acceptance and patronage by all concerned - save the government itself.
Last year alone, there were not less than (fifty) 50 exhibiting organisations.
This year, we are expecting a twenty five percent (25%) increase in the population of exhibitors.
To be sure, this number appears modest. But in the absence of life-saving sponsorship we have built this ‘clientele’ mostly by word of mouth. This looks likely to change in the coming year as the community of’ funder’ notices our enthusiasm and sincerity.

Sincerely,
Toyin Akinosho
Secretary-General

You Will Feed, Feed... Feed

On behalf of the Central Working Collective of the Committee For Relevant Art, I welcome exhibitors and audience to the ninth edition of our annual homage to The Book. This is the event through which we contribute to building a virile book industry by encouraging public engagement in literary pursuits.
As it was last year, this year’s feast of the written word has drawn comrades from outside of this shore to join CORA in the celebration of the importance of idea and knowledge in the development of the human capital. Thus we welcome into our midst our dream sharer and soul mate in this stressful but beloved journey, Akin Adesokan from Indiana University, Plumington USA. He is the author of Roots in the Sky, winner of ANA prose prize in 1991. The book was eventually published in 2002 by Festac News Press. We also salute Prof. Niyi Coker from the University of Missouri and Prof. Awam Amkpa, our collaborators in the on-going 10-day Africa World Festival – a documentary Film feast screening over 50 films. If you have missed out on it these past seven days you have from today through Sunday to join in the party.
Following our modest publicity, we have received hundreds of applications from a whole range of individuals and organisations.
CORA’s famous The City Library Shelf — a thematic glimpse to the proposed six-city libraries that we hope to establish in the most populated cities in the country in the next few years – has resurfaced this year. The dream is sure in our grasp.
The past eight editions had been held at the Ikoyi-Lagos premises of the National Commission for Museum and Monument, NCMM, which management had indeed been magnanimous in their support. But as we approach the 10th anniversary of the festival we decided this year to seek fresher ground and as well new relationship; moreso worm deeper into the heart of the people of this town. Hence we berthed at the prime cultural centre of the country, the National Theatre of Nigeria, which we must admit has received better and improved life under the management of Dr. Ahmed Yerima. We need to stress that the management of NTN has graciously put its facilities and personnel at our disposal – free of charge. We are grateful for this kind gesture, which we consider so alluring that we resolved – against our wish and nature, you would say – to abandon our usual ambience of open air for the cosy comfort of a fully air-conditioned exhibition hall.
We also salute the management of the National Gallery of Art (NGA) under the direction of Mr Joe Musa - actually (now do not say I told you) a CORAite by inclination. The Gallery has remained our valuable supporter. We thank the management of Nigeria Liquefied Natural Gas, NLNG, which was kind enough to support us in realising our main educational/capacity building project, the Annual Book Editors Workshop – which second edition ended yesterday. We are grateful to our collaborators in the various segments of the festival: Children Care for the Environment, CATE, coordinators of the Children section; Revolution Media, conveners of the Lagos Comics and Cartoons Carnival, LC3; Goethe Insitut, organisers of the presentation on Dokumenta: Towards a Nigeria Biennale; BookCraft, publishers of Ake: the Year of Childhood who are launching an bridged version for children; AJ Bookshop/Daggar Tolar, presenters of the book Darkwater’s Drunkard: a poetic mish-mash oil dirty politics & despoliation of land and life. We are grateful to our performers: Fatai Roling Dollar; the Highlife Messengers; Seyi Solagbade and the Blackface; Crown Troupe of Africa; Pelumi Lawal and troupe and the magnificent National Troupe of Nigeria.
In particular, we are very grateful to the ElderArtsMan, Steve Rhodes who unsolicited presented us with the biggest showpiece for the festival – the SR ORCHESTRA. Uncle Steve, we can’t ever thank you enough, sir.
We are glad that we are able to pay honour to the Noblemen of The Arts, whose various landmark birthdays we have celebrated all through the year – Fatai Rolling Dollar (80); Femi Asekun (75); Bruce Onobrakpeya (75); Niyi Osundare (60); Ihria Enakimio (60); Tunde Oloyede (60); Sonny Okosuns (60); Yemi Ogunbiyi (60).
We cherish you our consistent resource persons, event facilitators, exhibitors and audience(s) in the past and this festival — speakers, discussants, keynoters, and the audience included. We salute you for your belief in the possibilities of this country.
We thank our numerous patrons and supporters, particularly members of the Arts Writers Organisation of Nigeria, AWON, whose work has remained the major vehicle through which the various activities of the CORA have been projected to the larger public. We appreciate the enthusiasm of our numerous fathers, uncles and aunties, as well as colleagues and dream sharers, whose advices, critical commentaries and admonitions have kept us glued to the drawing table.
To members of the Central Working Collective (CWC) of the CORA, plus the endless stream of enthusiasts, volunteers and friends, word is not enough to express our gratitude. Let’s keep steadfast on the self-chosen path.
We have been accused in the past of being over-ambitious — chewing more than our little mouth can chew. Well, we assure you that we are unrepentant. We have gone far past redemption. And you have been infected too. You will feed and feed and feed till you become fed up. Our plan is to drain you out at this culture picnic. So sit up and tight.
We often insist that this is not a Bookfair. It is an Arts festival with large Book content.
In the next three days we would have all witnessed a sprawling display of books of diverse subjects produced in this country; a large exhibition of fine art; spirited debate on the state of the nation through the Book and the Art.

THIS indeed is a feast like no other. The next three days will thrill you to no end.
It’s our wish that by getting the public into a party atmosphere, we can subtly convince an increasingly larger body of Nigerians that The Book is the key ingredient in the growth of the country’s human resource. The truth is that all this talk of “abundant human resource” is glib, when half of the people can neither read nor write.
We trust that you will enjoy yourselves tremendously as we have attempted to ensure that there’s something for everyone.

Welcome!
Jahman Anikulapo
Programme Chair

LABAF 07.. AND THE FEAST OF THE WORD CAME TO PASS

2007-11-13T02:21:00.000-08:00

Scenes from 9th Lagos Book & Art Festival, Nov 9-11, National Theatre, Lagos

Captions
* Dr Reuben Abati, Chairman of The Guardian Editorial Board, conducting a MENTORING session with students during the programme MY ENCOUNTER WITH THE BOOK at LABAF 07. Over 600 chuildren from as many as 26 schools from all over Lagos attended the session on the opening day. The Festival eventually recorded over 1,700 students and children attendance in its three-day run. The session was an initiative of CORA with collaboration by Children Care for The Environment, CATE, directed by Ms. Sola Alamutu
PHOTO: SHYLLE SONOIKI

* A student discussing AKE: The YEAR OF CHILDHOOD (abridged version for the young ones) (BOOKCRAFT 2007...on DAY 2 of the LABAF 07. The session was moderated by Dr Tony Marinho, Medical Doctor, Poet and Newspaper Columnist and founder of Educare Trust Ibadan. A total of 406 students from colleges attended the session from more than 12 schools
PHOTO: SHYLLE SONOIKI

* Founder EDUCARE TRUST, Ibadan, Marinho introducing AKE... to the students. He was moderator of the session PHOTO: MARCEL MBAMALU

*Dr Marinho and Sola Alamutu, ED CATE and coordinator of the Children Section of the LABAF... kicking off the programme. PHOTO: MARCEL MBAMALU

* The Students at the Cartoons and Comics Workshop session conducted by the LC3 team under the direction of Revolution Media led by Sewedo Nupowaku and Ayo Arigbabu
PHOTO: SHYLLE SONOIKI

* Sola Alamutu, ED CATE taking the students (plus some of the parents)through a session of the Green Festival, a segment of the Students Section
PHOTO: SHYLLE SONOIKI

*Audience during an interractive session between the Children/Students section and the adult section.. on Day 2

* Fatai Rolling Dolar 'jamming' with the Seyi Solagbade and the Blackface during the ARTHOUSE PARTY 92) celebrating the eight NobleMn of the Arts: Fatai Rolling Dollar @ 80; Femi Asekun @ 75; Bruce Onobrakpeya @ 75; Niyi Osundare @ 60; Ihria Enakimoio @ 60; Yemi Ogunbiyi @ 60; Tunde Oloyede @ 60; Sonny Okosuns @ 60... On stage with Fatai is one of the celebrants, Femi Asekun and a veteran dancer/actor, Olu Okekanye and other guests
PHOTO: MARCEL MBAMALU

* The Liberian Boys, a group of Acapella singers in performance for the NobleMen of The Arts

* Another shot of the Liberian Boys

* The SRorchestra in performance conducted by the ElderArtsMan, Steve Rhodes -- who actually donated the multi-million Naira call-fee band to the LABAF 07

** SEE MORE IMAGES BELOW

9TH LAGOS BOOK AND ART FESTIVAL becomes CYPRIAN EKWENSI BOOK AND ART FESTIVAL, LASBAF 07

2007-11-05T12:41:00.000-08:00

Sunday November 5, 2007. Members of the CORA collective stood in front of their secretariat at 95 Bode Thomas Street, Surulere, Lagos. The gathering was an extension of a long meeting that had stretched from 2pm call time to that time – about 8pm. Someone raised the question: how far are we with Cyprian Ekwensi; would the old man make it to the opening of the Book festival? Toyin Akinosho, the secretary General of CORA responded that he had had a recent chat with the wife; and she was not certain the man would make it. One he was ill; two, he was in Enugu and flying him to Lagos was not visible. The members were disappointed at the news, but they understood.
Unknown to us, at time we were deliberating over him, the man famously called the forefather of the City Fiction’ had passed on.
Cyprian Ekwensi died on Sunday November 5, 2007. He was 86 (born September 26, 1921).
The passage of Ekwensi has changed the tenor of the 9th Lagos Book and Art Festival. The edition has thus been dedicated to the memory of the man who documented city life in his works. You can say then that this is a CYPRIAN EKWENSI LAGOS BOOK AND ART FESTIVAL.

EKWENSI AND The CITY DREAM
(Statement by CORA at the Opening of LABAF 07)

"By the end of the twentieth-century Lagos had become established as one of the world’s pre-eminent fictionalized cities, as with London and Paris by the end of the previous century."

That was international scholar Chris Dunton speaking in September 2005 on the theme ‘Lagos in the Imagination’ at the international workshop organised by CORA as part of the 7th Lagos Book & Art Festival (LABAF).

One book must take the credit for starting that process. It is People of the City (1954) and its author, the legend, Cyprian Ekwensi who passed on, on 4th November, 2007, aged 86 has the undisputed crown of being the father of the Lagos novel, writing other novels and short stories that celebrated the social life of the city over the decades.

Cyprian Ekwensi had agreed to be guest and to read at the Colloquium on Civil War Literature themed ‘Constructing a Nation: 40 Years After the First Shot in Biafra ’ being organised as part of the 9thLABAF holding from Friday 9th and 11th November, 2007. His novel, Divided We Stand had been chosen as one of the texts for the panel discussion during the colloquium. Then, just a week before the Festival, we had signal that the old man had taken ill and been transferred to Enugu for treatment. And then, a couple of days later, the news of his demise.

This is the second time we would fail to ‘stampede’ Pa Ekwensi into an event organised around him or his work. The first was in September 2006 when he could not attend the Highlife Party organised in his honour on his 85th birthday. He took ill a few days to the event.

Beyond the Lagos and the Civil War novels, Cyprian Ekwensi’s significance perhaps finds the deepest etching in his contribution to children and popular literature. Which child grew up from the 1960s to the 1980s and did not pick up an Ekwensi off a bookshop shelf? From The Passport of Mallam Illia through An African Night Entertainment, Juju Rock, The Drummer Boy to Trouble in Form Six, Ekwensi gave to children and adolescents the pride of reading books with the blurb containing the same author’s biography as that on the book read by their parents. And as they matured, they never had to take a course in advanced literature before picking up novels like Jagua Nana, Jagua Nana’s Daughter, The Burning Grass and Beautiful Feathers. It was only Ekwensi that could be profiled in a compendium on Onitsha Market Literature and generate so much debate between two scholars, Ernest Emenyonu and Bernth Lindfors, on the pages of the elite African Literature Today.

Ekwensi’s work went ahead to inspire popular music (such as Orlando Julius’ highlife song, Jagua Nana) and would have, were it not for the intrusion of a sanctimonious government, inspired the first international film based on a Nigerian novel.

It is in recognition of the significance of this writer’s work to the lore of Lagos and the popular imagination of generations of Nigerians, youths and adult alike, that we have decided to dedicate this year’s (the 9th) LABAF to Cyprian Ekwensi. In furtherance of this, the opening Arthouse Party of the fist day of the Festival will be presaged by an EKWENSI OPEN HOUSE in which Mr. Kunle Ajibade, the Executive Director of The News magazine, will deliver a keynote tribute to the late writer and members of the public would discuss their first encounters with his work. Also, an exhibition of the Ekwensi section of LABAF would be opened where discussions, reminiscences and condolence signing would continue for the duration of the Festival. In this regard, a competition amongst Fine Art students within the Lagos environment has been commissioned for the drawing of the portraiture and caricature of the late writer. Emphasis should be on drawings that locate the writer within the ambience of the city life.

CORA believes that Cyprian Ekwensi’s life should be celebrated rather than his death mourned. The events at the 9th LABAF are just to kick off the celebrations.

CYPRIAN EKWENSI: A TRIBUTE TO A MASTER STORY-TELLER
By TONI KAN
(As presented at the opening of LABAF 07)
Words can sometimes be so inadequate. Take this headline from the front page of The Guardian of Monday November 5, 2007, for instance: Renowned author, Cyprian Ekwensi, dies at 86.
See how bare, how banal almost, how bereft of emotions, how it fails so woefully in capturing the essence of the man, the breadth of his accomplishments and the sphere of his influence on Nigerian letters.
Cyprian Odiatu Duaka Ekwensi was born in Minna in Northern Nigeria on
September 26, 1921, was educated at Achimota College in the Gold Coast, and at the Chelsea
School of Pharmacy of London University. A pharmacist by training, he gained worldwide fame and acclaim as a novelist, who had an unusual facility for chronicling the angst and malaise of the metropolis even though he also had a finger on the pulse of the pastoral.
Ekwensi’s accomplishment is best appreciated when you realize that he is unarguably the most read Nigerian writer on account of his racy narrative and accessible prose as well as the fact that he remains the most prolific Nigerian novelist. Ekwensi was a man in love with the narrative, not for the stylistic pyrotechnics which have an uncanny way of alienating the reader, but for the racy, heart thumping story of human interaction, of fate and destiny checkmating our best laid plans.
His gift for the simple and uncomplicated prose was both a blessing and a curse. Eldred Jones has taken issues with Ekwensi’s writings accusing the novelist, who famously declared that he wrote a full length novel in 2 weeks while on a cruise ship no less, of not taking pains to hone his writing style, while Bernth Linfords nailed the coffin of Ekwensi’s literary aspirations shut with the tag “An African Popular Novelist.” His novels have also been accused of lacking structure, of being episodic and appearing as no more than mere vignettes, a charge that now elevates Ekwensi’s craft in the light of contemporary works from authors like Helon Habila, David Mitchell and even Stephen Crace who have offered us exquisite novels made up of interlinked narratives held together by no more than a common theme.
While many critics were right in taking umbrage at the “popular” flavor of Ekwensi’s novels, its mass appeal and lack of artifice, they did him great disservice by not taking into account how pioneering he was in moving Nigerian writing into a whole new locale away from ghosts and ghommids (Tutuola), wrestling matches and colonialism (Achebe), the insular and the provincial into a whole modern and cosmopolitan era.
Viewed from that perspective, it is easy to see that Ekwensi is in many ways the father of the “Modern” Nigerian novel and would then by extension be regarded as the literary forebear of writers like Ben Okri whose novel Dangerous Love (or its first incarnation The Landscapes Within) bear the hallmarks of Ekwensi’s influence from novels like People of the City and the Jagua Nana series. Other writer’s whose engagement with the metropolis evinces influences from Ekwensi would be Chris Abani in Graceland and Maik Nwosu in Alpha Song in their exploration of the seedy side of the city as well as night life. But the writer on whose work Ekwensi seems to have stamped the strongest presence may well be Helon Habila, a fact most critics have missed.
I am already exploring this in greater detail in a forthcoming essay, “Parallels and Convergences: Helon Habila’s Waiting for an Angel and Cyprian Ekwensi’s People of the City.” In Helon’s novel, the major character is Lomba and he is a journalist. In Ekwensi’s People of the City, the major character is Sango, a journalist and band leader. Both of them have names made up of two syllables. Lomba lives in a tenement house where a woman entreats him for sex and so does Sango whose young and nubile neighbour want to sleep with him and Ekwensi who was a master of description captures her essence thus: “She could not be more than fourteen, but her breasts were taut and large with ripeness….This was temptation.” Sango’s life and job are imperiled and so are Lomba’s. The two protagonists are estranged from their families. They both pine for an unattainable woman and both live in a sprawling modern metropolis on the cusp of both political and social upheavals.
It is also interesting to note that in the two books, the whiff of politics is strong, palpable and unnerving while the City is a character, huge, hulking and menacing with a gluttonous appetite. In Helon’s book, Lomba’s editor tells him that politics is part of our lives because “The air we breathe is politics.” Those very words sound like an echo of Ekwensi’s words from page 40 of The People of the City where the Councillor tells Dele and Sango that “Politics is life.”
This piece is by no means an exhaustive review or comparative analysis. It is a tribute really to a master story teller, a gifted writer who was at home in different cultures and genres straddling both the pastoral as in “Burning Grass” and the modern as in Jagua Nana’s Daughter with the ease of a maestro and despite his stature still found it easy to stoop low to accommodate the taste of the young in novellas like Drummer Boy, An African Nights Entertainment and The Passport of Mallam Ilia
His passing at the age of 86 in a country where the life expectancy is 49 is cause for celebration rather than mourning, but the pity of his death is the fact that Ekwensi died without a proper rehabilitation, one that was long due and which is in fact necessary in order to properly situate his place, importance and influence in and on modern Nigerian literature.

Brief tribute by DEJI TOYE

Anybody who ever read anything asd a child or ever picked up a book off a bookshop shelf must have picked up an Ekwensi. This will be a tribute to the universality of his theme and style which unifies both old and young, expert and rookies. For me, i cant forget books like Juju Rock, An African Night Entertainment, The Drummer Bor, Trouble in form Six, The Passport of Mallam Illia (I laways imagined that train fight scene in a film) etc. Growing up, I read Jagua Nana's Daughter, then Jagua Nana itself. of all of these, only jagua Nana did I read as a recommended text in a university cause.

Ekwensi defined the literature of my childhood along with Kola Onadipe of such books as Sugar Girl, Sweet mother, Pot of Gold, Tha Boy Slave and Return of Shetimma.

