Archive for nigeriang

FINANCIAL MATTERS: Confusion over tariffs

FINANCIAL MATTERS: Confusion over tariffs

Of late, prices
have dominated discussions amongst our talking heads. One price in
particular has been most knotty: electricity tariff. Before the
“clarification” by the Nigerian Electricity Regulatory Commission
(NERC) last Wednesday, the Presidential Task Force on Power (PTFP) had
complicated this major domestic worry.

According to the
PTFP statement, after a new tariff regime, which the NERC will announce
in April this year, “average cost-based tariff (for electric power)
will fall (to) between N21 and N23 per kilowatt-hour (kWh), that is,
about a third of what Nigerians actually pay for electricity”.

Now, for most of
us, the effective electricity tariff is the one we pay to NEPA (sorry,
PHCN). And this is currently between N6 and N8 per kilowatt-hour (kWh).
So, it is a tad disingenuous for the PTFP to have forecast a fall in
tariff later this year, if the new tariff is in multiples of the old
rate. However, when you recall that electricity supply from the mains
is more absent than “live and current”, then, the nominal rate we pay
for this cannot be the effective rate.

Other sources of
power there are aplenty in these parts: the kerosene-powered bush
lantern, fuel wood, candles, and assorted generating capacity. All of
these at some cost to the individuals using them. Add these costs to
the nominal rate we pay to the monopoly supplier, and it’s self-evident
that the effective electricity tariff in the country is a lot more than
the PHCN charges.

But is it in the
range indicated by the PTFP? For industry, the answer to this is a
straightforward “Yes”. For urban middle class households, an
“undoubtedly” will do just fine. We could bicker endlessly about what
the effective tariff is for the poor and the vulnerable in the rural
areas; and we could build a case around these burdens for first
improving the infrastructure for electricity supply before a tariff
hike.

This is what most
newspaper leader writers on this subject have done. But this misses
another important point; and this is where scepticism over the NERC’s
rebuttal of the PTFP’s statement must be admitted into the discourse.

As a monopoly
supplier of electricity, government could charge anything it liked. As
government, responsible for economic development and social progress,
it was likewise minded to charge below cost. However, this means that
over the investment horizon cost of maintenance and new investment
would have to come out of other sources.

These models are
needed for government to have been seen as very responsible: to have
assessed the growth drivers that required such subsidies, to have
estimated the net gain from these growth drivers in excess of the
opportunity cost of the income losses arising from non-commercial
tariffs, and to have been sure how long these growth drivers will need
the support from low input costs.

All of this is
history now. Instead, we are going through a business model transition
that would see government hand off the supply of electricity in the
country. Private suppliers are insisting on being paid at least N18 per
kilowatt-hour (kWh) if they are to cover their costs. Therefore,
despite the NERC’s claim, the nominal tariff for electricity supplied
from the mains must go up at some time. If this brings about regular
supply of electricity, it should make our current other supply sources
unnecessary. In which case, the average cost-based tariff and the
nominal tariff will become the same.

On the assumption
that this should lead to a lowering of the effective rate on power
consumed by the average urban household, one question remains. How do
we address the peculiar cases of the poor in our rural areas, and urban
households below the average? Definitely not by putting the horse
behind the cart.

Rather than
advocate a delay in the price hike until all necessary infrastructure
for supplying power properly are in place, we should aim to strengthen
the industry’s competitive dynamics, so that a price increase by any
supply type should lead to a migration of custom to alternative power
sources.

In other words, we should not, for instance, tolerate a ban on the
importation of generating sets as part of an argument that independent
power providers need this “moratorium” to start up. For the biggest
threat to the poor and the vulnerable amongst us is the creation of new
monopoly suppliers.

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Government gets interim report on NNPC audit

Government gets interim report on NNPC audit

The
federal government at the weekend received the interim report on the
audit it ordered last year on the accounts of the Nigerian National
Petroleum Corporation. Chairman, Finance Commissioners’ Forum, Rebo
Usman, who disclosed this in Abuja on Friday at the end of the January
meeting of the Federation Accounts Allocation Committee (FAAC), said
the report was submitted to the Federal Ministry of Finance late on
Thursday.

The
report came just as the committee, consisting of commissioners of
finance and accountant generals of the 36 states of the federation and
the Federal Capital Territory resolved to share the sum of
N410.78billion (including VAT) from the federation account to the three
tiers of government.

Details
allocation shows distributable statutory revenue for the month of
N349.166billion, a decrease of N15.474billion, or 4.24 percent,
compared to the allocation for November, 2010, while the gross revenue
available from the Value Added Tax (VAT) was N47.461billion. Besides,
there is a proposal for the payment of augmentation of N16.051billion
as a result of shortfall in distributable revenue, though there was no
exchange gain because of the prevailing exchange rate of N147 per
dollar, which is lower than the N150 per dollar set as exchange
benchmark in the budget.

The
gross revenue of N581.561billion for the month is higher than
N557.839billion from the previous month by N23.722billion, attributable
to higher crude oil prices in the international markets above the $60
per barrel used in year 2010 budget. The allocation is coming barely
one week after the committee held a secret emergency meeting in the wee
hours of last December to approve the release of $1billion (about
N150billion) from the excess crude account for distribution among the
same tiers of government.

Most
observers had said the withdrawal was meant as an a new year bonus to
state governors for their acceptance to trade their support for
President Goodluck Jonathan, who emerged the ruling People’s Democratic
Party flagbearer in the forthcoming April presidential elections.

Mr
Usman, who is also the Taraba State commissioner for finance, said the
audit report would, however, not be made public until the ministry has
studied and digested the various recommendations contained in it to
guide government’s next line of action.

He
disclosed that the committee however resolved during the meeting not to
wait any longer for the formal release of the report before reiterating
its demand for the management of NNPC to move quickly to settle the
N450billion outstanding debt to the Federation Accounts.

“During
the meeting, we discussed extensively about the N450billion debt to the
Federation Accounts by the NNPC. We have taken a position that the FAAC
does not have anything to do with the interim audit report, since
agreement has since been reached that the NNPC is owing the N450billion.