Tribute by CHIKA OKEKE-AGULU

I am deeply saddened by this news of the death of the pioneer Nigerian novelist Cyprian Ekwensi this week. He was 86. Ekwensi, the author of arguably the earliest major novel in Nigeria (People of the City, 1954) and other vastly popular novels--Passport of Mallam Illya, African Night's Entertainment, Lokotown, Jagua Nana, The Drummer Boy, etc--that, as secondary students in Nigeria in the 1980s, captured, intrigued, and liberated our fertile imaginations and youthful fantasies. His simple, uncomplicated plots, while a subject of longstanding critique by literary scholars, was the very reason we read, and re-read his incomparably entertaining works. He was the people's novelist!
Ekwensi was scheduled to participate in the key event of the Lagos Book Arts Festival (which begins this week), by reading from his novel on the Biafran War, Divided We Stand published in 1980. The CORA-organized Festival and its colloquium, Constructing the Nation: Stories Out of Biafra, will now serve as a memorial to a man who used his unpretentious yet prodigious fictive imagination to instill in me and a zillion others the love for the novel and for literature. Rest, Old Man; travel safely.

oCourtesy Chika-okeke-agulu.blogspot.com

THE MAN EKWENSI
(Excerpted from kalu Uduma’s news report in The Guardian Monday Nov. 5, 2007, announcing Ekwensi’s passage)
Cyprian Odiatu Duaka Ekwensi was born at Minna in Northern Nigeria on September 26, 1921. He later lived in Onitsha in the Eastern area. He was educated at Achimota College in the Gold Coast, and at the Chelsea School of Pharmacy of London University. He lectured in pharmacy at Lagos and was employed as a pharmacist by the Nigerian Medical Corporation.
He married Eunice Anyiwo, and they had five children.
After favorable reception of his early writing, he joined the Nigerian Ministry for Information and had risen to be the director of that agency by the time of the first military coup in 1966. After the continuing disturbances in the Western and Northern regions in the summer of 1966, Ekwensi gave up his position and relocated his family to Enugu. He became chair of the Bureau for External Publicity in Biafra and an adviser to the head of state, Lt.-Col. Chukwemeka Odumegwu-Ojukwu.
Ekwensi began his writing career as a pamphleteer, and this perhaps explains the episodic nature of his novels. This tendency is well illustrated by People of the City (1954), in which Ekwensi gave a vibrant portrait of life in a West African city. It was the first major novel to be published by a Nigerian. Two novellas for children appeared in 1960; both The Drummer Boy and The Passport of Mallam Ilia were exercises in blending traditional themes with undisguised romanticism.
His most widely read novel, Jagua Nana, appeared in 1961. It was a return to the locale of People of the City but boasted a much more cohesive plot centered on the character of Jagua, a courtesan who had a love for the expensive. Even her name was a corruption of the expensive English auto. Her life personalised the conflict between the old traditional and modern urban Africa. Ekwensi published a sequel in 1987 titled Jagua Nana's Daughter.
Burning Grass (1961) is basically a collection of vignettes concerning a Fulani family. Its major contribution is the insight it presents into the life of this pastoral people. Ekwensi based the novel and the characters on a real family with whom he had previously lived. Between 1961 and 1966 Ekwensi published at least one major work every year. The most important of these were the novels, Beautiful Feathers (1963) and Iska (1966), and two collections of short stories, Rainmaker (1965) and Lokotown (1966). He continued to publish beyond the 1960s, and among his later works are the novel Divided We Stand (1980), the novella Motherless Baby (1980), and The Restless City and Christmas Gold (1975), Behind the Convent Wall (1987), and Gone to Mecca (1991).
Ekwensi also published a number of works for children. Under the name C. O. D. Ekwensi, he released Ikolo the Wrestler and Other Ibo Tales (1947) and The Leopard's Claw (1950). In the 1960s, he wrote An African Night's Entertainment (1962), The Great Elephant-Bird (1965), and Trouble in Form Six (1966).
Ekwensi's later works for children include Coal Camp Boy (1971), Samankwe in the Strange Forest (1973), Samankwe and the Highway Robbers (1975), Masquerade Time! (1992), and King Forever! (1992).
In recognition of his skills as a writer, Ekwensi was awarded the Dag Hammarskjold International Prize for Literary Merit in 1969.
Ekwensi, a one-time Commissioner for Information in the old Anambra State, is survived by children and grand children.

Rolling Dollar, Asekun, Onobrakpeya, Oloyede, Ogunbiyi to be honoured at LABAF 07

2007-11-04T03:06:00.000-08:00

At LABAF '07, Grand Reception For The Big 5
By Gregory Austin-Nwakunor
(As published in The Guardian on Sunday 4/11/07)

THE ninth Lagos Book and Art Festival begins Friday November 9 and will end 11th at the National Theatre, Lagos. Steve Rhodes, the grand arts persona, has offered his incredibly talent-filled S.R Orchestra to perform at the Grand Arthouse Reception, which is in the fourth year.

The reception is held to mark the collective birthdays of significant artists who have been earlier honoured in the year at the Elders Forum/ GreatHighlife Party, which Rhodes, 81, himself chairs.

This year's honorees include Fatai Rolling Dollar, who turned 80; Chief Femi Asekun, who turned 75; Bruce Onobrakpeya, who turned 75; as well as Dr Yemi Ogunbiyi and Chief Tunde Oloyede, who turned 60. The Steve Rhodes Orchestra is an 18-man band, which delivers a big fat sound. It breaks down the structure of some of the most significant urban social music in Nigeria and renders them in new, profoundly articulate ways.

Bruce Onobrakpeya

THE Urhobo-born printmaker, painter and sculptor, belongs to the first generation of contemporary artists graduating from the Nigerian College of Arts, Science and Technology (NCAST, presently known as Ahmadu Bello University).

Onobrakpeya's training was based on the Western illusionistic tradition of representational ar; however, many of his works do not reflect his training in Western aesthetics. Instead, they portray stylistic elements and compositions that mirror traditional African figural sculpture and decorative arts.

Regarded as Nigeria's best-documented artist, He needs very little introduction in art circles both within and outside the country; Onobrakpeya has devoted his life to his work and has played a significant role in the renaissance that has swept through the country's contemporary art scene.

Over the years, Onobrakpeya's Agbarha-Otor artistic outfit, with in-built chalets, successfully hosted artists to yearly communions, called the Harmattan Workshops.

Listed in International Who is Who in Art and Antique, Onobrakpeya received an honourary D. Litt. from the University of Ibadan in 1989 and on June 6, 2000, he was honoured with the Fellowship of the Society of Nigerian Artists. He had previously, received Pope John Paul II award for painting the life of Saint Paul, the Fellowship of Asele Institute award, the Sadam Hussein award, the Solidra Circle award, and Fulbright Exchange Scholar award.

Femi Asekun

The veteran broadcaster and one of the pioneer staff of NTA 10, is one stickler to perfection.

As a pioneer staff of NTA, he and some others like him, learnt everything about television, including the engineering side because there was no point standing in front of the camera doing whatever you had to do and not knowing the nuances of the job itself. This made him a rounded broadcaster.

His zest for arts and music is commendable, and at the monthly Great Highlife Party, you will see him conducting affairs.

Asekun had, at a young age, performed in Norway, England and France, and has indeed, remained in practice even in his septuagenarian age.

His involvement with the arts started from home. His father was a very good organist and there was a small organ in the house. Because he was a reverend gentleman, most times in the evenings when he wanted to relax, he would just go into the church and play; and usually, he used to take Femi along. That made him feel interested in music. He was the one who first started teaching him music. Then when he became too busy and didn't have time to continue, he arranged for him to be going for piano lessons with Professor Akin Euba's father.

This aroused his interest in the arts. Then, when he got to CMS Grammar School, music was taught as a subject as well and there was a dramatic society, we were taught fine arts at school. So these really made him to be alive to this other side of life. At CMS Grammar School, he was a member of the school's quartet, JEPA Quartet - JEPA - J for Jadesimi; E for Euba, P for Peters, and A for Asekun - that took part in the 1948 festival and won a silver medal for choral singing.

He recollects: "In 1956 or 1957, during the summer months, about three months holiday from the university, most people go out to work and earn extra money to buy one or two things that they might use. Through the Scottish Union of Students that time, I got a job in Norway, at a hotel in a little town called Hama. I played for two months at the hotel's nightclub and that was very good. My group was called Femi's Trio + 1. It was a quartet. Instead of calling it Femi's Quartet, we called it Femi's Trio + 1. One of the guys played piano, a bass player, I, on drums and a tenor and a trombone player."

Yemi Ogunbiyi

He is a literary icon, a great administrator and academic. But the highpoint of his journalistic and administrative career was perhaps his stint as Managing Director of the Daily Times Newspaper.

He gave the Daily Times a new sense of direction and lease of life. He infused new blood into its editorial content and made it readable again to its former customers and admirers. This, he was able to accomplish with the good sense of management, part of which was the ability to motivate people. Unfortunately, there was no continuity, as he did not hold the job for too long.

His Tanus Communications has remained a leader in Public Relations and corporate management services.

Ogunbiyi was part of the literary activist movement of the 70s through the 80s, during which a great body of literature, as well as performances were produced. This streak he took to The Guardian when he joined the newspaper organisation from his teaching up of the University of Ife. He thus coordinated the literary services of The Guardian, which yielded the famous books, Perspectives in Nigerian Literature volumes 1 and II. He also edited what has been referred to as the bible of Theatre studies in Nigeria, Drama and Theatre in Nigeria, which is currently undergoing reproduction due to popular demand.

Tunde Oloyede

He has made positive impact on film production in Nigeria. But perhaps it all began from his television production days at the Nigerian Television Authority (NTA) where he proved his worth in the production of some of the major programmes.

He brought creativity and imagination to bear on the production of Village Headmaster, one of the biggest soap operas on Nigerian television, when he took over from Sanya Dosumu, who is now a traditional ruler.

As chairman of the Steering Committee of the Motion Picture Council of Nigeria (MOPICON), he was instrumental in designing a blueprint to regulate professional practice in the country's motion picture sector.

He also had a crack at the chairmanship of the Independent Television Producers Association of Nigeria (ITPAN), a formidable outfit, which Steve Rhodes first groomed as founding president. His wife is Bimbo Oloyede, a veteran broadcaster whose face is a delight to fervent viewers of Channels Television.

Fatai Rolling Dollar

He represents early highlife - from the exploits of Tunde King in the 1930s through to Ambrose Campbell in the 1940s and Julius Araba in the 50s.

Fatai Rolling Dollar was one of the leading musicians of the early generation of highlife exponents, having had considerable apprenticeship from his association with Julius Araba's Afro -skiffle group. When he struck out on his own in the fifties, he immediately became popular.

He had the ability to compose, from the experience acquired from early highlife and juju musicians who considered moral rectitude, industry, social commentary and the philosophy of life more important than praise singing.

Rolling Dollar refused to associate with this trend and collapsed his previously big band into a small group of four because his sidemen had left him in disapproval for greener pastures. They had gone to join the new commercial bands, which were making the money.

Rolling Dollar became impoverished because his music appealed only to a few people. He sang all the songs, played the lead guitar, which took endless solos after it had provided accompaniment, and played the role of the rhythm guitar. He then switched over to the conga drums where he played various rhythmic patterns to hold a dance floor community down for long periods of time. Rolling Dollar carried on with three other musicians where one of them played bass guitar, another played cleave and other percussion instruments and the fourth doubled on percussion and vocals to help harmonise tunes and establish counterpointal dueting with Rolling Dollar on a number of songs.

Gists on the 9TH LAGOS BOOK &ART FESTIVAL 2007

2007-11-04T03:00:00.000-08:00

ARTSVILLE
By Toyin Akinosho

(AS PUBLISHED IN THE GUARDIAN ON SUNDAY 4/11/2007)

Festival Week Opens With Film Screenings

THE preface events leading to the 9th annual Lagos Book and Art Festival (LABAF) opened at the National Theatre last Friday with the African World Documentary Film Week. Among the films on view are Wazobia, an adaptation of Tess Onwueme's play of the same title, directed by Awam Amkpa (Nigeria, USA); As Old As My Tongue by Andy Jones (Tanzania, United Kingdom); Living with Slim: Kids Talk about HIV/AIDs by Sam Kauffman (Uganda, USA); Raadis: In search of... by Emmanuel Mutsune (Canada, Kenya); The Professor by Jason Price (Liberia, USA). There is Sisters of Selma by Candomble y Fredrique Zepter (Brazil) among others. The event, a collaboration between the Committee For Relevant Art, organisers of the LABAF, the University of Missouri, The National Theatre and the West African Documentary Film Forum runs from November 2 to 11. The second Semi Annual Workshop For Book Editors opens at the Federal Palace Hotel on Tuesday, November 6 and runs till Thursday, November 8. The workshop parades a top-notch faculty, with Professor Dan Izevbaye teaching participants how to edit works of prose fiction and Professor Festus Adesanoye lecturing on scholarly publishing. The workshop is facilitated by Book Builders Editions Africa, headed by Chris Bankole. Gbenro Adegbola, Managing Director of the publishing house, Evans, will give a talk on publishing for primary and secondary schools. Before he went to Evans, Adegbola was co-founder of the hugely successful publishing firm Bookcraft. The week will be rounded off with the Book and Art Festival, which opens on Friday, November 9 and lasts till Sunday, November 11.

Teenagers Ready To Take On Soyinka

SEYI Akogun, Leke Olaleye, Oruomen Igbokwe and Isaac Onoh, all in their mid teens, have been reading the abridged version of Wole Soyinka's Ake: The Years Of Childhood, and they are ready to interrogate the text. "My girl has been saying: 'I am reading this book with a dictionary by my side..why is he (the author) employing such tough words?', says Chi Igbokwe, a facilities engineer whose 13 year old daughter, Oruomen is one of the participants. Isaac Onoh, the 12 year son of Ezinne Onoh and her accountant husband, Okoroji, is travelling all the way from Elyon College in Ogun State for the conversation. Teenagers Trace Soyinka's Footsteps is a highlight of the youth programme of the Book and Art Festival and it is slated for 10am on Saturday, November 10 at the exhibition hall of the National Theatre. The event is organised by Children and The Environment (CATE) , Bookcraft (publishers of the Book) and the Committee for Relevant Art, host of the festival.

Abati, 'Things Fall Apart', To Kick Off Book and Art Festival

A VERY short drama sketch of a passage in Chinua Achebe's Things Fall Apart by the National Troupe will signal the start of the ninth Lagos Book and Art Festival, at the National Theatre on Friday, November 9, 2007. The skit is the groundbreaking ceremony for the series of events planned worldwide, for the 50th anniversary of the classic novel, in 2008. Afterwards, the columnist Reuben Abati will give a motivational speech: The Book In My Life, to 1000s of children and adults at the event. The Festival colloquium, Constructing A Nation: Stories Out Of Biafra, starts at 12noon on November 9. It will feature reviews, readings and conversations around five books based on the war, including Cyprian Ekwensi's Divided We Stand, Dulue Mbachu's War Games, Chimamanda Adichie's Half Of A Yellow Sun, Chukuemeka Ike's Sunset At Dawn, Eddie Iroh's Toads Of War, Ken Saro Wiwa's On A Darkling Plain and Ekwensi, perhaps the most widely read Nigerian author in Nigeria will read excerpts from Divided We Stand, a story of love in a time of war. Professor Ike will read excerpts form Sunset At Dawn. The National Troupe will perform a passage in Divided We Stand. Crown Troupe will perform from skits from two other works of their choice. A short excerpt from Obi Iwuanyanwu's 40 years of Civil War Literature will be read before the discussion. Three of the authors have confirmed their participation. Dr Chidi Amuta will moderate the proceedings. Shiyan Oyeweso, professor of history who convened a symposium on civil war literature a few years ago, is on the panel, so is CORA's Deji Toye and Uzor Maxim Uzoatu.

...MENDing The Damage after the Civil War Chat..

THE symposium on the emerging literature of the Niger Delta: MENDing The Damage: How Literature Illuminates The Niger Delta Crisis, originally scheduled for Saturday, November 10, the second day of the Book and Art Festival, will now take place at 3pm on November 9, that is immediately after the colloquium. It will take the place of the international dialogue between William Mervin Gumede, author of Thabo Mbeki and The Battle For The Soul of The ANC and Dare Babarinsa, author of House Of War. "The non resolution of the issues that led to the civil war has partly led to the mayhem in the Delta today", says CORA spokesman, Ayo Arigbabu. "So the two talkshops are a good fit". MENDing The Damage features readings, reviews and discussions around Ken Wiwa's In The Shadow Of A Saint, Ahmed Yerima's Hard Ground, Ike Okonta and Oronto Douglas' Where Vultures Feast, and Kaine Agary's Yellow Yellow.

Compiled by staff of Festac News Press Agency

femag@hotmail.com, sundayreports@yahoo.com

LET THE CHILDREN COME TO US... AT LABAF2007

2007-11-02T18:18:00.000-07:00

CAPTION: Executive Director, children Care for the Environment, CARE and coordinator of the LABAF Children Section, Sola Alamutu directing the children with the LABAF06 Children Special Guest and Mentor, the actor Richard Mofe-Damijo.

CAPTION: Richard Mofe Damijo (left) and ElderArtsMan, Steve Rhodes with the children at the last feast

CAPTION: At last year's feast for the young ones... the actor, Richard Mofe Damijo (towering above all); the Story Teller and Children mentor, Noma Sodipo (right), and the environmental activist for the young, Sola Alamutu (left) with the children

Children Takes on Soyinka's AKE, Discuss NLNG PRIZE winning Books at the
9th Lagos Book & Art festival

The 9th Lagos Book & Art Festival organized annually by Commitee For Relevant Art (CORA) to mark the National Creativity Day, will take place from 9th – 11th of November 2007 at the National Theatre, Iganmu Lagos.
This year, the children’s programme organized in collaboration with Children And The Environment (CATE) will feature four events.

According to Sola Alamutu, E.D. of CATE, and Co-ordinator of the Children’s section of the Festival, ‘Over 40 Public and Private schools in Lagos State have been invited to the event which kicks off on Friday 9th of November with Dr. Reuben Abati as the Chief Motivator of the children with an address entitled, “My Encounter With The Book” at 9am’.

“Talking Books” at 10 a.m. will feature excerpts of 4 environmental books namely; “Tell It To Mr. President” by Tony Marinho, “Adaba & Other Stories” by Wale Okediran, “Village Girl in Town” by Yemisi Egunjobi, and “Poems on the Environment” by Toun Mohammed to be read and discussed by the authors with Ropo Ewenla and ‘Deleke Adeyemi as moderators. Poetry recitals and a question and answer section follow this. The day ends with a Festival Tour’.

Alamutu further said ‘On Saturday 10th of November by 10am, ten children between the ages of 13 and 17 yrs will hold a roundtable discussion around “AKE – The Childhood Years” by Wole Soyinka. Another roundtable discussion of the 3 shortlisted books for the NLNG Prize for Children’s Literature, “Sam & The Wallet” by Uche Peter Umez; “My Cousin Sammy” by Akachi Adimora-Ezeigbo; “Readers’ Theatre” by Mabel Segun to be moderated by 11yr old Omolola Amira for Children ages 8-15yrs takes place at 11am.

Nike Adesuyi, assistant co-ordinator added that ‘The Green Festival 2 workshops will start by 1pm and is open to children ages 3 to 17yrs with “Tell Tales” with Ropo Ewenla & Tope Ogun, “Paint Pictures” with Edosa Oguigo & Rosalie Modder, “Click Cameras” with Chydy Njere & Ife Omotayo, “Perform Poems” with Nike Adesuyi & ‘Deleke Adeyemi, “Tie Dye”, “Make Mats’ and “Hand Print” with Wale Asubiojo & Partners and Create Crafts with Tolu Okieimen (specially for 5yrs & under)

The Festival rounds-up on Sunday 11th November by 1pm, with a ‘Creativity Talk’ by Biodun Omolayo of ‘Young-At-Art and a public presentation and exhibition of the Creative Workshops by the children at 1:30pm. Portrait Paintings by C.A.V.E Atelier ends the festival.

Registration is on and interested participants should please call:
Aunty Sola Alamutu - 0802 308 7725, 0702 819 1848
Aunty Nike Adesuyi - 0802 315 7882, 01 – 8726301
Folayemi Akinwole - 0808 2090 211

Signed
SOLA ALAMUTU
_______________

2ND ANNUAL WORKSHOP ON BOOK EDITING: OBTAIN FORM AT www.coragroup.org

2007-11-02T17:30:00.000-07:00

2nd ANNUAL WORKSHOP ON BOOK EDITING
The Committee For Relevant Art (CORA) is working, in
partnership with Bookbuilders Limited in Ibadan, on a
workshop for Book Editors. The event will run from Nov
6 to 8, 2007, at the Federal Palace Hotel in Lagos.

The workshop is the second attempt by CORA to engage
in capacity building for the Book industry.
The idea of the workshop is to develop a generation of
fully trained book editors who are envisaged to
energize the book industry with the editorial skills
that are so lacking in current literary and scholarly
books.

In hardly any of the few operating publishing houses
is there a book editor of redoubtable skill and
renown. "Indeed, so negligible is the impact of
editors on the few books that are published that
nobody makes the ordinary connection between editing
and the quality of a published book", according to the
CORA proposal.

Mrs Chris Bankole, the key facilitator, and Mrs
Sherifat Oladokun, both of Book Builders Limited, a
highly regarded firm of book editors, will give
closed-session lectures, seminars, and tutorial-style
meetings. Participants will have the opportunity to
engage in practical demonstration of how a book is
worked on. They will learn about the role of the
editor in relation to the publisher, agent, and
author, and the differences between a newspaper editor
and a book editor. There will be illuminating
conversations on a range of topics including general
overview of editorial process (using layouts of
various books, journals, scholarly books, novels,
etc.), Initial assessment of a book, Copy Editing,
Substantive editing, science editing, Proofreading,
Indexing, Cover design, Grammar and usage, clichés,
Nigerian malapropisms. It will also look at challenges
in editing creative writers; both of children and
adult fiction, as well as Scholarly/ tertiary
publishing / research vs university, textbooks.
Participants, who will pay 10,000 naira for three days
(which covers tuition, course materials, tea/snacks,
lunch, certificate and group photograph) will be
taught Footnote / reference styles, publications of
Newsletters / flyers / brochures as well as how to
handle tables / diagrams / maps etc.

"The experience is not substitute for a sustained
academic program in publishing", the proposal reads.
But we hope that participants will gain a lot from
this workshop to develop career interest in book
publishing. The organizers look forward to hearing
from such large (mostly erstwhile multinational)
publishers such as McMillan, Longmans, Evans, as well
as homegrown, midsized companies including Spectrum,
Africana, 4th Dimension, Litramed. The workshop will
be particularly useful for emerging companies like
Farafina, New Gong, Cassava Republic, Book Kraft, and
Kraft Books. Perhaps the major beneficiary from this
sort of learning would be people between ages 22-40,
preferably university graduates or those in the final
semester of their bachelor programs, with demonstrable
interest in reading and writing.
Staffers of reputable publishing firms should only
need to present a letter from their employer
authenticating their status. Completed application
package will include a letter of application, and a
statement of purpose. For those who are not working in
a publishing house, there is, required, a letter of
recommendation from academic mentors or teachers
optional(). Contacts: CORA Secretariat: 95 Bode
Thomas, Surulere, Lagos.
Contact: cora2stamp@yahoo.co.uk, Ayo Arigbabu:
arigbs@gmail.com), Jumoke Verissimo,
jumokeverissimo@yahoo.com); Juwon Bukola Phillips
(naijajuwon@yahoo.ca) and Wale Omotoye,
geewale@yahoo.com)

oDownload participation form at: www.coragroup.org)

Toyin Akinosho
Secretary General

9th LAGOS BOOK AND ART FESTIVAL 2007: FINAL PROGRAMME

2007-11-02T17:18:00.000-07:00

9th LAGOS BOOK AND ART FESTIVAL 2007

Theme: Literacy As Democracy Dividend

DATE: NOVEMBER 9-11, 2007

VENUE: NATIONAL THEATRE, IGANMU, LAGOS

KEY LITERARY EVENTS

PANEL DISCUSSIONS. DIALOGUES. CONVERSATIONS. ARTHOUSE PARTIES

8am: Exhibition opens

9am: Children Programme Opens

9am: Cartoon and Comic carnival Opens

10am: ARTHOUSE PARTIES 1

Opening Reception - 50 Years of Things Fall Apart

* Ground-breaking prelude to the series of worldwide events starting January 2008. (Talks, Dramatisations, Excepts Reading etc)

12 noon: COLLOQIUM

Theme: Constructing a Nation: 40 Years after the

First shot in Biafra.

Reviews, Readings and discussions of Civil War

Literature; Novels, Drama and Non Fiction Works

including:

_ Cyprian Ekwensi's Divided We Stand

_ Chukwuemeka Ike's Sunset At Dawn

_ Chimamanda Adichie's Half Of A Yellow Sun

_ Dulue Mbachu's War Games

_ Benjamin Adekunle's The Nigeria - Biafra War Letters - A
Soldier's Story (Vol. 1)

_ Eddie Iroh's Toads Of War; and

_ Rasheed Gbadamosi's Echoes From The Lagoon

3pm: PANEL DISCUSSION

Theme: MENDing the damage: Literature and the Niger
Delta Crisis

A panel discussion on Literatures borne out of the Niger Delta crisis

Discussants include:

_ Oronto Douglas (Where Vultures Feast)

_ Ken Wiwa (In The Shadow Of A Saint)

_ Ahmed Yerima (Hard Ground)

¥ Kaine Agary (Yellow Yellow)
¥

* SPECIAL: Presentation of DAGGA TOLAR's book in honour of Ken
* Saro-Wiwa and the Niger Delta Struggle

**2007

DAY 2: SATURDAY NOVEMBER 10, 2007

8am: Exhibition opens

9am: Children Programme continues

9am: Cartoon and Comic carnival Continues

10am: BOOK PRESENTATION

Newly published abridged version of Wole Soyinka's
Ake - Years of Childhood

The following youngsters discuss Literature of Childhood:

_ Oruomen Igbokwe (13)

_ Leke Olaleye (15)

_ Isaac Onoh (14)

_ Seyi Akogun (14)

2pm: ARTHOUSE PARTIES-Part 2

Music, Wine and Dance for:

_ Fatai Rolling Dollar at 80

_ Femi Asekun at 75

* Bruce Onobrakpeya at 75

_ Tunde Oloyede at 60

_ Yemi Ogunbiyi at 60.

Bandstand:

¥ THE STEVE RHODES ORCHESTRA

¥ Seyi Solagbade,

¥ Adunni Nefretiti

3Pm: SYMPOSIUM

Theme: Writing In - Tales from the Diaspora (THE EMERGING Nigerian literature outside the borders of Nigeria).

Keynote by Akin Adesokan (Associate Professor, Indiana State University, USA)

Features discussions of:

_ Segun Afolabi"s Caine award winning short story 'Monday
Morning'

_ Biyi Bandele's The Street

_ Chimamanda Adichie's 'The Thing Around Your Neck'

_ Diana Evans' 26A

_ Helen Oyeyemi's Icarus Girl; and

_ Diran Adebayo's Some Kind of Black

DAY 3: SUNDAY NOVEMBER 11, 2007

10am: Exhibition opens

10am: Children Programme continues

10am: Cartoon and Comic carnival Continues

12 NOON: DOKUMENTA 2007:

Nigeria & The Age of The Mega-Shows

A panel of Visual Artists and Art Historians discuss possibility of Nigeria's own Biennale

* Moderating: Chuka Nnabuife
* Remarks: Arne Schneider, Director Goethe Institut, Lagos
* Programme is courtesy GOETHE INSTITUT LAGOS

2PM: ART STAMPEDE

Topic: The Myth and Realities Of A Golden Age of Culture Production

Was the era of the 'Mbari generation' the golden age of culture production in Nigeria? Was more happening then than now - the 'CNN generation'?

The following participants in the work of culture production and promotion across generations of Nigerian art discuss the issues:

_ Segun Olusola

_ Segun Bucknor

_ Aderemi Adegbite

_ Andy Akhigbe

_ Segun Adefila

_ Tosyn Bucknor

_ McPhilips Nwachukwu

COMICS CARNIVAL @ LABAF 07

2007-10-10T08:48:00.000-07:00

3rd LAGOS COMICS & CARTOONS CARNIVAL

LC3 is a unique event initiated and coordinated by Revolution Media
and is geared towards raising the awareness and sensitivity of the
public (especially the youths) towards the vast field of cartoons,
comics and animation creation and publishing while adding a boost to
the nation's reading and entertainment culture. The first edition of
LC3, held in September 2004, was a collaborative effort of 3
enterprising young men (who firmly believe that Nigeria is a fertile
ground for the emergence of a richly rewarding and potentially booming
comics pop-culture) facilitated by Evolution Media (now Revolution
Media), Design Jockey Sessions and with support from CORA (Committee
for Relevant Art) as a part of the 6th Lagos Book and Art Festival.

LC3 '04 recorded considerable success, which points out the fact that
there is huge potential for the emergence of a comics and cartoon
industry. This year, we plan to make LC3 '07 bigger and better than
the last effort in September 2006. The event is slated to hold from
9th to 11th of November 2007 as a part of the 9th Lagos Book & Art
Festival at the National Theatre, Iganmu, Lagos.

Programme

The third installment of LC3 will have a high capacity building
content with major focus on trainings and workshops for up coming
creatives in the comics and cartoons trade. Participants in the
training seminars and workshops will be drawn from secondary schools,
higher institutions of learning, independent practitioners and
practicing professionals in established advertising / media related
agencies, newspaper houses, etc that could be interested in a
refresher course of sorts. Facilitators will be drawn from a shortlist
of highly skilled professionals and the sessions will be highly
interactive. The first two days of LC3 '07 will be dedicated to these
workshops and seminars running alongside the exhibitions and sales
while the third day will be dedicated fully to a multimedia exhibition
of works by major players and emerging talents in the comics,
cartoons, animation and motion graphics trade, which will dovetail
into a dance party at the end of the event headlined by an 'A' list
Disc Jockey.

LC3 '07 is thus designed to cater for the multiple needs of
exposition, networking, marketing and entertainment.

Day One (Friday 9th November 2007)

8:00 am – 9.00am: Participating exhibitors / collaborators set up their stands.

10:00 am – 10.30am: Official opening of the 3rd Lagos Comics &
Cartoons Carnival.

10.30 am - 3.30pm: The 3rd Green Comic & Cartoon Strip Contest
(Themed: Plant an idea, watch it grow). Organized in collaboration
with Children And The Environment (CATE), and The Cartoonists
Association of Nigeria, the Green Comic Strip contest is targeted at
Secondary School Students between the ages of 13 and 20 years, the
programme is geared towards young people who have a flair for writing
and illustrating comics. Winning entries to the contest which would
have been collated and judged will be awarded prizes and a workshop
will be held for the children on how to create comics.

11.00 am – 6.00 pm Screening of short listed entries of animated short
flicks will hold for older folks who are not engaged with the
children. Participants will talk shop on the screened flicks and the
talks will be moderated by leading lights in the industry.

Day Two (Saturday 10th November 2007)

8:00 am – 9.00am: Participating exhibitors / collaborators set up their stands.

10:00 am – 12.00 noon: Workshop on Animation with focus on 2D.

12:00 noon – 12.30 pm: Break / Interaction.

12.30 pm – 2.30pm: Workshop on Animation with focus on 3D.

2.30 pm – 3.00pm: Break / Interaction.

30.00 pm – 5.00pm: Workshop on Animation with focus on motion graphics.

5.00 pm – 6.00pm: Re-cap / Question & Answer session / presentation of
certificates.

Day Three (Sunday 11th November 2007)

8:00 am – 9.00am: Participating exhibitors / collaborators set up their stands.

10:00 am – 3.00 pm: Screening of short listed entries of animated
short flicks will continue and participants will talk shop on the
screened flicks as was done on day one.

3.00pm – 6.00pm: Dance party / closing celebration with an 'A' list
disk jockey on duty.

Collaborators

In achieving the set goals for LC3, and as a direct benefit of having
done this before, we shall be facilitating this carnival in
collaboration with front line creative art and graphics companies and
individuals; some of whom we have collaborated with in the past, who
will also exhibit their publications and artistic offerings.
Co-facilitators will include Children And The Environment (CATE),
Design Jockey Sessions, Imperial Creation Studios, the Cartoonists
Association of Nigeria amongst others.

The Committee for Relevant Art (CORA), as in the past, shall provide a
broad platform at the 9th Lagos Book and Art Festival at which LC3 can
draw from a large pool of book and art enthusiasts.

Glossy Brochures branded by our sponsors and containing general
history and information about the speakers and exhibitors at the
carnival will be made available to participants and visitors to
further aid the networking we hope to sustain.

For more information, please contact the undersigned. We look forward
to your active participation.

Yours Faithfully,

…………………………..
Ayodele Arigbabu
234-0803-3000-499
arigbs@gmail.com

Sewedo Nupowaku
234-0806-7421-215
sewetronica@yahoo.co.uk

Will all animators please stand up!!!

This is a call for entries to animators of all backgrounds and cadres
to send in VCDs of their work for screening at the 3rd Lagos Comics &
Cartoons Carnival. The entries could be commercial or experimental
works, however, commercial work must come with authorization from the
copyright owners (if different from the creators of the works) for
them to be screened publicly. Feature length presentations and short
animated clips in the genres of 2D, 3D, motion graphics and
combinations thereof may be submitted, however, brevity will be an
advantage for screening and for the subsequent discussions that would
ensue. The works may range from short films and musical videos to
advertisements, architectural presentations and other esoteric
creations.

The Lagos Comics & Cartoons Carnival is a self styled ultimate
gathering of admirers, lovers and downright fanatics of comics,
cartoons and animation. The 3rd edition of the carnival will hold at
the National Theatre, Iganmu Lagos from the 9th – 11th of November,
2007 as a part of the 9th Lagos Book & Art Festival and will have a
strong focus on animation. Received entries will be screened on the
three days of the carnival after which participants will talk shop on
the screened flicks. The talks will be moderated by leading lights in
the industry.

These sessions are designed to facilitate interaction between
professionals and enthusiasts, create a platform for cross pollination
of ideas, provide an avenue for employers of creative talent to
encounter fresh minds and serve as a fulcrum for building a database
of the variety of talents available in the field of animation.

Entries should be copies of the original work (original CDs or DVDs
should not be submitted as entries will not be returned) in VCD format
submitted with a letter addressed to The Coordinators, Lagos Comics
and Cartoons Carnival, stating the title, genre and theme of the
submission with a short Biodata of the creator(s) and should be
submitted to Revolution Media, c/o CORA secretariat, 1st Floor, 95
Bode Thomas Street, Surulere, Lagos on or before the 31st of October
2007. Revolution Media reserves the right to select from entries
received, those which will be screened at the carnival without
prejudice. All entries will be collated and catalogued after the
carnival at the CORA community library as reference material.

Please contact the undersigned for more information.

Yours Faithfully,

Ayodele Arigbabu
234-0803-3000-499
revolvingmedia@googlemail.com

Sewedo Nupowaku
234-0806-7421-215
revolutionmedia@yahoo.com

Calling all animators!!!

Revolution Media, organisers of the annual Lagos Comics & Cartoons
Carnival (LC3) will be hosting a one-day workshop on animation at the
3rd Lagos Comics and Cartoons Carnival which will hold at the National
Theatre, Iganmu Lagos from the 9th – 11th of November, 2007 as a part
of the 9th Lagos Book & Art Festival. The third installment of LC3
will have a high capacity building content with major focus on
trainings and workshops for up coming and established creatives in the
comics and cartoons trade. Participants in the training seminars and
workshops will be drawn from secondary schools, higher institutions of
learning, independent practitioners and practicing professionals in
established advertising / media related agencies, television houses,
etc that could be interested in a refresher course of sorts.
Facilitators will be highly skilled professionals and the sessions
will be very interactive.

You are therefore invited to participate in a workshop on animation on
Saturday the 10th of November 2007 (Please see programme below) from
10am – 6pm. The session shall cover 2D, 3D and motion graphics and
will be highly interactive. This workshop is recommended for those
with some background knowledge in animation who wish to improve on
their skills and is Revolution Media's initiative towards capacity
building in the field of comics, cartoons and animation.

The workshop session will be free and interested participants may
register at the CORA secretariat, 1st Foor, 95 Bode Thomas Street,
Surulere, Lagos or may send an email stating their interest to
lc3_05@yahoo.co.uk

Please contact the undersigned for more information.