“It
was also resolved that what should come to the Committee at its next
meeting should be the payment schedule by the NNPC. If the NNPC has an
issue with the federal government on reconciliation of its accounts,
they should find a way to sort themselves out, as the states and local
governments are not going to listen to any stories anymore,” Mr Uman
said.

The
issue of the corporation’s indebtedness to the Federation Account has
remained contentious since last year when the then Minister of state
for finance, Remi Babalola, alleged that the NNPC was not only broke,
but incapable to meet its current liabilities. Its group managing
director, Austen Oniwon, had said in a letter he sent to the committee
explaining why the corporation would not be able to pay the debt,
saying: “the corporation is insolvent, as its current liabilities
exceeded its current assets by N754billion as at December 31, 2008,”
adding that it would be able to pay the money only when the federal
government agreed to reimburse it the N1.156trillion spent on subsidy
expenses incurred for petroleum products supplies and distribution
since 2003.

Though controversy later culminated in the sack of Mr Babalola, the
government decided to order the comprehensive forensic audit of the
accounts of the corporation.

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NASS to appropriate 60% of 2011 budget

NASS to appropriate 60% of 2011 budget

A senator from
Bauchi Central, Mohammed Muhammed, has said that the National Assembly
will approve 60 per cent of the 2011 budget for capital expenditure.

Mr. Muhammed of
ANPP made this known at the weekend in Darazo, headquarters of Darazo
local government Area of Bauchi State, in an interview with the News
Agency of Nigeria.

He said that the
National Assembly was taking the measure to reduce the huge funds that
were spent on recurrent expenditure. Mr. Muhammed noted that in
previous budgets, meagre funds were allocated for capital expenditure,
adding that the development made the execution of some vital projects
difficult.

He said that the
recurrent expenditure in the nation’s budget was always more than the
capital expenditure, adding that this had affected the implementation
of many projects.

“There is the need
to either balance the budget to the ratio of 50:50 for both capital and
recurrent expenditure, or 60:40 in favour of capital expenditure,” Mr.
Muhammed said.

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Miners bemoan inaccessibility of bank loans

Miners bemoan inaccessibility of bank loans

The Miners
Association of Nigeria (MAN) has said that its members’ inability to
access loans was a major challenge to the growth and development of
sector.

The national
president of the association, Sani Shehu, in Abuja on Sunday, said that
none of the association’s members had accessed the one billion naira
solid mineral credit facility offered by three commercial banks in the
country.

It will be recalled
that Oceanic, First Bank, and Wema had in 2006, established Solid
Minerals Desks with an initial capital of one billion naira, to boost
mining activities.

Mr. Shehu said the conditionalities stipulated for the loans were stringent for interested miners.

According to him,
the requirements include huge collaterals, short period for repayment,
and huge interest rates. He noted that mining was a capital intensive
activity with long gestation period, pointing out that the
conditionalities had defeated the aim of setting up the loan.

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PERSONAL FINANCE: Why not organise your finances electronically?

PERSONAL FINANCE: Why not organise your finances electronically?

One of the biggest
pitfalls in personal finances is being disorganised. Have you ever
thought of organising your finances electronically?

If you are
comfortable with technology, and are fortunate enough to have access to
it, one of the easiest ways to maintain your records, is to use
technology and personal finance software.

Advances in
personal finance software have made it possible for anyone with a
computer and regular internet access to create budgets, pay routine
bills, manage bank accounts, track every day finances, and monitor
their investments. Assuming you have already registered with your
bank’s electronic banking facility and most of your regular
transactions are handled electronically, you can take things even
further. Microsoft’s Money and Quicken are just two of the more popular
solutions.

Getting started

Perhaps, the
hardest part of organising anything, including your finances, is
getting started. Take the trouble to learn the basics of your software
by completing any online tutorials. If you do not make an effort at the
onset, the experience will be tedious, and this might defeat the whole
purpose of the exercise.

It can be a
daunting task to set up all the relevant accounts, extract information,
and then input it on your personal finance software. We often have far
too many accounts that we don’t need so this might be a good time to
streamline your accounts. Start with your current account, and then set
up accounts for your loans and investment accounts.

Most personal
finance programs can be downloaded from the company’s website and are
relatively easy to use, even for those who are not technology savvy. As
the leading software is usually compatible with the more common banking
platforms, with the click of a mouse, you should be able to download
your bank account and investment information directly, which makes it
much easier for you to reconcile your accounts. No matter how companies
try to simplify the process, however, you cannot avoid having to input
some account information manually.

Personal finance
software can be a great tool for financial planning. You can print out
reports that will help you analyse your income and expenses, and
spending categories are often in place so that you can at a glance
determine where your money is going. Most programs include a budgeting
tool, which even helps you track how well you are sticking to your
budget.

Scan your documents

Are you swamped by
paper? Paperwork consumes our offices and homes and our lives. All
those paper bills and statements tend to pile up, and they need to be
stored somewhere. One of the best ways to store and backup your data is
to scan your critical personal and financial documents. Invest in a
document scanner. By scanning many of your sensitive documents and
storing them online or at least on a hard drive you can reclaim some of
your space.

Many smart phones
have applications that you can use to “scan” documents using the
integrated camera; some of these produce very good digital mages. An
electronic version well protected from fire, theft or other loss, is
easily accessible and will also be legible long after ink has faded. It
doesn’t take up any space, except on your computer hard drive or your
flash drive.

Once you have made
an electronic copy of the documents you wish to store, you will be more
confident shredding the documents that you don’t need to keep to reduce
the clutter. There are always critical financial documents that must be
retained all your life in their original form for verification
purposes; these include birth certificates, passports, insurance
policies, title documents. These should be kept securely in a secure
fire proof cabinet or safe, but it is useful to retain scanned copies
of these documents as well.

Don’t forget to back up regularly

It is not advisable
to maintain your most sensitive financial documents on your personal
computer or laptop, as saving all your data locally leaves you
vulnerable to corrupt files and data loss, which can be very difficult
or often impossible to retrieve. Even worse, as if you lose the device
or it is stolen, hackers may gain access to your sensitive information
and use it fraudulently.