Yours Faithfully,

…………………………..
Ayodele Arigbabu
234-0803-3000-499
revolvingmedia@googlemail.com

Sewedo Nupowaku
234-0806-7421-215
revolutionmedia@yahoo.com

NIGERIA LITERATURE PRIZE REVIEW: images

2007-09-03T13:09:00.000-07:00

1. President ANA Wale Okediran, delivering his paper
2. The writer, Literature Enthusiast, Mrs Mobolaji Adenubi aka Mama Agba
3. NLNG Head of Communications & PR, Ifeanyi Mbanefo
4. Eror repeat of Mbanefo
5. CORA Secretary General, Toyin Akinosho
6. The audience at the event
7. CORA Prog Chairman, Jahman Anikulapo, introducing the event
8. The panel in session
9. Moderator Deji Toye stresses a point
10. Panelist Chike Ofili speaks

NIGERIA LITERATURE PRIZE REVIEW IN THE MEDIA

2007-09-03T07:12:00.000-07:00

NLNG Literature Prize to don new face
By Armsfree Ajanaku
(Culled from The Guardian September 3, 2007)
AS the Nigerian Literature and Science Prize committees announce their shortlist today, the Nigerian literati sat in the posh hall of the Oceanview, in Lagos, last Wednesday, to review the Nigerian Literature Prize. It was one of those numerous interventions from the Committee for Relevant Arts (CORA). The stakeholders workshop, as the event was designated, was aimed at examining the impacts and where possible to make far reaching recommendations on changes and other interventions towards the future of the prize.
The Nigerian Literature Prize has been in existence for four years. For the literati as well as others directly concerned with the state of the written word in Nigeria, it was time to do some stock-taking.
The event also threw some light into the shape of the prize will take in future. Mr. Ifeanyi Mbanefo, NLNG Head of Communication, sponsors of the prize, revealed that the "next step may be setting up of an endowment to run the prize in perpetuity". To do this, he listed the conditions, which would be critical to the success of the initiative. They include; adequate resourcing, both human and financial, and the management of the funds in such a "way as to safeguard the economic base and guarantee the independence of the judges and prize Committee.
He stressed the need to engage reputable local and foreign blue chip fund management companies with field-tested investment approach to handle the projected endowment.
Just as the workshop was coming to a close, Ropo Ewenla, a playwright and actor, raised the tension when he questioned the choice of Ibrahim Babangida as keynote speaker in the next award ceremony billed for October.
"What does a man who ensured that Nigerian children never went to school have to say about children's literature?" he queried. He got his reply from Mbanefo, who seemed to have come prepared. A writer, he asserted, should be the last person to insist on fiat. For him, dialogue should be the writer's weapon and not fiat. The arguments were by no means over, they continued with participants engaging themselves, after the workshop ended.
Toyin Akinosho, Secretary-General of CORA had set the ball rolling when he surmised that if the gas company "decide to stop the award today, it could jolly well say, well, we've made an impact in these years." But for many of the stakeholders present, an abrupt end to a prize, which has grown to become the biggest on the African continent, was not on the wish list. Rather, there was a pervading feeling - as it could be seen from the body language of those present - that despite the problems encountered in the administration of the prize, it merely required a comprehensive review in order to correct certain flaws that had been observed.
Akinosho captured this feeling thus: "CORA asks for the NLNG prize to be continued. The robust conversation that has grown around the prize has highlighted the challenges of the infrastructure of the book trade.
"The intensity of the debate has been such that NLNG staff might wonder "why have we gotten ourselves into this?" This was an allusion to the series of controversies, which has trailed the prize, including its designation as the Nigeria Literature Prize, and the contentious decision that essentially excluded writers in the diaspora.
For Ifeanyi Mbanefo, the NLNG Head of Communications and PR, the workshop presented an opportunity for some sort of appraisal. He harped on the fact that the whole idea of the Literature prize was born out of the corporate body's drive to encourage excellence in Nigerian Literature as well as in Science. Mbanefo, himself a literary enthusiast and journalist, contended that for this goal to come to be achieved, there was a need for a more productive synergy between the writers community and the corporate world. Consequently, he emphasised on the need for the business angle in the prize administration to be given a premium place. This would mean that writers and other stakeholders would not have the luxury of insisting on having things done their way.
"Writers, scientists, artistes, thinkers -- much like the rest of us -- bristle at being told what to do by people who supposedly didn't know better than they. This is why corporate organisations, not wishing to incur their wrath, often make token gestures to them. But unlike these corporate bodies, NLNG decided that it was not enough to give money and then head off to choice seats in theatres and galleries. The company sticks around to make sure that its money goes to where it needs to go and does what it needs to do".
For him, it is imperative that the literary community operate an open and all embracing system, which would make the evolution of a productive relationship with other professionals possible.
Mbanefo dwelt on how crucial economics was to the administration of a prize. This, he said cannot be wished away by writers, who want to carry on as if other professionals do not have a place in the business of literature. The Nigeria Prize for Literature, he noted, was intended as a public trust. And for its objectives to be met, Mbanefo counselled that "it must avoid the current trend of 'living off its capital' by both the people in The Arts and philanthropic organisations".
On some of the problems encountered so far, especially the controversies, the NLNG Head of Communications ascribed them to the nature of Nigeria as a "logic free zone". By that phrase, he was essentially alluding to the tendency among Nigerians to want to take a swipe at things, even when there are no reasons to do so.
Mbanefo also addressed the controversial issue of the nomenclature given to the prize. He asserted that it was named the Nigeria Literature Prize because of the need to allow space for other corporate bodies to be a part of it whenever they so desired. This allowance, he went on, would be non existent were the prize to be named after the gas company.
Wale Okediran, the President of the Association of Nigerian Authors (ANA) concurred with Mbanefo on the issue of the prize's name. In his presentation, the ANA helmsman contended there was nothing wrong about the name. He argued that: "before a company or name is registered by the Corporate Affairs Commission, there are certain procedures that must be closely followed. One is the placement of a notice of intention in two national newspapers for a certain period of time in order to allow any criticism against such a move. It is also expected that the names of the Board of Directors and any other officials of the proposed prize body should be listed. Once this is done as I expected it must have been done by the NLNG and no opposition was raised against the registration exercise, then the gas company can be said to have followed due process in registering the prize. Not being an act of parliament, registration of names of companies and organisations is not expected to involve anything more than the aforementioned".
It would be recalled that poet and former President of ANA, Odia Ofeimun had in a 2004 article criticised the registration of the prize as the Nigeria Literature Prize, a decision he described as "selling national patrimony for a mess of pottage". Ofeimun had contended that "Even if we are now in the age of liberalisation, privatisation and deregulation, our identities have not yet been so privatised, liberalised and deregulated to the point where we must celebrate a private company's right to use the state apparatus outside the dictates of market forces to over-ride the capacity of other companies to compete with it."
The debate continued at the workshop and it was moderated by Deji Toye. One of the panellists, Dr. Wunmi Raji, writer and teacher at Obafemi Awolowo University, Ile Ife, raised the stakes when he described Okediran's position on the name as "very disappointing". He pointedly dismissed the argument of the gas company, that it decided a Nigeria Literature Prize to allow space for other corporate bodies to come in, while noting that internationally, prizes stilled remained viable and prestigious regardless of what they are called. Another discussant was derisive when she asked: "how come we don't have a prize called the England Literature Prize?"
Beyond the arguments and counter arguments over the name, however, the panel of discussants deliberated on other issues like; the need for the prize to have a well defined identity (the usual upcoming versus established writers debate), the importance of structuring it properly, and the inevitability of severing it from the NLNG so that it could operate independently. Raji was of the view that beyond the prize money, there was need for the prize to make a greater impact on the careers of winning writers. The integrity of a literary prizes, he surmised, depends very much on the direction it steers the careers of the winners.
On the question of the integrity of the prize, the panellists were unanimous on the need for the names of judges for the competition to be made public. Chike Ofili, one of the panellists caused a stir when he suggested that judges for the competition be chosen from other Africans countries. For him, this would make it impossible for ethnic and other primordial sentiments to influence them. This was rejected by some other contributors.
How about Nigerian writers in the diaspora? Should they be part of the prize. Mobolaji Adenubi thinks the logic canvassed by the administrators of the prize, especially dotting on the wide disparity in publishing opportunities between writers at home and abroad, was tenable. She expressed the 'fears' of many who believe that allowing entries from writers based abroad would mean those based in Nigeria might never win the prize anymore because, "they have opportunity of incentive that held better editing and packaging on the other hand, however, she said allowing writers in Diaspora could help encourage those at home to aim at better quality.
To justify the exclusion of writers based abroad, a discussant reminded that even prizes in other countries "have their specific targets."
It was equally time for counting of the blessings from the prize. All present agreed that the prize has stimulated a lot of activities in the literary scene. As Ofili put it, the competition has helped to continually remind writers of their duty to their societies. The suggestions on how to make things better for the prize were manifold. They ranged from promotional activities for writers to rewarding other professionals in the book industry, like editors and library owners.

FROM DAILY INDEPENDENT:

Article by:
By Yemi Adebisi,Correspondent, Lagos

(Culled from Daily Independent, Sept 3, 2007

The Committee for Relevant Arts (CORA) and Association of Nigerian Authors (ANA) held a workshop for stakeholders in the art sector for a review of the Nigeria Prize for Literature on Wednesday, August 29, at Ocean View Restaurant, Victoria Island, Lagos.
It was organised to assess the impact of the literary prize on the sector. Guest speakers at the event included Mr. Mbanefo, who represented the Nigeria Liquefied Natural Gas (NLNG), and President of ANA, Dr. Wale Okediran.
The panel included Dr. Wumi Raji (poet, literary critic), Toni Kan (writer, literary enthusiast), Chike Ofili (poet), and Nike Adesuyi (poet, fiction writer). Others include Folu Agoi (poet, chairman ANA Lagos), Ropo Ewenla (actor, poet, literary enthusiast), and Grace Daniel, chairperson, Women Writers Association (WRITA).
According to CORA Chairman, Jahman Anikulapo, the aim of the gathering was to review the prize by examinining its impact and where possible, make recommendations on changes and agree on the way forward.
When the NLNG announced its preparedness to bankroll the award for Literature and Science in 2004, a lot of people wondered what the awards had to do with gas.
According to Toyin Akinosho, secretary general of CORA, NLNG maintained vehemently that the award was about recognising excellence in the intellectual sphere.
In his paper presentation, Akinosho reminded guests that Kingsley Abhulimen of the University of Lagos and his doctoral degree project supervisor, Professor Alfred Akpoveta Susu, won the first edition of the science award. The work was on "Real Time Computer Assisted Leak Detection/ Location Reporting and Inventory Loss Monitoring System." It was all about a thesis on leak detection in a network of pipelines carrying fluids. This in essence derived a criterion for detecting leaks in any network of pipelines transporting gas or liquid, storage tanks or processing systems and transport of blood in human arterial network.
However, last year’s edition went to a drama piece that interrogated the militia question in an average family in the Niger Delta. Director-General, National Theatre, Ahmed Yerima, carted away the prize with his Hard Ground. His drama presentation, according to Akinosho, suggested that in every household in Ijawland, Itsekiri, Urhobo, Andoni, Ogoni and Ibibio, there was raging debate on the quality of governance in Nigeria.
He submitted that in just three years, the NLNG award had thrown up significant ideas in both the science of monitoring fluid flow as well as the humanist aspect of engaging the rampaging militancy in the region. He reiterated that apart from these, CORA maintains that the NLNG award has helped reshape the award system in Nigerian literature. CORA therefore, solicited for continuity of the award.
"CORA would want to assert that since the NLNG has the means, it doesn’t take much to see that the ideas these awards throw up are made to seep through as much of the body of the Nigerian society as possible," said Akinosho.
However, to the post-award event, CORA proposed a fortnight session of readings country-wide and book signings and television appearances and newspaper interviews as well as most importantly workshops with students at some selected secondary and tertiary institutions. This in turn would make an award-winning book a must buy, not just for the literati, but for a wider section of the public. Apart from this, it would help build capacity and grow the audience for literature.
President of ANA, Dr. Wale Okediran, revealed that the NLNG believed that the literature prize would improve the quality of writing, editing, proof reading and publishing in the country with spillover effects in newspapers, magazines and broadcasting. According to him, the company believed that promoting writers was a way of promoting writing, literacy and good reading culture among Nigerians. Quoting the NLNG General Manager at the establishment of the award in February 2004, Siene Allwell-Brown declared the vision of the NLNG thus: "Our vision is to ensure that no scientist or writer is viewed with scorn and that those who aim at excellence in these fields would live and work in dignity, with a sense of self-esteem and confidence in their future."
Then the managing director of NLNG was quoted, giving reasons for the award: "The aim of promoting the Nigeria Prize for Literature is to stimulate authorship and scientific thinking, reward creativity and bring Nigerian writers to public attention." Okediran observed that no other literary activity has created much excitement, controversy and discourse than literary prizes. "While some teachers of creative writing would quickly remind their students that a literary prize should not be the reason for any writer to write, it is obvious that winning a literary prize had always been many writers desire. He added, however, that, "apart from the financial support such prizes usually give to their winners, literature is always enriched by the keen competition of literary competitions."
Recently, there have been several contentious issues about the Nigeria Prize for Literature. Guest speakers presented their views about the development so as to pave way for continuity.
One of such contention was the name of the prize. Initially, the name was NLNG Literature Prize, but was later proposed to be registered as the Nigerian Prize for Literature. Two former ANA presidents, Professor Femi Osofisan and Professor Olu Obafemi, agreed with the change of name, while Odia Ofeimun, another former ANA president, disagreed. Ofeimun referred to the decision to register the prize as Nigerian Prize for Literature as "selling national patrimony for a mess of pottage". He said, "Even if we are all now in the age of liberalisation, privatisation and deregulation, our identities have not yet been so privatised, liberalised and deregulated to the point where we must celebrate a private company’s right to use the state’s apparatus outside the dictates of market forces to over-ride the capacity of other companies to compete with it."
In essence, Ofeimun emphasised that his belief that any organisation that excelled in the promotion of a country’s literary prize could be chosen by that country as its prime definer of that country’s interest. He insisted that all literary stakeholders needed to be carried along before the legislation. Okediran, who disagreed with this assertion, stated that since members of the advisory council on the prize represented to a fairly good margin, a cross section of the literary sector in the country, "one cannot accuse the gas company of having not consulted the very important sector of the Nigerian public." Okediran added that before a company or name is registered by the Corporate Affairs Commission in Abuja, there are certain procedures that must be closely followed, which include placement of notice of intention in two national newspapers for a period of time in order to allow any criticism against such move. He declared that since such conditions had been satisfied and there was no opposition, the gas company had fulfilled all required process of registering the prize. He queried why the University of Nigeria Nsukka (UNN), was not challenged for using the name of the country as its name.

Okediran also supported the limitation of contestants to Nigeria-based writers. He argued that all over the world, literary prizes are instituted and administered for specific groups; therefore the NLNG cannot be faulted for adopting its present stance of limiting the contestants to Nigeria-based writers.

He stated that the Orange Prize for fiction is awarded for a full length novel in English by a woman of any nationality. Then Olaudah Equino Prize was inaugurated in the U.S. for Nigerian writers based in the U.S.

He, however, faulted the aborted reading tour, noting that at inception of the award in 2004 13 writers were taken on a reading tour of the country, which, according to him, enabled members of the public to become more interested in literature apart from the publicity of the award. The discontinuity of the tour, according to Okediran, has killed the morale of most writers. He also solicited for endowment of the prize. "Having gone so far in running what has come to become one of the most successful literature prizes in the country, it would be advisable for the NLNG to put aside enough funds as a form of endowment for continuation of the prize," Okediran said, adding that apart from generating additional funds to run the prize over the years, it would also insulate it from the vagaries of company managements, which may not be very interested in continuing with the exercise.

He concluded that NLNG has transformed the lean fortunes of Nigerian literature just like an oasis in the Nigerian literary desert. He hoped the NLNG and other stakeholders in the writing profession would bring to the attention of government and other industrialists the urgent need to make the publishing industry viable and procreative writers.

It was rumoured at the gathering that Ibrahim Babangida would be presenting the award this year. Ropo Ewenla, one of the speakers, told the NLNG to think about the integrity of this past president and his relevance to literature. "If it is true that IBB will present this year’s award, the NLNG should rather take caution. This is a man that never wanted an average Nigerian child to go to school."

The representative of NLNG, Mr. Mbanefo, allayed the fear this might have in the mind of writers. He stated that all past presidents are going to be there, and that the choice of Babangida was non-political and does not change the award or influence the choice of the winner.

CORA STAKEHOLDERS' WORKSHOP ON NIGERIA PRIZE FOR LITERATURE

2007-08-30T12:12:00.000-07:00

IMAGES FROM THE NIGERIA PRIZE

1. Sectio of the panel: from left Folu Agoi, Toni Kan, Nike Sdesuyi, Deji Toye (Moderator), Grace Daniel, Mrs Adenubi
2. Okediran
3. Mbanefo
4. Cross Section of audience
5. Mrs Adenubi, Raji and Ewenla

The COMMITTEE FOR RELEVANT ART, CORA on Wednesday August 29, staged a a StakeHolders' Workshop on the Nigeria Literature Prize, which is currently in its fourth year, and the end of its phase 1. the theme of the workshop held at the Oceanview Restaurant, Victoria Island Lagos with about 100 corporate executives, artistes, culture enthusiasts and workers in attendance, was "The Social Environment of Business: Cultural Promotion As Corporate Social Responsibility (The Nigeria Prize Experience)". The workshop featured three paper presentations and a discussion session that featured eight panelists. Moderated by CORA's Deji Toye, the panel included the writer, Literature activist, Mrs Mobolaji Adenubi; Dr Wunmi Raji, a writer and lecturer at Obafemi Awolowo University, Mr Tony Kan, writer and Bank executive, Ms Nike Adesuyi, Poet, Literature activist, Ms Grace Daniel, ex-chairperson Women Writers of Nigeria, WRITA, Mr Folu Agoi, Chairman ANA Lagos, Mr Chike Ofili, poet, Journalist and Marketing Specialist and Mr Ropo Ewenla, member CORA and a Culture Activist.
Below are the three papers presented at the event.

PAPER 1:

CORA statement at the review of the NLNG Award For Literature

When the Nigeria Liquefied Natural Gas(NLNG) Limited announced the institution of awards for Literature and Science in 2004, a lot of people could be forgiven for asking: What have these to do with Gas?
NLNG has maintained that this is about recognizing excellence in the intellectual sphere, but for a petroleum company, which showed up in Nigeria only in the twilight of the 20th century, two of the awards of the last three episodes can be used to re-calibrate the proverb that says: be careful about throwing a stone in the market place, it can hit your very own child.
The very first edition of the science award went to a thesis on leak detection in a network of pipelines carrying fluids. The study derived a criterion for detecting leaks in any network of pipelines transporting gas or liquid, storage tanks or processing systems and transport of blood in human arterial network.
Last year's award for Literature went to a drama piece that interrogates the militia question in an average family in the marshlands of the Niger Delta basin. That piece suggests to us, tellingly, that in every household in Ijawland and probably Itsekiri, Urhobo, Andoni, Ogoni, Ibibio, Ibani, there's a raging debate on the quality of governance in our country and how people ought to respond to it, all at individual, familial and communal levels.
In just three years, the NLNG award has thrown up significant ideas in both the science of monitoring fluid flow as well as the humanist aspect of engaging the rampaging militancy in the region.
This is important item in NLNG's CSR curriculum vitae. Let me make it personal. I have worked in the petroleum industry for 19 years, not as a Public Affairs personnel, not as an HR person but in the core area of geology and operations. At no time in these years in the petroleum industry, has the industry witnessed so much effort in either pipelay and pipeline maintainance on the one hand and an incessant militancy aiming to disrupt the flow on the other.
When Nigeria commissioned her largest power plant, the Egbin Thermal station in 1985, it was sufficient to simply feed it with High Pour Fuel Oil, which was hauled in by vehicular transportation, even though the cheaper feedstock was natural gas. It would take the commissioning of the Escravos Lagos Gas Pipeline (ELP) years later, to make that step change. Now, we are so used to gas that the nation goes into darkness whenever the gas bearing pipes to Egbin suffer any form of disruption. In the last eight years, we have changed from a net hydro electricity supply market to a gas -to -wire market. As we speak, 11 gas-wire plants are under construction, the largest electricity supply effort on the continent. Conversely, only one hydroelectricity plant is under construction. The key issue is delivering gas to these facilities amid the tension that the Niger Delta is today. The outlay for construction of pipelines, monitoring and maintenance are some of the most critical in facility delivery in the petroleum industry. The gas that is sold by NLNG is gathered in fields all over the 75,000 sq km delta basin and delivered at Bonny through a network of pipelines. Companies are engaging communities more than ever to monitor these pipelines. Which is why the work of Kingsley Abhulimen, a doctoral student of University of Lagos and his supervisor, Professor Alfred Akpoveta Susu, who won the first LNG science prize for their work on Real-Time Computer Assisted Leak Detection/Location Reporting and Inventory Loss Monitoring System is symbolic of the impact of the NLNG prize. As we also know, the National Question as regards to control of the resources and the economic health of communities that inhabit the delta basin, the largest deltaic store of oil and gas on the planet, is what Ahmed Yerima treats in Hard Ground, the drama that won last year's Literature award
So if the NLNG decides to stop the award today, it could jolly well say, well, we've made an impact in these years. We have contributed so robustly to ideas that shape our industry.
But the reason we are here today is to see that the NLNG continues the prize, in particular the Literature award.
Before this afternoon's discussion starts, CORA wants to make the point that, pipeline and militancy aside, this award has helped shape the award system in Nigerian literature. Our distinguished panelists here, including the President of the Association of Nigerian Authors, who was until two months ago, an elected member of the Nation's most representative legislative body, will discuss what this means.
CORA asks for the NLNG prize to be continued. The robust conversation that has grown around the prize has highlighted the challenges of the infrastructure of the book trade. The intensity of the debate has been such that NLNG staff might wonder "why have we gotten ourselves into this?". A glib response would be "what do you expect when you institute an award for the chattering classes? But a more fundamental answer to their misgivings would be: Congratulate yourselves for helping to galvanise the National Conversation.