Store your
documents on a removable USB storage device or on a CD as additional
back up. It is a good idea to back up your hard drive and keep a copy
of your data off site in a different location from your computer as an
additional precaution.

Avoid a backlog

Once you are
organised, try to take some time, if possible, weekly, or at least
monthly or at least quarterly in order to scan, file and shred
documents. If you allow the documents to accumulate beyond this, it can
become overwhelming. When you manage the process in smaller chunks you
are less likely to become discouraged and leave things to pile up.

Most people have challenges making the transition from paper to
technology. Over time, paper accumulates and becomes a major
organisational problem. By migrating from paper to electronic document
storage you can save both time and space. Once you start organising
your finances electronically, you will wonder how you ever coped
without technology, and an added bonus is that it is good for the
environment.

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Lagos hosts documentary film festival

Lagos hosts documentary film festival

The maiden edition
of what promises to become an annual touring event, the iRepresent
(iREP) International Documentary Film Festival, opens in Lagos on
January 20. It will hold until January 23 at Terra Kulture and the
Lagos Business School.

A press release
signed by the executive director of iREP, Femi Odugbemi, states that
the iREP is conceptualised to create a platform of awareness and
expression for aspiring and practicing filmmakers who are creating
socially relevant documentary films to positively impact our world.

The festival is
also intended to fully engage an array of trans-cultural creativity and
to provide a forum for everyone’s ingenuity to be showcased without
prejudice to style or subject. In addition, iREP celebrates the ever
expanding world of documentary films by inviting talents from across
the globe to share ideas on trends and technological advancements in
the format.

“We recognise that
there are still quite a good number of well-trained, talented and
serious filmmakers in Nigeria who are willing and ready to work hard to
reclaim the lost glory of the industry,” say the organisers. “This is a
goal that the iREP desires to pursue in its operation, especially
through its annual iREP international touring documentary festival.”

Symposia

The three-day
festival themed ‘The Impact of Documentary Production in a Developing
Society/Economy’ will feature paper presentations, training and
workshop, interactive panel discussion, screenings, networking, as well
as gala and award ceremony.

The workshop and
symposium will feature topics including: ‘Can Documentary Change the
World?’ a keynote by Manthia Diawara, director, African-American
Studies, New York University.

A panel of
filmmakers and critics led by Senegalese film producer, Lydia Diakhate,
will discuss the topic ‘Redeeming the African Image: a Case for African
Documentary Films’.

A panel of
speakers led by filmmakers Tunde kelani and Sandra Obiago will focus on
the topic of ‘Africa in Self Conversation’. Bongiwe Selane will deliver
a paper on ‘Films for Development: Engineering Change in African
Politics’.

A roundtable
moderated by Tunde Babawale of the Centre for Black and African Arts
and Culture (CBAAC) will discuss ‘Motives of Black Consciousness in
African Documentaries’, while a mini training session for young and
aspiring filmmakers will look at ‘Digital Filmmaking, Shooting
Techniques and Tricks for Documentary Production’.

Also expected to
participate in the symposium and workshop sessions as lead speakers and
discussants are: Afolabi Adesanya, MD, Nigeria Film Corporation (NFC);
Emeka Mba, DG, National Film and Video Censors Board; and Tunde
Adegbola, lecturer at the University of Ibadan. Others include: Fidelis
Duker, director, Abuja Film Festival; Busola Holloway, and Awam Amkpa,
director, Africana Studies, New York University.

Screenings

A collection of
award winning documentary films by filmmakers from across the world,
especially Africa in the Diaspora and at home, complemented by works of
young and old filmmakers in Nigeria, will be screened during the
festival.

Also, a jury made
up of professional and young filmmakers will shortlist the documentary
films made by film students in Nigeria to be screened at the festival.

Professional
filmmakers who have confirmed their participation in the festival
include: Jihan El-Tahiri, French-Egyptian producer of ‘Behind the
Rainbow’ (2009) and David Max Brown, producer of ‘The Manuscripts and
Timbuktu’.

Also expected are
Mario Mabor; Talal Afifi, a film festival director from Sudan; Akin
Omotosho, director of MNet Great African Stories; Lydia Diakhate,
director of the Real Life Documentary Forum, who will be directing the
training and workshop session; and Issraa El-Kogali.

Other poetential
international participants are expected to be confirmed soon. On the
home front, about ten filmmakers are expected to participate.

Some of them are:
Sandra Obiago, who will be presenting a collection of films made under
her outfit, Communicating For Change; Femi Odugbemi (one of the movers
behind iRep, he is the director of ‘Oriki’); Inspire Africa, which will
be showcase ‘Naija Diamonds’; while CBAAC and the National Film
Institute will be presenting works by five students. Each filmmaker
will have an interactive session with festival audience after the
screenings of their films.

The festival film
is ‘Behind the Rainbow’ by South African Jihan El-Tahiri. The
124-minute documentary focuses on the conflicts within the African
National Congress (ANC), which took over power in South Africa after
the end of Apartheid. It won the second prize for Best Documentary at
FESPACO 2009 in Burkina Faso.

In 2010, iREP International documentary film festival was founded by
a board of directors which include producer and director, Odugbemi;
culture activist and newspaper editor, Jahman Anikulapo; and filmmaker
and director of the Lagos Film Office, Makin Soyinka.

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Mak ‘Kusare, Nollywood’s finest

Mak ‘Kusare, Nollywood’s finest

Director, Mak
‘Kusare, became a celebrity of sorts in 2006 when his debut feature,
’90 Degrees’ won three awards at the Zuma Film Festival in Abuja. The
film won the Best Director, Best First Film/Video of a Director and
Best Feature Film awards.

But five years
after its premiere, the movie about a young man’s quest to seek new
pastures in the US, has not been seen outside of festivals.

Priceless art

‘90 Degrees’ is
still very much there,” the 32-year-old offers on why he is still
holding on to the film. “Initially, I was very eager to get it out but
then I didn’t meet the kind of marketer I would love to market it. ‘90
Degrees’ is a project and the idea behind it was to shoot and market
differently. We pushed the envelope a bit in production style, quality
and content. The total packaging was completely different from what you
have in Nigeria at that time.

“We also didn’t
want to go straight to video and DVD. Unfortunately, it was still
difficult for places like Silverbird to accept Nigerian films.
Silverbird and NuMetro are the cinema houses around and they have a
different view about Nigerian films ;that people will rather buy a
Nigerian CD for N250 than watching it with N1,500 at the cinema. In the
process I got distracted by other things. While all this was going on
Silverbird restructured and were taking Nigerian films depending on the
quality. Nu Metro which had agreed to screen ‘90 Degrees’ closed shop
in Nigeria. I was still working with the BBC then and by the time I
finished, I looked at it and saw I have grown more than that. I feel it
is not a true representation of who I am now as an artist.

“Then the pricing.
What people were ready to offer was the general market price and I
thought our art was more than that. I didn’t see it as a general
commodity and besides, I knew what we had invested. It wasn’t huge
money but I knew the value of what we had invested. DSTV made their
offer as well but I wasn’t impressed. They offered something pretty
okay compared to what they offer others for Nigerian movies, but I’ve
been reluctant. In fact, I’m considering giving it out for educational
purposes.”

Collective effort

‘Kusare also
reveals the secret of how he succeeded in shooting ’90 Degrees’ with
just N250, 000. “In fact, I started with N20,000. Luckily for me I was
fresh from school, in fact still partially in school, and I had my
colleagues working with me. I did not pay anybody cash in terms of
payment fees. It was a labour of love and I was able to get some
equipment from the Nigerian Film Corporation and others. That is the
reason I wasn’t too happy the film won in categories it did, I would
have loved to see Best Actor, Best Actress etc. It would have made me
feel better because it will be a sort of compensation for the guys for
their hard work. It’s the work of everybody. The creation of a film is
pretty much like painting but this time around, everybody involved
holds the brush; they all struggle to make a perfect stroke.

“Coming out with
‘90 Degrees’ was a break from the norm, we wanted to get a completely
different kind of story. Then art is of essence. It’s an art form and
we must see it through. Film as an art form means using your shots as a
unit of construction as opposed to using the scene as your unit of
construction; every individual shot in your movie adds up to the whole.
I’m happy people are coming to realise that the film medium is much
more than what people used to think. It is a medium of expression, art.
You have to be expressive with it and you have to push the envelope
because stories are almost all told. What is new is how you present it.
You constantly look for new ways to tell a story and that’s what I did
with 90 Degrees.”

‘Kusare, one of
the four directors of the rested BBC’s ‘Wetin Dey’, has since moved on
to produce TV series including ‘David’s Fall’ and TV commercials. He is
also director of the yet- to- be released ‘Comrades’.

Golden touch

Saying ‘Kusare has
a Midas touch is an understatement. ‘Champions of Our Time’, the latest
project he worked on for Chidi Nwokeabia and Emeka Enyiocha has started
garnering awards. It won the Best Nigerian Feature Award at the 2010
Abuja International Film Festival and the Golden Mboni Award for Best
Children Film at the Lola Kenya Screen Audiovisual Media Festival in
Kenya. Making the movie, however, wasn’t a piece of cake for the young
director who had previously never worked with core Nollywood producers.

“For the first
time I was getting involved with the real workings of Nollywood and
their mentality – our mentality, as it were. The Nollywood style of you
don’t make too much fuss about things, it’s just pointing the camera
and shoot. The producers invested so much because once I was called; I
said we are going to get this kind of light and camera. This is the
format we will be shooting on and they accepted. To be fair to them,
they got all of those things but once the chips were down and we were
on set, they wanted things to move fast.

“We had serious
issues on the set; I had to bend a lot and it was painful. They also
had to bend; it was painful to both of us. I was coming from a
different background. The way people in the industry practice their
art; that is the most painful part; their attitude to work, their
production values. Sometimes, I look back and wondered how I
compromised on those things but I did it for the work to go on. The
next time we are working together we will know ourselves better.”

Pleasant surprise

His regrets at
compromising on the set of the movie presently showing at the cinemas
has been somewhat assuaged by the awards rolling in.

“I was shocked
because I didn’t expect them to start coming soon. I got distracted
along the line with ‘David’s Fall’ while I was in post production for
‘Champions of Our Time’. I did the first three cuts and from that time
I started giving notes to the editor who also edited ‘90 Degrees’. I
thought I was in the process of making a film, then I started receiving
awards. I think one reason we are getting awards is the subject matter.
For a change, we are dealing with something that has not been common in
Nigeria’s cinema which is what I’ve always wanted and one of the
reasons why I accepted the project. I love new stories, the ones that
are different from those we have been telling. There are other stories
that we can tell that are moving; stories of ordinary people doing
extraordinary things. I’m happy for the producers because the intention
has been achieved; they wanted an award winning movie.”

Is he fully part of Nollywood now?

“Whether I like it or not, whenever I go out there and I say I’m a
Nigerian filmmaker, you are called a Nollywood filmmaker. If Nollywood
means the Nigerian film industry, then I’m part of Nollywood. To that
extent, yes, I’m Nollywood. But when it comes to the quality of work
that has been associated with Nollywood, no I’m not. What Nollywood is
doing now is good, we are seeing new talents and they are improving the
standard. I’m not Nollywood for mediocrity; I’m Nollywood because
Nollywood stands for the Nigerian film industry.” Despite his past
experience, ‘Kusare has not shut the door on collaborations with
Nollywood producers. “I think there is a lot we can learn from each
other. I have never been averse to getting things done quickly but if
I’m going to do that at the expense of quality, then I don’t want to.”
‘Kusare who has a new project, discloses that, “it’s a feature length
movie and hopefully by the end of this year, next year, it should hit
the screen. We are also developing TV programmes, in partnership with a
couple of others. I’m also working on the adaptation of a Nigerian
comic strip, ‘Nollywood Finest’.