PAPER TWO:

THOUGHTS ON THE NIGERIA PRIZE FOR LITERATURE

Being a paper presented at the stakeholders' workshop on the Nigerian Literature Prize on the theme: The Social Environment of Business: Cultural Promotion As Corporate Social Responsibility (The Nigeria Prize Experience), organised by the Committee for Relevant Art, CORA on August 29, 2007 at the Oceanview Restaurant, Victoria Island, Lagos. by DR. WALE OKEDIRAN, NATIONAL PRESIDENT, ASSOCIATION OF NIGERIAN AUTHORS, ANA.

A. BACKGROUND:
The Nigeria Liquefied Natural Gas Corporation on February 9, 2004 after a series of meetings with stakeholders in the Science and Literary sectors, formally inaugurated the Nigeria prize for literature and the Nigeria prize for science.
Apart from being part of the organization's social responsibility programmes, the NLNG also believed that the Literature Prize "will improve the quality of writing, editing, proof reading, and publishing in the country with spill over effects in newspapers, magazines and broadcasting".
The company also believed that promoting writers is certainly a way of promoting writing, literacy and good reading culture among Nigerians.
In establishing the science and literature prizes Siene Allwell-Brown, the general manager, External Relations had this to say on the vision of the NLNG "Our vision is to ensure that no scientist or writer is viewed with scorn and that those who aim at excellence in these fields will live and work with dignity, with a sense of self esteem and confidence in their future". In his reaction, the managing Director and CEO of the company observed thus: "the aim of promoting The Nigeria Prize for Literature is to stimulate authorship and scientific thinking, reward creativity and bring Nigerian writers to public attention".

B. WRITERS AND LITERACY PRIZES.
Perhaps, no other literary activity has created so much excitement, controversy and discourse than literary prizes. While some teachers of creative writing will quickly remind their students that a literary prize should not be the main reason for any writer to write, it is obvious that winning a literary prize has always been many writers desire. Apart from the financial support which such prizes usually give to their winners, literature is always enriched by the keen competition of literary competitions. It is for this reason that Literary Prizes the world over are keenly contested for and accompanied with a lot of publicity and commercialization. It is obvious therefore that even when writers don't write for prizes, winning such prizes can go a long way in elevating a writers literary credentials.

C. SOME CONTENTIOUS ISSUES ABOUT THE NIGERIA PRIZE FOR LITERATURE
Some of the criticisms against the four year old prize include the following.

i. THE NAME OF THE PRIZE.
At the onset of the award, the name of the prize was NLNG Literature Prize. However the decision by the NLNG to register the name of the Prize as The Nigeria Prize for Literature generated some controversy in certain quarters.
While two former ANA Presidents, Professor Femi Osofisan and Professor Olu Obafemi did not see anything wrong in this move, another former ANA President, Odia Ofeimun kicked against the decision. In his well publicized article The NLNG LITERATURE PRIZE CONTROVERSY; Before The Nigerian Prize, Ofeimun referred to the decision to register the prize as "selling national patrimony for a mess of pottage". As he put it, " Even if we are all now in the age of liberalization, privatization and deregulation, our identities have not yet been so privatized, liberalized and deregulated to the point where we must celebrate a private company's right to use the state apparatus outside the dictates of market forces to over-ride the capacity of other companies to compete with it" In saying this, Ofeimun emphasized his belief that any organization that has excelled in the promotion of a country's literary prize could be chosen by that country as its prime definer of that country's interest. This however in his view should be done after 'the proof' of such excellence and not 'by a crude resort to legislation outside due process'.
In looking at both sides of the argument, it seems to me that what the critics of the Legislation of the Literature Prize as epitomized by Odia Ofeimun wanted was an input by all Literary Stakeholders before the final legislation. This to me will be akin to the Public Hearing that is usually conducted by the National Assembly before a bill is passed into law. My take on this issue is that since members of the advisory council on the prize represented to a fairly good margin a cross section of the Literary sector in the country, one cannot accuse the Gas Company of having not consulted this very important sector of the Nigerian public. Secondly, before a company or name is registered by the Corporate Affairs Commission in Abuja, there are certain procedures that must be closely followed. One of these is the placement of a notice of intention in two national newspapers for a certain period of time in order to allow any criticism against such a move. It is also expected that the names of the Board of Directors and other officials of the proposed Prize body should also be listed. Once this is done as I expected it must have been done by the NLNG and no opposition was raised against the registeration exercise, then, the Gas Company can be said to have followed due process in registering the prize. Not being an act of parliament, registeration of names of companies and organizations are not expected to involve anything more than the aforementioned.

ii LIMITING CONTESTANTS TO WRITERS BASED IN NIGERIA.
Another contentious issue about the prize was the decision of the organizers to limit the prize to writers resident in Nigeria. A sizeable number of Nigerian writers and critics have advocated the inclusion of foreign based writers in the competition. While such arguments may have their merit, it is an established fact the world over that many Literary Prizes are instituted and administered for specific groups as such, the NLNG cannot be faulted for adopting its present stance.
For example, a cursory look through the Writers and Artists Year book in 2006 showed that out of the 180 prizes advertised for that year, more than 150 (about two thirds) were for specific writers writing in specific countries.
An important prize such as the Orange Prize for fiction is awarded for a full-length novel written in English by a woman of any nationality and first listed in the UK while the Shiva Naipaul Memorial Prize is given to an English Language writer of any nationality under the age of 35 years. The Somerset Maughan Awards are also for writers under the age of 35 who are British subjects by birth and ordinarily resident in the UK and Northern Ireland.
This same specificity exists in the Literature, Marketing and Places, the American version of Writers and Artists year book. Closer home, the Olaudah Equino Prize recently inaugurated in the US is meant for Nigerian writers based in the US.
If part of the aims of the NLNG to endow the Nigeria Literature Prize is to encourage and improve the local content of Nigerian literature, why must be the prize be opened to writers who are not based in the country?

iii COMPOSITION OF THE ADVISORY PANEL.
At the initial stages of the prize, some stakeholders in the Literary and Arts sectors were involved with the planning and subsequent execution of the prize. However, as time went on, some of these early collaborators soon left the fold under certain circumstances. This development has generated the assumption in certain quarters that the prize has been hijacked by the Gas Company. However, since some notable Nigerian writers, critics and teachers of literature such as Professor Ayo Banjo, Prof Charles Nnolim, Prof Theo Vincent, Abubakar Gimba, and Prof Zaynab Alkali, among others are still involved in the annual selection of the winners, it is obvious that the prize is still worthy of its name.

iv. THE PANEL OF JUDGES
Just as it is done by the some organizers of some Literary Prizes such as the Nobel Prize for Literature among others, the name of the judges in the Nigeria Literature Prize are still being kept secret. This has been done in order to protect the judges from being influenced by the contestants. Again, this decision has generated some degree of controversy. It is my humble belief that in order to maintain the confidence of writers in the prize, that the names of the judges be made public. This way, their competence and ability will not be in any doubt while their noble pedigree is a good antidote against protection.

v. THE 2004 PRIZE.
According to the panel of judges for the Nigeria Prize for Literature in 2004, none of the entries met the standard set by the judges as such, the 2004 prize was not given out. As the judges put it, "none of the entries was adjudged free of numerous faults observed because grave damage was done to the submissions through self publication with its attendant disabilities emanating from poor packaging". According to the panel of judges, 'the recourse to self-publication short circuits the traditional publishing processes and this gives rise to the numerous stylistic and grammatical flaws just observed" The panel further observed that many writers have not acquired the necessary education or undergone proper apprenticeship and training required for the high level performance expected from winning entries at this level.
The report of the panel of judges thus tallied with the various observations made by the jury of the Association of Nigerian Authors annual Literary Prize over the years concerning the carelessness in craft handling, poor editing, bad grammar, awkward constructions and general sloppiness in theme and techniques over the years. Matters even got to a head in two consecutive years when the prize for the drama was not awarded.
Strangely, however, rather than generate a critical reappraisal of how to resolve this serious state of Nigerian Literature many commentators were delirious with joy that they have been proved right about the poor state of Nigerian Literature without as much as diagnosing the problems and proferring solutions.
As if to corroborate the findings of the Panel of Judges, the Nasarawa State University Lecturer and critic, Sule E Egya in a June 2005 edition of The Ker Review did a review of the three shortlisted Novels for the 2004 Nigeria Literature Prize viz, CONDOLENCES by Bina Nengi-Ilagha, FATTENING HOUSE by Omo Uwaifo abd HOUSE OF SYMBOLS by Akachi Adimora-Ezeigbo. After a detailed review of the said books, Sule concluded thus, "The three novels are plottally lame and cannot be called great novels. None of the novels, therefore, is a great work of literature. One of them, because of its language and style may be close to being so, and that is Adimora-Ezeigbo's HOUSE OF SYMBOLS. At least she has the conscious maturity of the novelist"
Putting himself apart from the self glorious array of literary critics, Professor Wole Soyinka mercifully diagnosed some of the problems causing the decay in the Nigerian Literature as a collapse of the Publishing industry in the country as far as it relates to creative works. It follows therefore that if Nigerian publishers refuse to publish creative works not because of their poor quality but because it is not as lucrative as text book publishing, it becomes therefore difficult to fault Nigerian writers if they have to recourse to self publishing.
It is also important to note that in the last decade or so, many publishing houses in the country have refused to recruit competent book editors due to the perceived economic downturn in the country. This development has no doubt robbed the writers of the invaluable input of these editors in the production of their works from ordinary manuscripts to great works of literature.
It should also be emphasized that the pervading problem of the poor state of the Nigerian Publishing Industry is a national problem which needs the urgent attention of all stakeholders in the writing business.
The main reason given for Nigerian Publishers for refusing to publish Nigerian writers is the high cost of books which has been dictated by the high cost of the raw materials that go into book production. For example, contrary to what was the vogue several years ago, no local Paper mill is producing any appreciable amount of newsprint in the country today. Secondly, having found it unprofitable to run, the Federal Government has just been able to privatize the three Paper Mills in the country at Oku Iboku in Akwa Ibom, Jebba in Kwara as well as the Iwopin Paper Mill in Ogun State. It is hoped hat these Paper Mills will soon be producing enough newsprints to make published books affordable and so make it profitable for Nigerian publishers to publish creative works.
It is equally important that the prices of other inputs that go into book production such as Printing ink, vehicles for distribution as well as printing plates and machines should be moderate enough for publishers to make enough profit from the final products.
Another serious problem is the poor skill of some of our writers which among other things is a consequent of the declining educational standard in the country. Again, just like the problem of publishing this is another national problem that demands urgent and quality solution.
We are all aware of the state of many of our public schools in the country viz-a-viz staffing, funding and over all discipline not only among students but teachers inclusive.
When a few weeks ago the Executive of ANA paid a courtesy call on Dr Jerry Agada, the Minister of State for Education who incidentally is the current ANA Vice President, we gave him a blueprint prepared by a sister organization, the Ibadan-based Educare Trust. It is our hope that the document which is a compendium on the pervading problems and possible solutions in the educational sector will be very useful in improving our educational sector.
Also, in reality of the observed shortcomings in the skills of our writers, the Association of Nigerian Authors has over the last two years embarked on a series of Writing Workshops in order to improve the skills of the writers. In spite of very limited funds for the exercise, ANA has in the last one and half years organized three Writing Workshops in different literary genres.
Apart from teaching our young upcoming writers the rudiments of writing, we have also attempted to educate them on the many possible gains of seeking proper editorial assistance before rushing their manuscripts to the press. It is our belief that even if a writer wants to self publish his or her work, every effort must be made to allow the document to be well critiqued and edited by a more seasoned writer or Literature teacher. It is on record that many of the successful authors especially in the western countries enjoy a lot of tremendous input from their editors without whom, we may not have some of the great books we have today. It is also a well known fact that the joy of many book editors and publishers the world over is to recognized for discovering and nurturing to stardom ward winning authors just like the great American book editor, Lex Mcloum who is credited with discovering four American Nobel Laureates!! It is for this reason that I strongly believe that every writer however seasoned can also benefit from the input of good editors who unfortunately are in short supply in many of our publishing houses today. It is hoped that as more and more of these workshops are held, the trickle down effect on the quality of our literature will soon be noticed.

vi. THE ABORTED READING TOUR
At the inception of the Nigeria Literature Prize in 2004, about thirteen writers on the 'Long List" were taken on a reading tour of the country.
Apart from the publicity that the tour gave to the competition, the tour also enabled members of the public to become more interested in Literature. In a country with a perceived poor reading culture, the tour improved to some extent the interest of the public in Literature. Unfortunately, this aspect of the competition has since been discontinued. It is hoped that with proper repackaging, the reading tour if reconvened, will go a long way in improving the overall success of the prize.
It is also important to mention the issue of the Poor Reading Culture in the country. Literary observers have given several factors for this development. These include, high cost of books, disconnect between the writers and the reading culture as well as competition between reading and other recreational pursuits among our youths such as football, home video and the internet. In the last few years the ANA as our own contribution to stem this ugly development a few years ago organized some Literary Campaigns all over the country. The project which involved reading sessions among secondary school students in the country as well as donation of books to school libraries unfortunately could not be sustained due to financial constraints. It is hoped that more stakeholders will continue to assist the government in this onerous duty of improving the reading culture in the country through the provision of books to schools and community libraries as well as organization of Literary campaigns all over the country.

vi. PRIZE ENDOWMENT
Having gone so far in running what has come to become one of the most successful Literature Prizes in the country, it will be advisable for the NLNG to put aside enough funds as a form of endowment for the continuation of the Prize. Apart from the fact that this will generate some additional funds with which to run the prize over the years, it will also insulate it from the vagaries of Company Managements which may not be very interested in continuing with the whole exercise.

CONCLUSION
It is obvious that the Nigeria Literature Prize as being organized by the NLNG despite the teething problems and a few shortcomings is a welcome development to our Literary milieu. As James Tar Tsaaior of the Centre for General Studies, Lagos State University put it in the June 2005 edition of The Ker Review, "In a fundamental sense, the institution of the NLNG Literature Prize constitutes a veritable testament of committed corporate citizenship on the part of the Gas Company and represents a rite of affirmation for the efflorescence of Nigerian Literature." It is the belief of Tsaaior and I agree that The Nigeria Literature Prize has come to challenge, stimulate and enrich the literary enclave and to send the imagination roaming wild on the vast landscape of our literature. As stated earlier, even though the main essence of writing is not to win Prizes, the NLNG Prize has come has "transformed the lean fortunes of Nigerian Literature just like an oasis in the Nigerian Literary desert.
More importantly however, is the fact that the Prize has been able to identify some of the problems militating against good Literature in the country.
It has also inspired the birth of a new wave of Literary Prizes in the country such as the Soyinka Prize, the Utomi Prize and the Olaudah Equiano Prize among others.
The organizers of the Prize have also been able to stimulate authorship, reward creativity and bring Nigerian writers to public attention
In its bid to improve the quality of writing, editing, proof reading and publishing in the country, it is hoped that the NLNG along with other stakeholders in the writing profession bring to the attention of government and other industrialists the urgent need to make the publishing industry viable and pro-creative writers. This way, the well identified self-publishing craze which has been identified as one of the causes of the poor quality of many of the entries for the Literature Prize will be substantially tackled.
The NLNG can also collaborate with other stakeholders especially the Association of Nigerian Authors in the organization of regular Writing Workshops which will also assist in improving the skills of Nigerian writers.

REFERENCES;
The Ker Review Vol 1 No 1 June 2005
The NLNG LITERATURE PRIZE CONTROVERSY; Before The Nigerian Prize by Odia Ofeimun, The Guardian 2004
LNG Literary Prize by Jahman Anikulapo The Guardian 2004
www.Nigeria LNG Prize

PAPER 2:

SO MUCH VENTURED; SO MUCH GAINED

Being a paper presented at the stakeholders' workshop on the Nigerian Literature Prize on the theme: The Social Environment of Business: Cultural Promotion As Corporate Social Responsibility (The Nigeria Prize Experience), organised by the Committee for Relevant Art, CORA on August 29, 2007 at the Oceanview Restaurant, Victoria Island, Lagos.; by IFEANYI MBANEFO; Head, Corporate Communications

Business cannot succeed in societies that fail.
There is no future for successful business if the societies that surround it are not working.
------- World Business Council for Sustainable Development

INTRODUCTIONS
The Lagos traffic makes me tremble. On some days, the traffic is so light, that you wonder whether people had quietly sneaked out of town or that some disaster had made people to abandon the town.
That is the good part, if you want to call it so.
The ugly part is that on most days, including weekends, the traffic is thick, heavy and, well, ugly. And for no good reason! On such days, I envy motorcades of government officials and the dreadful manoeuvres of bullion trucks.
Indeed, Lagos traffic passeth all understanding!
Wading through the Lagos traffic to be here underscores my respect for this august body. This notwithstanding, I will like to say how much it means to me to be with you today. And on behalf of Nigeria LNG Limited, let me express our deepest gratitude for the privilege of addressing the Committee for Relevant Arts (CORA) today, on a subject close to our hearts.
I am also quick to give thanks to the 24 eminent men and women currently serving on the literature and science committees and by extension the Nigerian Academy of Science and the Nigerian Academy of Letters. These eminent men, women and institutions have been our guide and pillar of support in this difficult, but interesting journey.

NIGERIA LNG LIMITED
Let me say a few words of introduction about Nigeria LNG Limited. NLNG is a company with a colourful history. Some would call it a paradoxical company, because:
It was long in coming, but enjoyed a short flight to the premier league of the LNG industry.
It is a global business located in a remote island on the tip of the Atlantic.
It is located in a country well known for its credit problems, but the company gets excellent ratings by world renowned credit rating agencies.
Its technology is known only to a handful of compatriots, yet 100 per cent Nigerian team started up the plant!
Indeed, the many seeming contradictions in the story of NLNG resolve themselves nicely to make the company a model and a beacon of hope in Nigeria, Africa and indeed the entire oil and gas world.
The story of its birth in the nadir of the military era and rapid growth is a lucent paradigm of economic resurgence in a leading Black country. Today, the success of Nigeria LNG Limited is celebrated in different circles for a myriad of reasons.
In the industry, NLNG is celebrated for:

Fast growth and high safety standards.
Building the projects in time and within budget. This was made possible by strong contractor consortium, strong shareholder support, proven technology, experienced technical advisers and continuous learning experience flowing to other trains.
Good operations run by experienced professionals complemented by quality recruitment.

In the community, particularly where we operate, it is praised for:
Excellent Community Relations activities that cut across key sectors of the economy, including education, infrastructure, health, and micro credit scheme.
Excellent Community Relations policies, which emphasise community good above personal benefits.
Right of way ownership maintenance contracts, which provide employment and sustenance for landowners for upwards of 22 years.
And its commitment to sustainable development

In government circles, for:
Commitment to Nigerianisation and Nigerian content practice strongly based on professionalism and competence
Being the arrowhead for putting out the gas flares in the Niger Delta
Being a huge source of revenue by monetising the country's abundant gas supply
Intervention in the supply of cooking gas to the Nigerian market to bring down prices
Being the arrowhead for diversification of the economy
Its leading role in technology transfer

PUBLIC TRUSTS (Corporate Social Responsibility)
Every citizen (ordinary or corporate) is expected to perform his civic duties. This, of course, includes payment of taxes and contributing to the growth and welfare of the society. This concept, for business, goes a lot deeper than meeting its civic obligations. It goes to the heart of business success, because business cannot succeed in societies that fail. The corollary is that the society cannot succeed without business. Put differently, the fortunes of business and society are tied together; neither of them can succeed without the other. Any surprise that countries spend so much time and efforts chasing foreign investments (please read business).
The society allowing business to carry on unhindered has been often misread as granting of licence to operate. It is not. It is society's contribution to mutual (business & society) good. On the other hand, business performing civic duties in the society (where it is, after all, a corporate citizen) has similarly been misread as philanthropy or Corporate Social Responsibility. It is not. It is business's contribution to mutual good.
These misclassifications have long stood in the way of progress, because both business and society continue to behave as benefactors rather than collaborators. They are often quick to withhold their grants for real and perceived slights.
On the whole, business has to earn its licence to operate, innovate and grow. The way business acts and is perceived is crucial to its success. Accountability, ethics, transparency, social and environmental responsibility and trust are basic pre-requisites for successful business and sustainable development. Society and business must create partnerships to deliver essential services. It is a shared responsibility.
The way to go about it is not in business making donations to the society, but treating community service as business. And for society to understand that a public trust cannot deliver public good over a long haul if it is not run on sound business principles.
At NLNG we are looking to better understand the inextricable linkages between business and community prosperity. We also seek to deploy the skills of business, flexible corporate 'philanthropy', and the rigour of the marketplace to develop systems-changing solutions to community problems. We believe that philanthropic capital, combined with large doses of business acumen, can build thriving enterprises that serve vast numbers of our people.
As a business, NLNG has developed rigorous methods for measuring the cost-effectiveness of its programmes and projects. And it similarly applies this rigorous measurement of cost effectiveness by conducting 'impact assessments' that measure society's progress and overall well-being of the community that can be attributed to its business. In doing this NLNG accepts that there may be results in the community that can't be accurately captured. These include such intangibles as the self-assurance, pride and hope that come with success.
So right from the onset, the company embarked on a bold experiment in social innovation to demonstrate that a different way of investing in non-profits would generate demonstrably superior outcomes to drive change in the sector. The ultimate judgment of its faith and investment in public trusts will not be known for years, but its efforts have triggered a quiet revolution that must be sustained.
It is this policy that underpins the legendary power supply in Bonny driven by NLNG. Power supply on Bonny Island which has remained at a consistent 98% availability for over five years is paid for by users, although there is a margin to accommodate those who are unable to pay and those whose electricity bills are less than N2000.
It negates the principles of sounds economic management to provide free utilities anywhere. It is impossible to sustain free utilities. This principle guides NLNG's investments in non-profits.
Here I would like to introduce the concept that in reality nothing is really free. Somebody has to pay for it.

THE NIGERIA LITERARY AND SCIENCE PRIZE
Recognising, therefore, that the country's education is in dire straits, NLNG sought to create conducive environment for learning and competition, reason why it promotes the Nigeria Prize for Literature and The Nigeria Prize for Science.
These awards were entrusted to The Nigerian Academy of Science and The Nigerian Academy of Letters and some eminent writers. These bodies assess the worth of scientific discoveries and contemporary works of literature and, in so doing, consolidate the needs of the publishing and academic worlds: boosting sales of the award winner and simultaneously effecting a change in the Nigerian canon.

SCIENCE PRIZE
The case for supporting science cannot be more urgent. Nigeria is a developing country with aspirations for joining the ranks of developed nations.
Only science and technology can make these dreams come true. And creating awareness, stimulating competition, rewarding and recognising excellence in these fields are conditions precedent, not only for realising these dreams, but for providing meaningful existence for the citizenry. Some of the reasons proffered by experts seeking greater recognition for science include that:
It will provide leaders with answers to crucial issues such as food shortages, fuel shortages, electoral malpractice, poverty, health and environment;
It will encourage the authorities to take science-based decisions;
It will bring about improvements in the standards of living;
Support for science in a Third World country will help resolve myths that tend to cripple development.
And by instituting a significant prize for science NLNG seeks to bring science and scientists to public attention, save them from their current low rating in national estimation and avail the nation of their immense benefits.
Science can only be relevant if it is supported to play vital roles in the society. A major pillar of support for science comes through recognising and rewarding excellence in science and creativity.
LITERATURE PRIZE
The case for instituting a worthy prize for literature was more straightforward. For decades, Nigerian writers bemoaned their fate. They griped in newspapers, conferences, and workshops about the neglect their noble profession had fallen into. They were unhappy with the declining levels of education and literacy; unhappy with the loss of a reading culture; and for good reasons, sad that writing and publishing in a nation that gave the African Continent its first crop of literary giants had all but become lost art.

FOUR YEARS OF THE NIGERIA PRIZE FOR LITERATURE
Now, let me deal with the issue on the agenda today. Four years of The Nigeria Prize for Literature, has it achieved its purpose?
It will be presumptuous of me to think that I know the answers, so I will not attempt that. I will however attempt to clarify our intentions in setting up this prize, hoping in the process, to instigate academic discussions on the gains of this prize. I will also, where I can, point out the similarities between our prize and other great prizes.
I am aware that four years is barely enough time for the gains of any prize to crystallise. After all, the great Booker Prize did not find its niche till early 1970s.
One thing all great prizes share is controversy. Let's take a count. There are people who think that Alfred Nobel was not a worthy man to institute a prestigious prize. There are those who think that Joseph Pulitzer was similarly unworthy to institute the Pulitzer Prize. There are those who think that the Man Group, a stock broking firm, has no business promoting the prestigious Man Booker Prize and the Man Asian Literary Prize. Do these remind you of the arguments by some of our compatriots that a natural gas exporting company has no business promoting literature prize?
I doubt if anyone is still wondering if NLNG is a fit and proper agency to establish a national prize. If anything, this prize has made a lot of impact, even if only to show our compatriots that sponsorship of science and literary prizes is a worthy venture. The rash of prizes coming in its wake attests to this.

A BUSINESS MODEL FOR THE PRIZES
What we set out to do
Writers, scientists, artistes, thinkers -- much like the rest of us -- bristle at being told what to do by people who supposedly didn't know better than they. This is why corporate organisations, not wishing to incur their wrath often make token gestures to them. But unlike these corporate bodies, NLNG decided that it was not enough to give money and then head off to choice seats in theatres and galleries. The company sticks around to make sure that its money goes to where it needs to go and does what it needs to do.
We set out with the idea that we could forge an equal partnership with the stakeholders. Our aim was to bring to the table our business approach that would generate a superior return by investing to build a strong, high-performing non-profit organisation, while the experts bring along their understanding and time-proven lessons learned from running arts and science foundations and non-profits.
In truth, the funding of the Arts is a delicate art. Unlike most other human activities, the Arts needs to preserve its integrity and still be able to reward its sponsors. It confers power and prestige on the benefactor. But it requires, even demands, patrons with cultivated tastes.
Because of the scale of wealth at their disposal and the sense of purpose they are expected to generate, the culture of philanthropy in Nigeria will change in the next few years, strongly influenced by the ways of some multinational corporations, like NLNG.
And in seeking to write the moral biography of their organisations, mega corporations will take steps to change the chemistry and character of philanthropy, by incorporating not just money, but also motives.
For The Arts, NLNG and others like it will represent the intersection of capacity and moral purpose. For the first time in history, the possibility and benefits of aligning broad material capacity of choice with spiritual capacity of character will be vividly defined for our people.
Many people believe that with mega corporations such as NNPC, SPDC, NLNG, Chevron, ExxonMobil, Total, UBA, First Bank, NBL, Lever Brothers, Coca-Cola the golden age of philanthropy is here. That is a possibility, but it won't happen without the thoughtful involvement of people on both sides of the supply and demand equation.
On the 'demand' side, running of public trusts will become far more professional and sophisticated than at any other time in history, based on the understanding that a golden age of philanthropy will not happen as a natural by-product of the growth in wealth. It will emerge as the result of an unprecedented growth in the quality and sophistication of managers of public trusts. This change in direction is what The Nigeria Prize for Literature represents.
The Nigeria Prize for Literature is intended as a public trust. And to be successful, it must avoid the current trend of 'living off its capital' by both the people in The Arts and philanthropic organisations.
Four years after its founding, The Nigeria Prize for Literature is turning our initial vision into a reality with tangible, compelling results and a clearer understanding of the truly formidable nature of this undertaking.

THE PRIZE
CURRENT STATUS
The following resolutions were reached with stakeholders (university teachers, writers, and journalists) at an exploratory meeting of 14th November 2003:
That high profile literary prize of significance and commensurate prestige be set up to stimulate creativity and promote indigenous literary culture
Cash value at take off $20,000 (now $30,000) to be reviewed regularly as occasion demands
Prize awarded yearly to alternate amongst four literary genres: prose fiction, poetry, drama and children's literature
NLNG to provide logistics and administration services, pending the time a BOARD OF TRUSTEES will be constituted
There will be publicity, advertising, press promotion and national promotional tours to promote the award
Prize will be awarded yearly at a prestigious ceremony to draw local and international attention to prize and winners
Only works published in Nigeria by Nigerians resident in the country qualify to participate.
In furtherance of these agreements, NLNG registered these prizes as charities with Corporate Affairs Commission pending the time the Board of Trustees will be set up.
Currently, the prize is run by a literature committee made up of 14 eminent writers, teachers, journalists and publishers.
Both prizes from call for entry to award ceremony costs a little over $400, 000 yearly. The breakdown is as follows:
Prize administration---judges' fees, committees' sittings, honoraria, external assessors, etc ($92, 000)
Advertisements in newspapers, radio and television ($76, 000)
Grand Award Night, food, music, entertainment, cocktails and hall rentals and decorations ($102,000)
Accommodation, for judges, committee members, special guests, transportation, etc ($63, 000)
Photography, still and video, documentary, etc ($12, 000)
Award ($60, 000)

FUTURE PLANS
In running the prize, Nigeria LNG Limited has adhered strictly to agreements with stakeholders. And has insisted on international best practice! For instance, in registering the prizes as charities, it emulates other international prizes such as:
The Nobel Prize administered by the Nobel Foundation with involvement of Swedish Govt.
Pulitzer Prize: Columbia Journalism School
Booker Prize: Booker Foundation
Caine Prize for African Writing: The Caine Prize Foundation
NOMA Award for Publishing in Africa: The NOMA Award Trust, UK
The next step may be setting up of an endowment to run the prize in perpetuity. To do this, the following conditions will be critical.
Adequate resourcing (both human & financial).
Management of the funds in such a way as to safeguard the economic base and guarantee the independence of the judges and Prize Committee
Engaging reputable local and foreign blue chip fund management companies that will apply field-tested investment approach that incorporates the strategy, rigour and analysis of private equity firms and apply it in a way that responds to the uniqueness of non-profit organisations.
To achieve this, the economics must be right and the right levels of investment and safeguards put in place. The last four years have served as learning curves for everyone. It brought a general understanding of the level of investment needed to build a strong prize and establish it as a major Nigerian brand. NLNG also worked in close collaboration with other world prizes to learn from their experiences and avoid pitfalls.
The Learning Curve
There are prizes that reward careers, such as the Nobel. There are prizes that reward promise, like the Whitbread first book. The Man Booker rewards the book that is published that year. But all prizes must aim at prestige, self-sufficiency and longevity.
In comparison, The Nigeria Prize for Literature is closer to the Man Booker Prize in that it rewards books rather than careers. The Nigeria Prize for Literature seeks to reward, every four years, the best books in prose, drama, poetry and children's literature.
Yet it seeks to establish a business model that imitates the Nobel Prize. NLNG has commissioned two consultancy groups -- IBTC and another team lead by consultants from University of Lagos -- to provide it with efficient business models and determine the level of investment that would endow the prize in perpetuity. When their work is done, and the Board of Trustees set up, competent fund managers will be engaged to grow the funds and ensure that it is well managed.
Similar to national trends, generating adequate funding to support arts activities is an ongoing challenge for non-profit arts organisations. So in response to funding pressures, arts organisations must make organisational adjustments and break with traditions and myths that hold them back. They should also be more willing to partner with business.
By establishing a strong financial foundation, arts organisations will be able to plan and prepare adequately for future development and economic ascent. Failure to adopt new business models or facilitate the expansion of the arts industry will inhibit its influence, detract from our quality of life, and adversely impact other industries such as tourism and creative services.
In Nigeria today, although the amount of public money invested in the non-profit arts is rather modest, reinventing the arts and presenting new offerings that speak to the public's evolving aesthetic tastes would stand the arts industry in good stead.
I therefore strongly believe that for the industry to grow and remain vital to the lives of compatriots, artists and arts administrators must strike a balance between arts and economics. Ignoring economics is no longer an option for writers. The degree to which the arts industry is supported by the community, business, and government will influence the kinds of developmental choices that are realistically available and their chances for success.

LAST WORD
I have presented all the facts of this great Prize as they are. I believe that some of us here are more enlightened than before on what this Prize is all about.
Even so, there might still a few among us who would still have need for some clarifications. I want to believe that I should be able to clear the doubts in any one's minds.
But we also have a listening disposition: I shall gladly go away with good suggestions from this gathering on how to advance the cause of The Nigeria Prize for Literature.
Maybe I can also open a debate:
Should the Prize strictly be a Nigerian affair or should it be expanded to include Nigerians in Diaspora?
Should we expand its horizon by making a West Africa affair, something akin to the West African Football Union (WAFU) Cup,
Or indeed a Nations Cup for all of Africa? After all it is the biggest prize on literature in the continent.

Thank you, dear friends.
Ifeanyi Igwebike Mbanefo

NIGERIA LITERATURE PRIZE REVIEW

2007-08-23T13:50:00.000-07:00

COMMITTEE FOR RELEVANT ART, CORA

NIGERIA PRIZE FOR LITERATURE: STAKEHOLDERS' REVIEW
WORKSHOP

THEME;
CULTURAL PROMOTION AS CORPORATE SOCIAL
RESPONSIBILITY
(THE NIGERIA PRIZE FOR LITERATURE EXPERIENCE)

DATE: WEDNESDAY AUGUST 29, 2007
TIME: 2PM
VENUE: OCEANVIEW RESTAURANT, (BY KURAMO WATERS, NEAR
EKO HOTEL), VICTORIA ISLAND, LAGOS

SPEAKERS:
1. REPS OF NLNG,
2. DR WALE OKEDIRAN, President of Association of
Nigerian Authors, ANA

PANEL
1. DR WUNMI RAJI (POET, LITERARY CRITIC)
2. MRS MOBOLAJI ADENUBI (NOVELIST)
3. TONI KAN (WRITER, LITERARY ENTHUSIAST)
4. CHIKE OFILI (POET)
5. NIKE ADESUYI (POET, FICTION WRITER)
6. FOLU AGOI (POET, CHAIRMAN ANA LAGOS)
7. ROPO EWENLA (ACTOR, POET, LITERARY ENTHUSIAST)
8. GRACE DANIEL (CHAIR, WOMEN WRITERS ASSOCIATION,
WRITA or Rep of the Organisation)

Four years ago, Nigeria LNG Limited invited writers,
journalists and university teachers to an exploratory
meeting, which gave birth to the prestigious
literature prize ---- The Nigeria Prize for
Literature.

At that meeting, it was agreed that the prizes will
rotate among four literary genres, namely: PROSE,
DRAMA, POETRY AND CHILDREN’S LITERATURE. This is the
fourth year of the prize, meaning that it has
completed the circle. It was also agreed that there
will be regular reviews with stakeholders.

The Committee for Relevant Art (CORA) is organising
the first stakeholder review workshop on the prize in
four years to examine its impact and to where
possible, make recommendations on changes and agree on
the way forward.

Being the biggest literary prize in Africa today,
panellists and discussants will be drawn from other
parts of the continent and other stakeholders in
Nigeria to ensure robust and fruitful deliberations.

As an esteemed member of the literary community, we
have taken liberty to request that you be a
participant at the event.
Other speakers include the representative of the
NLNG, as well as other notable members of the literary
community.
Thank you for your usual co-operation.
We count on your usual positive response to the
cause of our Literature and culture.

Jahman Anikulapo
Prog Chairman, CORA

FELA KUTI: A DECADE AFTER... HIGHLIFE PARTY

2007-08-23T13:46:00.001-07:00

NATIONAL THEATRE CONCESSION: STAKEHOLDERS' MEETING, August 21, 2007

2007-08-20T13:55:00.000-07:00

Images from the Stakeholders meeting on the proposed Sale/Concessioning of the National Theatre.

Caveat Emptor: PLEASE DISREGARD THE DATE ON THE PHOTOS

1. Cross Section of the audience
2.The Hightable: Dejumo Lewis, Hyccinth Obunseh (ANA), Deji Etiwe (NANTAP), Kolade Osinowo (SNA) Chairman of the meeting); and Jide Kosoko, President ANTP
3. Another cross section of the audience with the painter, poet, Chinwe Uwatse and Mrs Yetunde Aina of Jadeas Trust
4. From Left, former Administrator National Theatre, Dr Taiwo Ogunade, Steve James (GOND), Adebayo Salami (ANTP), Mufu Onifade, convener ,
5 Mufu Onifade, welcoming the meeting

COMMUNIQUE OF THE MEETING OF ALL MEMBERS OF SECTORAL ARTS BODIES UNDER THE UMBRELLA OF COALITION OF NIGERIAN ARTIST(E)S (CONA) AND STAKEHOLDERS HELD ON TUESDAY 21ST AUGUST, 2007 AT THE NATIONAL THEATRE, IGANMU, LAGOS.

1. Commendation of the Artists’ Community: The meeting commended and re-affirmed the concerted efforts of the Nigerian arts and culture Sector in the protest against the concession of the National Theatre by the Bureau for Public Enterprises (BPE).