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FICTION: A Game of Chance (3)

FICTION: A Game of Chance (3)

When Ogedengbe and
the other protesters passed by Oliho Forest, he asked them not to pluck
any leaf or tree branch from the virgin expanse of land in the middle
of town inhabited by huge Iroko trees. “This is the forest dedicated to
Oliho, the town’s deity,” he said. “Oliho is the deity that blesses our
land, increases our crop yields, protects us and fights our battles for
us. Since government has failed us we have taken recourse to our gods.”
The crowd cheered. At the Y-junction linking IDC Road and Emore road,
the protesters surrounded the Delta State Library and wanted to set it
ablaze. But Ogedengbe remembered the encyclopedia he always read there
and the several altercations he had had with Obi. He remembered the
librarian, a short man who walked hesitantly as though unsure of what
step to take, threatening to ban him from using the library after Obi
had falsely accused him of tearing one of the pages of an encyclopedia.
He remembered the abusive manner with which Obi threatened to ban young
girls who refused his advances. Still, the mathematics teacher believed
the library was inviolable. “Please don’t torch the library!” he
pleaded. “The library is the storehouse of knowledge. If it’s
destroyed, our memory’s gone; and once our memory’s gone we are gone,
our country’s gone. So, please don’t destroy the library.”

The mob moved over
to Unity Bank, a green and white square-shaped building whose walls
were peeling off like Harmattan-beaten skin. It’s only protection
against robbery attacks was a burglary proof that served as the
entrance and a smallish policeman who, when not sitting on a raised
pavement in front of the bank, his rusty AK-47 rifle beside him, was in
a palm wine shop across the road, discussing people’s marital problems.

“Set it ablaze!” a voice rang out. What’s united about Nigeria?”

“There is so much
corruption here!” another said. “The bank manager not only gives out
loans without collateral, he issues loans to himself, family members
and wealthy people who never pay back. There is no difference between
when it was called New Nigeria Bank and now. Torch it!”

Ogedengbe’s
silence meant approval. And immediately one of the protesters splashed
some petrol at the entrance, the windows and rusty zinc of the
building. He lit a match and the building was engulfed in flames. The
fire sizzled as it raged, licking every part of the building. Ogedengbe
could hear the sound, in spite of the loud noise all about him. It was
now pitch dark. He could only see silhouettes and shadows that the
light being emitted by the flames allowed. Across the road, some goats
that had taken over the palm-wine seller’s makeshift shop, made of
tarpaulin, were bleating uncontrollably, as they jumped from one bench
to the other.

Suddenly,
Ogedengbe became conscious of the huge responsibility chance had placed
on his shoulders. Where were Baba and Obidi? he wondered. They should
be with their families now. Many of his fellow teachers often asked
Ogedengbe when he would marry; and he always told them that he would
marry when the time was ripe. The mathematics teacher was not averse to
being in a relationship; rather he was too preoccupied with figures to
give quality time to women. When he was a student at the University of
Ibadan, he had a girlfriend called Tolulope. The relationship was
short-lived.Starved of attention and love, Tolulope later fell for
another student, Ganja, who, though smoked weewee, spent enough time
with her. Since he graduated, Ogedengbe had not been in a relationship,
yet he always admired the way Baba’s wife, a petite lady with a long,
narrow face, always brought food to him at the pools office. He also
admired the way Obidi often spoke glowingly about his family, how he
had just bought one ornament or other for his wife, how he had just
paid his children’s school fees. Still, for him, it was not yet time
for marriage. Obidi always told him that he was not a responsible man
and was not man enough, because he was not married. “I am a man in
spite of what he thinks I am. And my manhood is bigger than his,”
Ogedengbe said to himself.

OHis face
brightened. He looked about him. The protesters’ chants were deafening.
No one else walked the road, apart from the mob. A bus, its headlight
dazzling, was approaching in the direction they had come from.
Ogedengbe shielded his eyes with his right hand. He gazed at the
vehicle and realised that it was a Coaster bus. He smiled, thinking
that the students’ union government of the university had sent it to
take them to their homes. Immediately the mob moved to the road and
blocked it. The inscription on both sides of the bus read, God’s Case,
No Appeal.

“Hey, let’s move
to the courts!” one of the protesters bellowed. “Let’s move to the
courts and set them ablaze. They not only pervert justice, they delay
it. The judges are corrupt!”

Ogedengbe shook
his head from one side to the other disapprovingly. “The judiciary is
the bastion of justice, our last hope. Once the judiciary is destroyed,
we are finished,” he said.

The bus stopped
and the crowd milled around it; some of them standing on their toes,
stretched their necks to see what was inside; while others walked
around it, hitting the bus with their palms. A blue line ran around its
middle as though it was wearing a necklace. At the front and back of
the bus were fresh green leaves the driver had stuck on the windshield
to show solidarity.

“Where are you
coming from? And where are you going?” Ogedengbe asked the driver who
wore a faded, perforated t-shirt. He was drowsy; and still was chewing
a kolanut noisily, making a crunching sound.

“I’ve closed for
the day. I am going home,” the driver, hunched over the steering, said.
His face, which was as flat as a deflated tyre, was uninspiring.

“No, you can’t close now,” Ogedengbe said. “It’s not over yet. There is still a lot of work to do.”

“Eh! What are you saying? Are you saying I can’t go home now?”

Ogedengbe did not
say a word. Silence could mean anything. It could mean oppression,
suppression, negation, affirmation or passivity. But this time, it
meant affirmation, affirmative action, the power to decide the course
of action. It was already past midnight. The town seemed asleep but the
bleating of goats intermingled with the mob’s agitation. Unity Bank was
still in flames. And in the middle of the road, ten metres away from
the bonnet of the bus, there was a bonfire; the flames spluttering.
Ogedengbe opened the front passenger door and entered. The mob slid the
other door open and entered one after the other, singing solidarity
songs.

“Eh! Where are we going?” the driver asked, thick lines crisscrossing his brow.

“Take us to our homes,” Ogedengbe said.

The driver
hesitated for some minutes before turning on the ignition. As they
started up Emore Road, the passengers singing, the inscription on the
bus flashed in Ogedengbe’s mind. There are gods and there are gods; big
ones and small ones, he thought. He disagreed vehemently with Louis
XIV’s famous statement, ‘L’ Etat c’ est moi, I am the state’; and
Hegel’s quote, ‘The state is God marching through the world’. To him,
those two statements were the heights of absolutism. “The rights of the
individual are not just inalienable, they are invaluable… my rights…
your rights,” he said aloud. The driver looked askance at him.