2. Affirmation of the CONA Platform: The Meeting adopted the approval the Coalition of Nigerian artist(e)s under the aegis of CONA with a view to creating a united front to, among other things:

In the immediate term:

sustain the opposition to the concession of the National Theatre employing such media as one-minute adverts in feature films and reflection of campaigns against concession of National Theatre in body of work espoused in Nigerian films, plays and art exhibition.

conceptualise, articulate and propose to the Government a feasible action plan for the resuscitation of the National Theatre and its operations under a regime of governance and management that accords with internationally-acceptable standards; and

Employ legal options to restate and insist of Government responsibility to the Culture Sector
On the long run:
(i) Serve as a platform for the articulation of common agenda for the art and culture sector including the adoption of a National Cultural Policy, the establishment of the National Endowment for the Art.
(ii) Establish common fora to secure the welfare of arts and culture workers.
3. Restatement of Opposition to the National Theatre Concession: The Meeting restates the opposition of the entire art and culture community to the transfer of the National Theatre to a private concern noting as follows:
(i) The National Theatre is Nigeria’s national cultural centre
(ii) All over the world, human communities, including nations, states, cities and other communities set up official cultural centres to:
signalize the community’s cultural arrival;
embody its artistic values;
showcase its artifacts; and
incubate the progressive development of its creative expressions.
Because of the importance of the foregoing roles of a national cultural centre, national cultural centres are never:
Left in the hands of public bureaucracies without specialized training and hands-on experience in facility management and the business of art and entertainment venues; nor
concessioned to private entities to govern and operate;
operated with a view to profit
(Refer to the governance and operations of The Kennedy Centre for the Performing Art, Smithsonian Institution, The Barbican, Carnegie Hall etc)
Need for the Resuscitation of the National Theatre: The Meeting acknowledges the need for the resuscitation of the National Theatre for the fulfillment of its mandate as the Nigerian national cultural centre and the centre of arts and performances in the black world, as was conceived during the Festival of African Art and Culture (FESTAC). In this regard, the Meeting proposes the following:
That the Federal Government should review the proposed concession of the National Theatre;
a study group of stakeholders and experts should be commissioned to analyse the nature and structure of successful Public Private Participation in the operation and funding of National Cultural Centres world-wide and the appropriate legal and other frameworks for such a PPP established before inviting private participation under the framework. The framework shall define the roles and responsibility of (1) The State, (2) The Business Community and (3) The Art community in the sustenance of the National Theatre;
The adopted PPP model should delineate between the management and governance of the National Theatre by handing the governance of the Theatre over to a publicly sanctioned Trust constituted by reputable artist(e)s, art connoisseurs, business men and statesmen under an enabling national legislation;
The governing Trust should be empowered to define and oversee the margin of commerciality and profitability permissible in the operation of the Theatre, having regard to the need to maintain a balance between our national cultural interests and the commercial necessities of the private participation, especially in view of the funds expected to be mobilised for the resuscitation work;
Also, the governing Trust, working with the management, should be empowered to mobilise funds from private endowments, corporate tax-deductible sources, and government budgetary sources, to subsidise the operations of the Theatre;
The management, of course, should be concessioned to qualified private entities with demonstrable interest in the Arts and capacity to resuscitate the Theatre.
Cooperation & Participation of the Art Community: The Meeting agrees that the Nigerian art and culture community should actively participate in the processes for the conceptualization, articulation and implementation of the appropriate model for the productive resuscitation of the National Theatre.
6. Enlightenment of the Art Community: The Meeting agrees that a vigorous campaign of enlightenment should be carried out within the generality of the arts and culture community with a view to clarifying the position of the Coalition under the aegis of CONA and in reinforcing the position of the Coalition as the current campaign gets underway. Such enlightenment shall be carried out through regular All-Stakeholders’ meetings and through the different Sectoral groups.
Avenues for Pushing the Artists’ collective Agenda: The Meeting agrees that this Communiqué and a position paper containing detailed proposal of the art community should be prepared and forwarded to:
The President;
The National Assembly;
The Minister of Culture;
Governor of Lagos State;
Lagos State House of Assembly; and
The Press.
Signed today the __ day of __________________, 2007
Kolade Oshinowo (Society of Nigerian Artists) __________________________________
Hyacinth Obunseh (Association of Nigerian Authors) ___________________________________
Biodun Abe (National Association of Nigerian Theatre Art Practitioners) __________________________________
Steve James (Guild of Nigerian Dancers) ___________________________________
Jahman Anikulapo (Committee for Relevant Art) ____________________________________
Jide Kosoko (Association of Nigerian Theatre Practitioners) ____________________________________
Ejike Asiegbu (Actors’ Guild of Nigeria) _____________________________________
Mufu Onifade (Convener) _____________________________________

AUGUST 11 MEETING Of HEADS OF ASSOCIATIONS
Photos:
CAVEAT EMPTOR: PLEASE DISREGARD DATE ON PHOTO

Images recorded at the heads of Artists Associations meeting at CORA HOUSE, 95 Bode Thomas Street, Surulere Lagos towar
onvening of an Artists Stakeholders meeting on the proposd sale/concesssion of the National Theatre:

Photo 1: from left (slightly backing camera) Mufu Onifade (convener of the meeting), Hyccinth Obunseh (representing ANA), Biodun Abe (President NANTAP), Kolade Osinowo (President SNA),Steve James (Chairman Guild of Nigerian Dancers, GOND)
2. Jide Kosoko, President Association of Nigeria Theatre Practitioners, ANTP; Deji Toye (CORA, Director Legal Services), with Ejike Asiegbu (President Actors Guild of Nigeria, AGN)
3. Convener of meeeting, Mufu Onifade, Obunseh (ANA Publicity Secretary), Abe, (NANTAP) and Oshinowo (SNA
5. Onifade and CORA Programme Chairman, jahman Anikulapo

NATIONAL THEATRE: COALITION OF NIGERIAN ARTISTS CONVENE STAKEHOLDERS's MEETING

On Tuesday August 21 at 10AM, a conference of stakeholders in the Arts, Culture and Tourism sectors will hold in the Banquet hall of the National Theatre, Iganmu, Lagos. The main objective is to further deliberate on the proposed Sale/Concession of the National Theatre, Iganmu, Lagos.
The Conference is sequel to a meeting of heads of sectoral bodies of Nigeria Artists, which met on August 11 on the platform of the Coalition of Nigerian Artists as convened by Mr. Mufu Onifade and Mr. Biodun Abe among others (see communique below).
You will recall that same Coalition of Nigerian Artists (CONA) had staged a massive protest few weeks back in the precinct of the Theatre complex, to protest the announced Concession/sale of the National Theatre.
Please assist in announcing the meeting in your various mediums as well as giving maximum exposure to the content of the resolutions at the August 11 meeting even as you grace the event with your esteemed presence or send a representative.

Communique of the Meeting of
Heads of Sectoral Bodies of Nigerian Artists
under the Umbrella of Coalition of Nigerian Artists (CONA)
Held on Saturday 11th August, 2007 at 11 a.m.
at CORA Secretariat, 95, Bode Thomas Street , Surulere, Lagos

Commendation of the Artists' Community: The Meeting commended the concerted efforts of the Nigerian art and culture community in the protest against the concession of the National Theatre by the Bureau for Public Enterprises (BPE) noting, with delight, the public debate that has been generated by the protest, the overall tone of which suggests that the public opposes the transfer of the National Theatre to any private concern under the guise of concession or howsoever otherwise termed.

Affirmation of the CONA Platform: The Meeting approved the cooperation of Nigerian artists under the aegis of CONA with a view to creating a united front to, among other things:

In the immediate term -

o sustain the opposition to the concession of the National Theatre; and

o conceptualise, articulate and propose to the Government an a feasible action plan for the resuscitation of the National Theatre and its operations under a regime of governance and management that accords with internationally-acceptable standards; and

On the long run -
o serve as a platform for the articulation of common agenda for the art and culture sector including the adoption of a National Cultural Policy, the establishment of the National Endowment for the Art as well as the establishment of common fora to secure the welfare of arts and culture workers.

Restatement of Opposition to the Concession of the National Theatre: The Meeting restates the opposition of the entire art and culture community to the transfer of the National Theatre to a private concern noting as follows:

The National Theatre is Nigeria 's national cultural centre;

All over the world, human communities, including nations, states, cities and other communities set up official cultural centres to:

o signalize the community's cultural arrival;
o embody its artistic values;
o showcase its artifacts; and
o incubate the progressive development of its creative expressions.

Because of the importance of the foregoing roles of a national cultural centre, national cultural centres are never:

o Left in the hands of public bureaucracies without specialized training and hands-on experience in facility management and the business of art and entertainment venues; nor

o concessioned to private entities to govern and operate;

o operated with a view to profit

(Refer to the governance and operations of The Kennedy Centre for the Performing Art, Smithsonian Institution, The Barbican, Carnegie Hall etc)

Need for the Resuscitation of the National Theatre:
The Meeting acknowledges the need for the resuscitation of the National Theatre for the fulfillment of its mandate as the Nigerian national cultural centre and the centre of arts and performances in the black world, as was conceived during the Festival of African Art and Culture (FESTAC). In this regard, the Meeting proposes the following:

That the Federal Government should review the proposed concession of the National Theatre;

a study group of stakeholders and experts should be commissioned to analyse the nature and structure of successful public private participation in the operation and funding of National Cultural Centres world-wide and the appropriate legal and other frameworks for such a PPP established before inviting private participation under the framework. The framework shall define the roles and responsibly of (1) The State, (2) The Business Community and (3) The Art community in the sustenance of the National Theatre;

The adopted PPP model should delineate between the management and governance of the National Theatre by handing the governance of the Theatre over to a publicly sanctioned Trust constituted by reputable artists, art connoisseurs, business men and statesmen under an enabling national legislation;

The governing Trust should be empowered to define and oversee the margin of commerciality and profitability permissible in the operation of the Theatre, having regard to the need to maintain a balance between our national cultural interests and the commercial necessities of the private participation, especially in view of the funds expected to be mobilised for the resuscitation work;

Also, the governing Trust, working with the management, should be empowered to mobilise funds from private endowments, corporate tax-deductible sources, and government budgetary sources, to subsidise the operations of the Theatre;

The management should be concessioned to qualified private entities with demonstrable interest in the Arts and capacity to resuscitate the Theatre in line with the overall national cultural policy.

Cooperation & Participation of the Art Community: The Meeting agrees that the Nigerian art and culture community should actively participate in the processes for the conceptualization, articulation and implementation of the appropriate model for the productive resuscitation of the National Theatre.

Enlightenment of the Art Community: The Meeting agrees that a vigorous campaign of enlightenment should be carried out within the generality of the art and culture community with a view to clarifying the position of the coalition under the aegis of CONA and in reinforcing the position of the coalition as the current campaign gets underway. Such enlightenment shall be carried out through regular All-Stakeholders' meetings and through the different Sectoral groups (the first of which has been billed for Tuesday 21st August, 2007).

In attendance:

1. Kolade Oshinowo (Society of Nigerian Artists, SNA)

2. Hyacinth Obunseh (Association of Nigerian Authors, ANA)

3. Biodun Abe (National Association of Nigerian Theatre Art
Practitioners, NANTAP)

4. Steve James (Guild of Nigerian Dancers)
5. Jide Kosoko (Association of Nigerian Theatre Practitioners)

6. Ejike Asiegbu (Actors' Guild of Nigeria, AGN)

7. Jahman Anikulapo (Committee for Relevant Art, CORA)

8. Deji Toye (CORA)

9. Mufu Onifade (Member ANA, SNA, NANTAP Convener)

Sgd: MUFU ONIFADE
o on behalf of CONA, Convener of the Stakeholders' meeting .

Okay, let’s sell National Theatre to a church

2007-08-20T13:53:00.000-07:00

BY AYODELE ARIGBABU
(As published in The GuardianLIFE magazine August 19. 2007)

APART from a few Lagosians who still reminisce about those days when they watched cowboy films at the National Theatre and a younger generation of a different class who still throng the cinema halls there on Sundays to watch Yoruba films, who else in the country knows this monster building and who cares whether it’s pulled down to its foundations to make way for an office tower?
Why have the Bureau for Public Enterprises and the community of artistes been squabbling over this decrepit, abandoned building that looks like an alien space ship for so long?
Well, for one, the Pritzker award winning architect and author Rem Koolhas who did extensive research on emerging mega cities with his team of graduate students from Harvard University at the turn of the millennium (and was perhaps the first to take a concentrated look at the possibilities in the chaos called Lagos) anchored a lot of his research on the National Theatre — quite literally, scouring through the mass of archival material in the belly of the beast and analysing its role in the development of the city, in tandem with FESTAC town, which was built at about the same time.

ESSENTIALLY, the National Theatre was not devised by the Federal Government as just a one-off event venue and cultural center, but was designed to be a bulwark against which a whole urban planning initiative for Lagos could ride.
In fact, it will not be wrong to state that the National Theatre, in combination with FESTAC Town and other developments that came up at the same time served a major role in opening up and connecting mainland Lagos. Unfortunately, the initiative has not been sustained, hence the current imbroglio, which warrants us asking certain questions:
• Has the Lagos State Government capitulated in its claim that the theatre is on land that is vested in the state government and therefore cannot be ‘sold’ by the Federal Government?
• Is the Bureau for Public Enterprises taking into consideration the tangible and intangible assets that make up the National Theatre, which include the expansive land on which it is built, the history behind the edifice; the value of the material it houses; its value as a national monument; and more importantly, its prominent role in the urban design matrix of a mega city like Lagos?
• Surely the theatre cannot be expected to function effectively without the cooperation and integration of the Lagos State Government’s urban planning initiatives as regards transportation and other social infrastructure?
• Are the parcels of land adjoining the National Theatre not meant to be developed into a proper cultural precinct that will include a five star hotel, impressive landscaping, an expansive shopping mall, more cinema halls, and other ancillary services that will support the National Theatre in drawing a constant crowd to Iganmu and will appropriate the adjoining Surulere community the same way the combination of MUSON Centre, City Mall and (to a lesser extent) National Museum in Onikan have appropriated the neighbouring Ikoyi community into a cultural precinct?
• Do people really expect the National Theatre to fare any better for as long as it is located in a largely decrepit and desolate part of town that is hardly seen unless while being conveyed across any of the network of bridges that’s about it?
• Can’t the Lagos State Government see a brilliant opportunity for a massive urban renewal effort with equal and perhaps better prospects than their efforts in the Lekki zone … albeit an effort driven on a cultural platform, but one which for once can attempt to connect the mainland and the Islands in one big developmental effort with all the accruable revenue?

HERE is an attempt at lateral thinking… how about selling it to a mega church? Churches make money, churches appreciate the value of big buildings that can sit lots of people, churches are fantastic crowd pullers and some churches have blamed all the nation’s woes on all the ‘juju’ that was invoked during the FESTAC ’77 at the National Theatre in the name of cultural rejuvenation; so they should be interested in forming a consortium to bid for the theatre so that they can embark on some spiritual fumigation, which will sort out all our problems by chasing the aliens away once and for all.
Imagine a mega church with the National Theatre as its headquarters building! And let nobody scream that it would be a subversion of the nation’s diverse cultural heritage; after all church going is now a valid national culture. It’s a fantastic thought… why aren’t churches falling over themselves trying to buy this building…?

QUITE frankly, if a church will buy into this idea and put us all out of our miseries by turning the National Theatre into a Mecca of sorts (forgive the pun), it will be a relief. If it’s so difficult working out a cultural precinct, then let’s make Iganmu a religious precinct… as a nation we seem to have fared better in that regard, what with the number of religious camp sites on the Lagos Ibadan expressway and the number of churches that have developed whole towns around their mega auditoria — case in point — Oyedepo’s Canaan Land in Ota and Adeboye’s Redeemed Camp off the Lagos – Ibadan Expressway.
You see, long after FESTAC, some people have successfully tapped into the idea of how large event venues with mass appeal can thrive with effective urban planning and development that incorporates all necessary ancillary services including housing and transportation, albeit at a macro scale.
The BPE and the artists should go to the churches for tutorials and spare us all this macabre dance. That is the design sleuth’s final submission on the matter.

-Ayodele Arigbabu
HYPERLINK "mailto:arigbs@gmail.com" arigbs@gmail.com
HYPERLINK "http://www.designpages.blogspot.com" www.designpages.blogspot.com

Modest proposals on sale of National Theatre

2007-08-16T12:39:00.000-07:00

By ’Lasunkanmi Bolarinwa
(As published in The Guardian Wednesday 15/8/07)