The driver dropped
the passengers whose homes were beside the road in front of their
houses. He dropped others on the spots adjoining where they lived.
Ogedengbe was the last to alight. As the bus stopped slowly at the
entrance of Emore Grammar School, opposite the Oleh Campus of Delta
State University, Ogedengbe hopped out, determined not just to take his
job seriously but also to cater for others’ welfare and fight for
people’s rights, no matter their colour, creed or station. As he walked
to his one-room apartment, which was beside one of the dilapidated and
abandoned hostels, he looked back and waved desultorily at the driver
who was revving the bus, having taken a U-Turn. “Go and marry!” the
driver shouted, his head popping out of the window, and zoomed off.

Ogedengbe walked
on sluggishly. When he got to his room, he brought out a key from his
trousers pocket, opened the door and entered the darkness. No light as
usual, he thought. There was no furniture inside his room and so there
was no danger of hitting his legs on them. He removed his shirt and
hung it lazily on a nail in the wall. He hit his right leg on the
sooty, green kerosene stove, blackened pots and aluminium plates on the
floor. The clanging sound the pots made meant there were empty. He
removed his shoes and slumped on the eight-spring mattress on the
floor. All around him were seven Mathematics textbooks, an improvised
rusty telescope and a stethoscope that cluttered up the room. He
stretched his hand and felt an open New General Mathematics (Book
Three) that he had read the night before and closed it. As he lay down
he looked at the darkness and the events of the day came tugging at his
mind. I have found a niche in life, he

thought again. But
where could Baba and Obidi be now? Certainly with their families. He
was brooding on his being alone and did not know when he fell asleep.

The next morning
Ogedengbe woke up, had his bath, put on his clothes and hurriedly
scampered to the assembly ground, which was in front of the school’s
administrative block. Suddenly, he heard some students who were also
walking briskly, calling out his aliases. Alpha Beta! Archimedes!
Calculus! they hailed. Ogedengbe, occupied with the thought of how he
was going to face Mr Mgbunwe, only waved his hand and continued
scampering. On the assembly ground, Ogedengbe stood with the other
teachers, facing the students, as they waited for the arrival of the
school’s principal. What was he going to tell him? he thought,
agitated. Would the principal reprimand him or deduct from his salary,
as he had once threatened? Was he going to give him a query or write to
the Delta State Ministry of education, recommending his sack? Ogedengbe
could not imagine being relieved of his job. There were no jobs
anywhere. Where would he get another job? Graduates, with better
qualifications, roamed the streets in search of jobs that were not
there. At best, he would get a teaching appointment in a private school
and receive a monthly salary that could not take him home. As Ogedengbe
stood facing the students, he was enmeshed in his thoughts, oblivious
of what was going on around him. The assembly was now noisy as the
students, already impatient, were talking with one another; and
giggling. And intermittently, some of them wiped beads of sweat off
their faces with their hands. An unusual day, thought Ogedengbe. Were
he in a good mood, he would have hushed them, would have searched for
those students with torn shirts, slippers or black sandals instead of
brown. He would have asked them to stand facing the assembly,
reprimanded them and sent them back home. But now he was too
crestfallen to do so.

“Congratulations,
Ogedengbe!” Mr Mgbunwe’s voice rang out, as he walked briskly to the
mathematics teacher; with a copy of The Guardian in his hand. His red
and black striped tie was resting on his pot belly; and his black baggy
trousers clasped the lower part of his stomach.

Ogedengbe heard
the principal mention his name with a jolt. “What, sir? What have I
done?” he asked. The other teachers were also taken aback.

“Congratulations! I
am proud of you. Our school is proud of you!” Mr Mgbunwe enthused and
thrust the newspaper in his face. “How did you do it? Look at your
picture there. You are now a celebrity!”

Ogedengbe took the
newspaper, and the bold headline which read, ‘School Teacher Leads
Protest’, caught his attention. On the front page also was a snapshot
of him setting the police building ablaze. The mathematics teacher was
too dumbfounded to speak. A smile played on his lips. He hadn’t
realised that journalists were covering the event of the day before.

“How did you do it?” the principal asked again, looking upward at Ogedengbe’s face, as he adjusted his trousers.

Minutes passed, and
there was a silence. Ogedengbe was engrossed in reading the story. So
my life has now become a story, he thought. My life has now become a
metaphor for the struggle to improve the lot of our people.

“How did you do it?” Mr Mgbunwe asked for the umpteenth time; furrows were already etched on his brow.

“I only took a calculated step and seized upon a chance, “Ogedengbe said, smiling, as he gazed at the principal.

“Calculated step.
Chance,” Mr Mgbunwe said, ruminating on the key words. “Life is indeed
a game of chance.” And, immediately, the principal took the newspaper
from Ogedengbe and raised it up, making sure the front page was facing
the students. “Students, I have good news for you,” he said. “Can you
see the headline? Mr Ogedengbe has made us proud. He is now the hero of
our times. That is why I am a strong advocate of Education For
Relevance, a bridging of the gap between town and gown. Education
without positive impact on the society is useless…”

The principal had
not finished speaking when the students started chanting, Archimedes!
Alpha Beta! Calculus! “Calm down, students! Calm down! I have not
finished my speech!” pleaded Mr Mgbunwe. But the students increased
their chants. Suddenly, Mr Opio the school’s gate-keeper, a dark
diminutive man who always caught students and punished them for coming
late to school walked up the principal and told him that some
journalists who wanted to speak with Ogedengbe were at the gate.

“Did they say they want to speak with our hero? Let them come inside,” the principal said loudly.

A smile played on Ogedengbe’s lips. This is just the beginning of my story, he thought.

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Cheers for Father of Highlife at 80

Cheers for Father of Highlife at 80

Wisdom dictates
that one flees when evil approaches but people paid no heed to this on
Sunday, January 9. They embraced, ate, drank, danced and congregated
round the ‘Evil Genius’ of Highlife music, Victor Abimbola Olaiya. The
Highlife All Starts Club chose that date to honour one of their most
illustrious members. Olaiya had clocked 80 on December 31, 2010.

The Highlife All
Stars were there in force: the ageless Fatai Rolling Dollar, Alaba
Pedro, Duro Ikujenyo, Anjola Aboderin, Eji Oyewole, Orlando Julius and
his wife, Latoya Aduke. Patriarch of the Arts, Segun Olusola; Femi Esho
of Evergreen Music; newspaper columnist, Benson Idonije; flutist
Tee-Mac; and actor, Dejumo Lewis. Younger musicians affiliated to the
genre were not exempted. Yinka Davies, Nomoreloss, and Jojo Bodybeats
also came to pay homage to Olaiya, the inimitable artist.

One of the younger
generations of Highlife musicians, Roy Olokungboye and his De Afro
Classique Projectors entertained while guests awaited the arrival of
the celebrant. Olokungboye opened with some Afrobeat instrumentals
before launching out with Fela’s ‘Kolomentality’. The fast paced ‘Se e
o mo?’ from the artist’s album came next and was followed by ‘We Need
Freedom’.

“Nobody will give
us freedom, we have to set ourselves free,” Olokungboye noted after the
song lambasting Nigeria’s thieving politicians.

Profitable talent

Clutching his
ubiquitous trumpet, Olaiya walked into the venue in company of Rolling
Dollar, Olusola, Tee-Mac and others some minutes after 6pm while
Olokungboye was doing Fela’s ‘No Agreement’. The show, which had
commenced an hour behind the advertised 4pm, began in earnest
thereafter. Olaiya’s All Star Band rendered three of the maestro’s
timeless tracks including ‘Omo Pupa’ and ‘Kiriji Kenkeluke’ while
guests signed the birthday card specially made for the occasion.

“We have looked
forward to the birthdays of our members since the inception of the
club,”disclosed Bambo Ademiluyi, one of the coordinators of the
Highlife All Star Club, who welcomed guests. He recalled that the
London-based Tunji Oyelana was celebrated when he attained the age of
70 late 2009 while it was the turn of Alaba Pedro last year. He also
touched on what the club is about.

Chair of the event,
Olusola, reiterated why Olaiya deserved the honour being accorded him,
noting that “we must honour him first before the world will honour
him.” Olusola ended his address with a prayer for longevity for Olaiya.
“80 is good, but not good enough. We are praying that we are around
when he marks his 85th and 90th birthday.”

Grandfather of Afrobeat

Columnist Idonije’s
toast was preceded by ‘Cherry Koko’, another Olaiya song from the band.
The music writer adduced two reasons why the man some call ‘the
innovator’ deserves all the accolades. The fact that Olaiya clocked 80,
an age not easy to reach, especially for musicians, and his continued
relevance to music in Nigeria, Idonije noted, made him worthy of
celebration. Idonije said that despite setting up his band in 1954, the
Octogenarian continues to wax strong and continues to attract
accolades.

He further
described Olaiya as the father of Highlife music in Nigeria, adding
that but for him, “Highlife won’t be known in Nigeria. Ghana would have
continued to claim the credit; but only the name came from Ghana.”

Idonije, who also
touched on Ghanaian, E.T Mensah and Olaiya’s collaborative
relationship, noted that the latter influenced generations of musicians
including Fela. He said that Fela’s style in the early days when he
played Highlife was Olaiya’s style and that while Fela is credited with
originating Afrobeat, Olaiya is the godfather of Afrobeat because of
his influence on Fela. He prayed that the ‘Mo fe mu’yan’ crooner lives
till 90 and beyond.

Latoya vs Tee-Mac

Olaiya went down
memory lane in his response to the toast. Still clutching his trumpet,
he thanked Olusola and Idonije for their kind words. He also told the
gathering that he and Idonije clashed and fell out some 40 years ago
but thanked God that they are now best of friends.

“Today is a happy
day in my life. It is a wonderful evening, an extension of my 80th
birthday celebration,” said the celebrant who also thanked and prayed
for his professional colleagues. “You will clock 80, 90 and 100!”, he
said. A resounding ‘amen’ naturally followed.

A mini drama was
staged before, during and after the cutting of the birthday cake.
Veterans including Olusola, Rolling Dollar, Pedro, Julius and Aboderin
amongst others joined the celebrant and his wife, Victoria, in cutting
the cake. A long happy birthday song lasting almost 15 minutes then
started. Lewis, Tee-Mac, Jojo Bodybeats, Yinka Davies, Oyewole, Rolling
Dollar, Latoya Aduke and Nomoreloss all sang and danced to the song
with Olaiya joining in later with his trumpet.

Julius, a
saxophonist confirmed his mastery of the instrument with a long,
pulsating display of sound while his dancer wife and Tee-Mac provided
another spectacle. The duo did a mixture of tango, ballroom dance and
traditional ‘Owambe’ to the admiration of the crowd. But more was to
come from Latoya Aduke who wowed the gathering when her husband and
Aboderin sang his popular ‘Jagua Nana’.

Dejumo Lewis, the
king in ‘Village Headmaster’ is a known actor but it appears he also
moonlights as a singer. He and Olusola started ‘Omo Oniresi’ before
Olaiya joined them. Olaiya’s band led by Bayode, his banker son who got
married the previous day, also joined in the merriment before leaving
the stage for Rolling Dollar.

Though released
years ago, Rolling Dollar’s ‘Won Kere si Number’ has lost none of its
appeal. What made it more unique at the occasion was the way the
minstrel sang it for his ‘aburo’ (younger brother). He did it in the
best tradition of the Yoruba praise singer, eulogising Olaiya, himself
and praying for the celebrant.

“Rolling Dollar,
olohun arere, agbalagba to nse bi omode” (sonorous voiced Rolling
Dollar, old man acting like a young man), he said at a point to hoots
of approval from the crowd. The tireless Latoya Aduke also danced
during Rolling Dollar’s performance.