IN the wake of President Umaru Yar’adua’s assumption into office, virtually everything standing in Nigeria had been sold. Nothing was sacred. Those that were yet to be sold were counting their days. As a matter of historical fact, so obsessed was Olusegun Aremu Obasanjo with the urge to sell at no cost, or is it at all cost, that just as he was waving farewell at Nigerians with one hand, he was, with the other hand counting proceeds from the sale of two of our refineries. He was not just the President, he was the auctioneer. He sold buildings; sold the roads leading to them, sold the furnishings and mortgaged the domestic servants and their families. Such was the reign of the auctioneer who also was the president. We do not know yet if his successor would be – Auctioneer The Second.
If you are an avid follower of privatisation and commercialisation reform package of our government, you would know that as you read this, the National Theatre might have been sold. Do not mind all the hues and cries by stake holders in the industry. You agree with me that if the government of the Federal Republic of Nigeria is to have its way, all those who call themselves stakeholders in the industry and use their stakes to hold back and derail policies of government would be tied to the stake and shot. Simple! Stakeholders to the stakes! Stakeholders my foot! It is therefore the matter of the sale of the National Theatre that prompts me into this intervention.
Those who know me would testify that I am not very good at the business of buying and selling. But that is not to say, I am not entitled to my fair share of clairvoyant thinking; especially when I set my mind to it over a long period of time. I may claim to be a genius, a claim that I cannot prove except when I am in the beer parlour, but sometimes in a moment of flashing divine intervention, I am capable of some quasi ingenious ruminations. So give it to me, I have stumbled, No! found the perfect proposal to apply to the spate of selling going on in the land.
With all proposals, you should know that there must be a background. This, among other things would make us understand the problem statement better and then to appreciate fully the strength of the proposed solution. This is the background I proffer.
Let us face it, No matter how stark and ugly it may be. We come from a long tradition of buyers and sellers. Simple. A substantial part of the history of the African continent is that of buying and selling. There was nothing we did not sell. We sold our labour. We sold our intelligence. We even sold ourselves. Yes, we sold our brothers, sisters, fathers and mothers. We sold our artifacts and traded our culture in. And in each of these cases, what we get in return did not matter. Salt? Rum? Money? Mirrors? Slavery? Colonisation? Deprivation? Anything. Just provide an opportunity to sell and…. Gbam! We are ready to play ball. We must however put the texture and component of this trade in perspective. A major point of note here is that it is usually the powerful who capture and sell the weak and all they have. It is the haves who sell the have nots. It is the rulers who sold their subjects. Ironically, the rulers and the powerful also sold themselves into perdition. But before they knew this, it was too late. Maybe at a latter date, interested anthropologists would conduct studies into the nature of this trading bug that is eating into the African system.
If that glimpse into the past does not help you, what about the instances of how properties, houses, were sold – and are still being sold - off their owners heads by sellers who did not own the house and who knew next to nothing about the house and to buyers who were too greedy to find out the authentic owners of the houses? The emergence of billboards and graffiti on actively inhabited houses saying This House Is Not For Sale, Buyers Beware is one of the recent indications of our penchant to sell everything and anything, ownership not withstanding. So, without any attempt at being mischievously euphemistic, I put it to you that we are a very enterprising people. Take it as a compliment or take it with a pinch of salt. I cannot be bothered. I have stated a fact provable empirically.
It is strange therefore that those who claim to be stakeholders in the art and culture industry have done very little to show an understanding of the culture they are stake holding. They have therefore embarked on this huge protest calling attention to their ignorance about the imperative of selling. They have forgotten that there is no power in the world, no matter how great, that can stop a buyer from buying from a willing seller when it is in their blood to trade at all cost. I know for certain that this is one major reason why government and their partners in trading would not listen to them and that is why I have taken it upon myself to make the following proposal; modest as it may seem, I hope it will show all parties concerned the path of reason.
Why can we not just sell the National Theatre and throw a huge party? What is it doing for us now that we will miss if it is gone? Have other structures not been sold before the National theatre? Who cried foul then? What the hell (don’t mind my French) does it matter if we do not leave anything for generations to come? Can they not fend for themselves? Who says they (future generation) are not going to sell it off anyway? So, why wait for them if we can do it right away?
We cannot begin now to ask questions of whether or not government has been meeting its obligations to the upkeep of the structure of the place over the years because this is a land where such sensible questions are expected only from officially certified idiots. So, why bother ask? We see things differently. So, our reactions and attitudes to issues are different. Our definition of government, governance, leadership and followership among others are at cross purposes. To these other people at the other side of the divide of reason what is culture? It is that piece of entertainment you have on the airport tarmac when visitors come flying in. It is the assemblage of young pretty women and men costumed in traditional attires doing exotic dances to the delight of official human beings after dinner in the bouquet hall of a five star hotel. So, where is the place of the national theatre in all these art and culture business? The National Theatre is just a piece of property that can be put to better use by other sectors of the economy.
If we know anything about the average Nigerian politician, it is that they know the value of money. They spend a lot of valuable time accumulating (another word for obtaining inappropriately or simply stealing by stealth) so much of it to be able to stand a chance to contest elections. They spend so much of it ensuring that the elections are rigged. When they get into office, so much of it is expended to ensure that they garner more. This is where we must begin to understand that, for an economy that is as practically grounded as ours, where are our esteemed politicians recoup money that will either serve as their severance package or that they will use for the next election campaign if there is nothing to sell? Those who say the National theatre should not be sold should go and sleep and come back when they have alternative suggestion of where to raise pocket money for our leaders from? Am I the only one who suspects that the government officials in charge of the building will make more money on the transaction if it goes through that if it does not?
Now that all the banks we have in the country are mega banks, it makes sense to imagine what wonders it will do to have all twenty five or so of them map out the sharing of spaces in the premises of the Theatre. In compliance with the drive to ensure that everything in Nigeria brings money in the name of economic reform, what is the sense in pretending to be protecting some cultural heritage? Just like some musician in the past said ‘grammar no be money’, so also is culture no be money.
I will not be one of those shortsighted people who believes this is about efficiency and effectiveness of a sector. For God’s sake, not even government is effective or efficient in this country and we have accepted that with all sense of humility. If you take privatisation, commercialisation and consolidation in the banking sector for instance, you will find out that, N25m or not, some of them can still not run efficient toilets in their various branches. They cannot present staff members who understand their place against that of costumers. Their branches cannot be found in other places apart from the capital in some states. They advertise internet banking but they cannot deliver on it. They are quick to tell you there is no network when you go for your money. They are quicker to tell you in Ilorin to go to your branch in Onitsha in order to cash your cheque as if it is your fault in the first place that their network is not working. Those that were efficient before the commercilaisation are still the ones leading in the ratings of the person on the street.
I also know of one or two companies that has been privatised in the last eight years but has refused to get any better, at least in my layperson’s perception. If you doubt me, check out what is happening to Daily Times Newspaper or whatever its proper name is. If that is not enough, ask the person next to you what has become of NEPA/PHCN transformation. Maybe they were not commercialised, they were merely ‘reformed’. However, whichever, way you see it, nothing, absolutely nothing, has improved in that parastatal. Although PHCN has not generated any additional megawatt of electricity yet, it is jerking up its tariff at will. That is the way of Nigeria!
Yes, other countries, more economically advanced countries of the world, protect their own cultural heritage no matter how fluid it might be in the face of changing economic realities and the challenges of coping with imperialism. What is most interesting is that they are not just interested in their own culture, they are also interested in studying other people’s culture too. Take the example of the French people who even have a cultural centre in Nigeria! Maybe you can forgive the British for having their Council here in Nigeria. This is a commonwealth nation. They colonised us and the link tends to be stronger. But what about the French and the Germans? Talk of cases of classical busy bodies! Give it to these cultural outposts, some of them have done more for the promotion and positioning of the Nigerian art and culture than some of the people who are clamouring for the sale or concession of the National Theatre now have ever done in their collective history either as people in government or as people in the corporate world. While those who lead in global economic reforms are exporting their culture and promoting other countries’, we are in an annihilative mood under the guise of progress and reforms. But then we all have headaches differently. One man’s poison is after all another man’s breakfast.
In the recent past, those who drive against the flow of traffic in Lagos State were arrested and taken to psychiatric homes for medical examination. The basis for this was that there must be something wrong with your mental state for you to do things contrary to good reason and constitutionality. I think it worked while it was being implemented. But, as usual, instead of improving on it, we have since abandoned it. By now, all the drivers of bullion vans who blow illegal siren would have been put in their places, including big lawyers who think that by quoting the law a lot they have become the constitution. That is the way of our land. In a similar vein, I am not sure if it followed from the Lagos state case, somebody suggested that our political leaders should have their heads examined before confirming their eligibility for elections. Simply put. This would mean that as they publicly declare their economic assets, they are also expected to present a certificate of a clean bill of mental health. We ignored this suggestion. This selling spree is one of the consequences of such lack of attention to important details.
Nigeria is one of the biggest countries in Africa and it is also one of the most, if not the leading irresponsible state. Unfortunately, irresponsibility is a trait that cannot be traded in. Otherwise, I would suggest the outright sale of the Nigerian Armed Forces, as one of the most backward, reactionary, anti progressive institutions in the polity. I would suggest a plan to do a hundred year concession of the National Houses of Assemblies because, in spite of huge investments in time, money and trust, they have achieved only one thing; the grand incapability to serve the ordinary people of Nigeria.
It was over a couple of drinks that my friend and I stumbled on this novel idea of trading off leaders like football clubs, especially in Europe and the English Premiership, trade off players. Open a transfer window as they say and shop for the brightest leaders in the market. You can imagine the pleasure of loaning Obasanjo to the Americans and buying Tony Blair back from retirement? We can simply sack our national assemblies and go shopping for replacements in France, Italy and even the United Nations. That way, we would not have to be saddled with all these unproductive elected officers who give the effect of a bad bench and pitch combined. In a way, football seem to be more business like than governance and it is part of my modest proposal that we include ideas such as this in our reform package for the current dispensation. I can bet my better eye that the United Nations would, for this, acknowledge our contribution to world politics.
No matter how hard I try, I cannot ignore some of the age old sayings of our ancestors. They are just too apt. In certain circumstances they say that people who refuse to acknowledge the praise of their lineage in public would most probably take to their heels if they stumble on their father being beaten up in a remote corner. How else do you begin to understand people with little value for that which should matter most to their lives? Sometimes, it is the mere act of suggestion of an idea that implies the rationale of the maker of the suggestion. To mute the idea of selling, loaning or concessioning the National Theatre is a clear symptom of a peculiar type of thinking that one should be wary of.
It is for all these reasons and more that you and I know of but which we would not talk about here that I humbly propose that we sell the National Theatre as quickly as possible and go on with our business as usual. My proposal is a modest one. Just like my ambition in life too. I have no illussion about leaders who lack the foresight required of visionaries. Long live Nigeria!

Who Will Buy My Wife? Reflections On National Theatre Concession

2007-08-13T14:06:00.000-07:00

Who Will Buy My Wife?
Reflections On National Theatre Concession

BY WALE ADEDURO

( As published in The Guardian August 13, 2007)

SSHH… My wife must not hear about my perfidious thoughts! I am certainly going to deny if she hears that I have conceived of an idea of offering her for sale (concession her to someone else, to use the new buzz word in our land).
As difficult as it is, I am constrained to take this step because I cannot afford to maintain her again.
The harsh realities of the economy and the devaluation of my manhood (no puns intended please) over the last 30 years have made a mess of my marital vow. 30 years ago, General Olusegun Obasanjo (Rtd) was directing the affairs of the nation when we married each other.
Coming a few months after General Yakubu Gowon’s administration behaved as if money was the 20th century manna falling from the sky, there was little or no financial pressure on me. I literally lived life on a binge with my lovely wife. Her Most Beautiful Girl In Nigeria-like vital statistics was an added advantage to me. More importantly was the fact that she was a simple home-girl, who came from our village to marry a city boy.
Everything excited her. She was just natural. Getting her to use perfumes or moisturizing cream was akin to getting an elephant to dance. She always preferred cooking without seasonings. How I relished her first class meals.
In those days, whatever amount I made available was always enough to run our face-me-I –face-you one room apartment. Since both of us were afraid that witches could kill us from our village we did not have a need to travel on holiday to the village or anywhere else.

THREE decades later, and after the second coming of General Olusegun Obasanjo, I have become a non-performing husband. I confess that my strength has failed me in all departments as a husband.
My body system is already tired though I have not reached the retirement age (I wish someone will sincerely show me how I will truly benefit from the pension scheme). My wife has simply grown into a city woman. With our five children I have to painfully finance yearly holiday abroad.
The other day, my teenage daughter told me that “ Ghana is not abroad. It is in West Africa ” when I suggested that they travel to the former Gold Coast.
You should have seen the face of my wife turning red from shock. Today, almost all my wife’s designer bags have giant sized designer padlocks.
That means that I can no longer take money from her bag without her consent. To worsen my personal economy, our first two children who graduated some four years ago are painfully employed.
Their salaries are often paid in arrears after so much dubious deductions. In spite of all these, my wife continues to accentuate her costly lifestyle. There is nothing wrong with this if I do not have to finance her from my diminishing resources.
Alas, nothing I say impresses my wife about my financial condition. She keeps reminding me that she is my responsibility. Oh! I agree with her but I have run out of ideas on how to improve my finances. If only she could be as simple as she was 30 years ago.

IN line with the practice in some modern countries, I decided to sell, I mean concession, my wife for the next 30 years. The immediate benefit of this decision is that my wife will now be able to afford all the pleasures that she needs as a modern woman.
With a successful concession deal, my wife will be able to compete with the advanced women of the world. I just pray that I will be able to find a kind- hearted man such as Mazi Carl Orji or a member of his class of economic philanthropists who will be able to spend seven times more than I can spend on my wife on a yearly basis. Personally, I will be free from the burden of being arm strung in living up to my responsibilities as a husband and a father. That way everybody is happy.
The only challenge I have now is that my childhood friend who is already estranged from his wife (his wife left him and eloped with another man to Grand Caymans Island where there are more banks than registered companies) does not support my decision.
He thinks I will be courting the ire of the National Committee that is fighting human trafficking in Nigeria .
Secondly, he believes that all the stakeholders in my marriage will be up in arms against me. For example, my children will certainly kick against the idea of another man sharing a bed with their mother just as my Pastor will accuse me of leading my wife into the temptation of adultery. My wife’s siblings will withdraw their respect for me as an in law just as my wife’s friends will label me a callous and irresponsible husband.
Whoever is the Orji-inclined man who ends up taking my wife will be rightly perceived as a gold digger who is exploiting my inability to sustain the good work I have begun on my wife. Truly, she now wears size 22 dresses from the clingy size 12 dresses she used to wear when I married her. Most importantly, how can I trust that a stranger will take care of my wife the way I would have done without leading her to an early grave?

HAVING considered my friend’s ground for objection I am forced to wonder who will buy my wife and give me joy?
This is really the reason for the heat the concession of the National Theatre has generated. Regardless of the fancy arguments of Orji on the honest intentions of his fellow travelers on the platform of Infrastructica Consortium, the National Theatre Concession is worse than the idea of selling my wife of 30 years.
The National Theatre, just as my wife, was not conceived as a money-making venture and its depreciation ought to be expected. Every sensible person knows that a building needs to be massively renovated every 10 years. So, using the argument about its structural condition as a basis for its concession is specious.
To all intents and purposes, the National Theatre is a monument where our arts and culture live. It is the centre of our collective way of life, past, present and future. It is therefore dangerous to endanger its vitality on the economic altar of privatisation.
The National Theatre is too strategic to our social existence to be entrusted to some moneybags who neither have a cultural nor arts consciousness. I am yet to see a serious nation that sells or concedes her National Theatre from Ghana to Slovak.

UNFORTUNATELY, the jaundiced views of some of our immediate past leaders have foisted the cancer of privatisation on our national psyche. Little wonder that I also entertained the satanic thought of selling my wife of 30 years.
Selling off all the assets of a company that is going through cash flow crisis is unimaginative. There are some assets that are essentially strategic to the recovery of a business, let alone a nation.
Of course, the apologists of IMF will preach concessions and privatisation because that is the only milk they suck from the tired breasts of the neo-imperialists.
Recently, Jamaican government “concessioned” some of their major roads to a French company for rehabilitation on the basis of BOT (another buzz word for discrete sale).
The immediate gain of this arrangement is that all the roads are now motorable while the traffic situation in Jamaica has improved. Movement is now easy. Halleluiah! But that is just a part of the story. The French company handling the project will collect tolls for about 30 years from Jamaicans who ply the “concessioned” roads. Whereas the actual cost of rehabilitating the roads will be covered with interest within the first seven years.
Therefore, Jamaicans will pay for another 23 years to the French coffers. I believe that the whole idea of “concession” is an extension of the conspiracy to exploit the masses perpetually. This is why Orji’s sophistry is unfortunate. True enough, his group is going to spend seven times more than the yearly budget for the National Theatre.
What he did not tell the world is the multiple profits that his group will earn from this “patriotic investment”. Let us not engage in self deception. Whoever pays the piper calls the tune. If a group of people who have no known serious antecedents as arts and culture lovers or enthusiasts invest their money in an arts and culture edifice, I do not expect them to be faithful in promoting arts and culture.
The business imperative suggests that they will mind the things that will quickly guarantee superior financial results. The body language of the group is already a warning signal to the world. The group unwittingly thinks that the National Theatre is all about the building and the National Troupe. Read my lips: Anything else can be sacrificed for profit!

MY experience as a staff of MUSON Centre for over six years instructs me that we cannot take it for granted that arts and culture will thrive in the new dispensation of a “concessioned” National Theatre.
I witnessed many undercurrents and impatience of those who believe in “financial viability” of the MUSON project with scant regard for the expressed purpose of first popularizing classical music and the ultimate vision of perpetuating arts and culture in Nigeria .
The childhood passion and commitment of the of Pa Akintola Williams, the late Pa Ayo Rosiji, Loius Mbanefo, Rasheed Gbadamosi, Mrs Franscesca Yetunde Emmanuel, Dotun Sulaimon, Femi Williams, Femi Akinsanya, Femi Akinkugbe and others for the arts, more than anything else, has sustained the vision of the Musical Society of Nigeria (MUSON). These eminent Nigerians have explored all possible avenues including their relationships and contact at corporate and global levels to fire up and nurture the MUSON dream.
Their commitment has elicited the interest of their friends, partners, associates and relations to be part of the pursuit of the MUSON dream.
The yearly MUSON Festival remains a major statement on arts and culture propagation in Nigeria since 1996. A group that seeks the involvement of everyone in the sustenance of arts is what is really needed to move the National Theatre forward.

UNFORTUNATELY, the aritistes themselves did every unimaginable thing to frustrate the founders of the MUSON Centre in the past based on the myopic thoughts that “they are not artistes”. This will explain why till date these personalities with the exception of Rasheed Gbadamosi are not really accepted among “professional artistes”.
Being a playwright, Rasheed Gbadamosi has enjoyed recognition which has occasionally been exploited to cheat the statesman. The lesson here is that the current travails in the arthouse is tantamount to self immolation where only those who patronize “abe igi” within the precincts of the National Theatre, or are stage actors are perceived as artistes.
That is why we were not able to mobilize ourselves to manage the National Theatre as a collective responsibility.
Of course, I know that career civil servants, with their limitations in dynamic management, have not tapped into the immense opportunities that those perceived as “ex-artistes” possess. It is pathetic that we have found ourselves in this situation.
Yet, a group of moneybags should not just be allowed by government and its agencies to rubbish our collective history. There is no nation that should put her arts and culture on the line because of the past mistakes of her leaders.

ZAMBIA, about seven years ago, sold off its Copper mines deposits for $25 million dollars based on the privatization scheme.
Less than six months the company that bought the mine generated the sum of $75 million dollars from the same Copper mine the government sold. Really, this concession stuff is a polite way of mortgaging the future because of inept leadership.
In this era when banks declare billions of naira profits and when some executive directors in banks own individual shares in excess of N10 billion, a determined government can mobilise funds for the arts in a skillful way. Banks and telecommunication companies that declare billions of naira as profits must be made to commit a fraction of their profits to the arts endowment fund and the National Theatre.
If the government is sincere about using tourism as a pivot of economic growth, then we cannot afford to sell off our heritage. The National Theatre is also the future of our children who need a solid base to anchor their survival. Besides, the silly experience of the past where exclusionism was the strategy of artistes and theatre managers must stop.
As for the concession, I pray that the, so far, forward looking government of Alhaji Umar Musa Yar’dua will intervene in the concession of the National Theatre. In the meantime, the Carl Orjis of this world should appreciate the implication of buying my wife. There shall be endless acrimony until the feelings and opinions of all stakeholders are considered.

•waleadeduro7@yahoo.com

• Adeduro, a former Ag. General Manager in MUSON Centre, is the Founder of Centre For Productivity.
FILENAME \p Guardian Fileserver 1a:7Sunday:Text:National Theatre (arts) 12/7/08

Please Umaru, Don’t Let This Theatre Go

2007-08-06T11:59:00.000-07:00

Please Umaru, Don’t Let This Theatre Go
BY TUNDE PHILLIPS

(As published in The Guardian of August 5, 2007)

IT is with utter disgust that I write this piece. In the past, the need to do such was not on my mind, but now, I just have to, especially as it concerns the sale of the National Theatre — the peak of artistry in Nigeria. The venue, which hosted FESTAC 77, one of the defining festivals organised in the continent, has exposed the best of African talent.
Looking back at FESTAC 77, 30 years after, I still remember the performances of Miriam Makeba, and the Ipitombi dancers, whose rhythmic foot steps set the pace for new movement in dance across the globe. I remember, as if it was yesterday, when the late Hubert Ogunde’s films, Aiye and Ayanmo, drew large crowd to the events’ venue, such that four shows were done in one day.
The picture of this edifice is so disheartening, disturbing and sad that I feel guilty being a product of this culture of shame. Really, it’s such a shame to every person that has contributed to its present state.
The theatre gave artistes hope for a better tomorrow. At a time when little or no appreciation was given to them, it served as their home. It was also the only avenue for young and budding talents to showcase their art. It served as a pivot for modern day commercial theatre. In fact, lots of talents ranging from actors and actresses, designers, directors, dancers, and all the theatre, after graduation from school, found the place a solace and an avenue to practice their art. It was Nollywood’s birth place.
It not only served as home to Centre for Black and African Arts and Civilisation (CBAAC), the National Troupe of Nigeria, Nigerian Copyright Commission — before it moved to its own office — National Association Nigerian Theatre Arts Practitioners (NANTAP), just to mention a few, the theatre had hosted numerous such as Jankariwo and Muje Muje by Ben Tomoloju’s Kakaaki Theatre Troupe and Ajoo Festival by Fred Agbeyegbe.
Having this at the back of my mind, I advocate that the Federal Government takes a look at the jargon called concession, which is now the buzzword. The place is the nation’s pride and epitome of our culture. It is the symbol of our unity. That’s one place where discrimination or apathy does not exist.
At a time like this, when the country is looking for other ways of generating revenue, the facility becomes relevant.
The various theatre and dance groups have to be registered under NANTAP, which should now rotate performanes in the pl;ace thereby keeping it busy.
Art is not all about money, but a way of giving hopes and confidence. It provides employment, boosts talent and also aid tourism, which ultimately, generates revenue.
Please, President Umaru Musa Yar Adua try to intervene and stop the sale of this home of excellence like you did with the refineries. The loss will be enormous not just to the country but to the world of African arts, especially with the proposed FESTAC 2010. Help save our monument before the artistes all die.

Phillips is a Nigerian artiste based in the United States of America