The Evergreen Band added to the fun with Olaiya’s popular ‘Bisi’ and
one of Fela’s early Highlife numbers. They took the audience back to
the swinging 60s with a song from Trinidad and Tobago. Couples, Julius
and Latoya and Rolling Dollars and his wife who held themselves tightly
while the song was on were a sight to behold. Alaba Pedro and some
others later rounded up the party for the ‘Evil Genius’.

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An aspirational series on Lagos

An aspirational series on Lagos

Producer and
director, Jimi Odumosu, has something nice cooking. A docu-drama on
Nigeria’s commercial nerve centre titled ‘Lagos: The Golden Nugget’ is
what the veteran is waiting to serve Nigerians. The production,
spanning the 15th century to the present, is a series of 13 half-hour
programmes capped by a final 14th episode of one hour.

Though his father
is from Ogun State and his mother from the Centre of Excellence, the
retired permanent secretary, Lagos Television, who sees himself as a
Lagosian, had always wanted to do something on the state. After
completing ‘The Head of State’, a series about a military regime in an
imaginary West African country currently running on TV, he started work
on the script of a psychological thriller.

“In the midst of
that, someone called me and said that he would want us to do something
pretty profound about the history of Lagos. Since I had been thinking
of it, I got very excited,” recalls Odumosu with whom I have just seen
an episode of the production.

He had thought he
would spend about eight months on the project featuring tested artists
including Dejumo Lewis, Toyin Oshinaike, Tina Mba, Kayode Idris, and
Olu Okekanye, but ended up spending just under two years.

“We did not
envisage the scope of what we were going to engage in when we started
originally. So, as we went into the subject, we discovered many things
that we were not aware of before. We got more excited and as we got
more excited, the scope kept on getting wider. We were pleased with the
way that things were going because it meant more information.”

Faithful to history

Though there are
other documentaries on Lagos, Odumosu highlights what makes his unique.
“I have not really seen or known someone to have done something this
large, going into the history of Lagos from the 15th century up to the
present day. You could have seen people do something on Eletu Odibo,
Erelu Kuti or Madam Tinubu or depict one or two kings within the
particular period. We’ve done something that I think is good and
aspirational.”

How true an account is the production to the history of the state?

“I’ve not done a
straight documentary. I’m not a History professor, I’m a filmmaker but
I also like to be sincere to history. I took a bit of dramatic licence
in modifying some scenes which in itself is … we based our framework
on a particular book telling the history of Lagos. We remain pretty
loyal and sincere to that. If you put 10 historians in this room right
now and ask them to tell the history of Lagos, they are going to tell
10 different stories. We researched, spoke with people, and let logic
and plausibility prevail in what we were doing.”

Cinematic elements

Another uniqueness of the producer’s latest work is the generous use of illustrations.

“If you are talking
about the major events that we have to capture on camera from the 15th
century, you will realise that even if we had all the money in the
world we probably would not have been able to capture all,” he offers.

“I decided that I
was going to use almost all the major elements that are available to a
filmmaker when working on a period piece like this. Wherever I couldn’t
get enough money to do the set or the special effects that would be
needed for such a scene, I needed alternatives and these could come
either in the form of file shots, photographs, paintings, drawings,
sketches, actuality shots and interviews. I became a little greedy in
terms of being creative so I decided to use and bring all of them
together.

“Fortunately, I
found someone who is really very good at illustration. There were some
other areas where we had problems, we had written those areas for
actors and actresses but for some logistic and human reasons, we
couldn’t shoot the sequences. He was able to bridge this for us through
his illustration; all we needed to do was to write narrations for that
to move the story forward. If we had done this as a drama piece all
through, we probably would have ended up with 52 episodes. It was more
of economics really than any other thing.”

The perfectionist

“Anybody that has
worked with Odumosu knows that you have to be on your toes all the
time,” actress, Lilian Amah-Aluko, said of the producer of ‘Evil
Encounter’ and ‘Fiery Force’ in an interview not too long ago. Is he a
task master or perfectionist?

“In my younger
days, I thought I could achieve perfection but I doubt if anyone can
achieve it. Experience has shown me that, but you can get perfection in
man. Perfection in the sense that if you push a man, not to the limit,
but to bring out the best of their ability, the best of their
knowledge, you will be able to get something tangible from them. I push
myself a lot and I never in my life, as a broadcast manager, writer,
producer, director, pushed anyone more than I pushed myself.

“It may not be too
good for other people because we are made differently, but I just
assume that if I am this old, I should be able to push much younger men
to do things that they probably felt they couldn’t do. I found out that
people are generally happy with a low level of performance. As soon as
they achieve something very little, they relax but I found that the
more you push yourself, the better you get.”

Positive feedback

Talking about ‘The Head of State’, Odumosu confesses he is pleased with the feedback he has been receiving.

“A lot of people
phoned in and sent texts. Few months ago, I went to a furniture company
to buy some furniture and we got talking. Somehow, the owner of the
company got on to ‘The Head of State’, even things that I had
forgotten, that person was narrating to me. Telling me my story, what
could be more fulfilling than that? I’m happy because when I was
writing it, quite a lot of people didn’t want to partake in it because
they thought that it is about military regime and it might not go down
well with whatever government is in power.

“If we cannot take
the Army state and emote them on television so that we can learn from
the mistakes and be better for it tomorrow, if we cannot as a nation do
that, sit back and assess ourselves I don’t think we are ready for
development.”

Poor distribution

People desirous of acquiring works of by the director of ‘Doctor’s Quarters’ shouldn’t despair, they are properly documented.

“If we had a good
system of distribution in this country, as soon as we air a movie or a
television series, the next thing that a producer wants is to dump
everything onto the stable of a reputable distributor who will have a
network of distribution, but I’m still looking for that and that’s very
bad. Except for ‘Evil Encounter’ and ‘Fiery Force’ which are not in
their basic forms because something happened to them but after I clear
the works that I want to do this year, I want to travel abroad and get
these projects reworked, as it were, so they can be available for
people. But all my other works are available on hard drive in their
pristine form.”

On why he appears to produce TV series more than feature films,
Odumosu says, “Maybe I’ve been called to be a broadcast administrator
more than I had time to work on movie projects. I’ve been doing
administrative work for the most part of my life.”

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