Archive for nigeriang

DANFO CHRONICLES: Love on a bus

DANFO CHRONICLES: Love on a bus

Nicholas Ibekwe,
now an award-winning reporter, did not have such a good start. As a
rookie reporter, one of his earlier stories was so salacious that his
editor asked him to take it elsewhere.

“Go to Sahara Reporters,” the editor said.

Mr. Ibekwe had been
in a bus that morning when a girl sitting behind him suddenly squealed,
pointing at the man beside her who was hastily pushing something down
his pants. She was talking so fast that her lines ran into each other,
like a child painting in watercolours. It took some time to separate
her words from sobs and string a meaning together. Apparently, this
fellow had, without investigating her taste, brought out his penis
right there in the bus as she bent her head, and proceeded to wag the
thing close to her face.

“Why did he show that to me?” she asked in horror.

Mr. Ibekwe’s story
tried to answer this question, and show how a peddler of sex-on-transit
met his Waterloo. But the reporter’s story, including comments by
passengers, were considered too risqué for a family newspaper, and Mr.
Ibekwe ended up with a lecture instead of a byline.

I took a bus from
Obalende to Oshodi recently, and a boy on the bus made such a gallant
effort to woo a deaf girl that Mr. Ibekwe’s report came to mind.
Although, nothing as brazen as the whipping out of privates took place,
the entire “conversation” – full of gestures, vigorous mime, and missed
cues – left little to the imagination. When the girl spread her palms
to ask what he wanted, he cupped the palm of his hand and put a finger
through. The girl covered her mouth in shock.

It was high drama and the young Cassanova’s brother who was sitting beside me ran commentary.

“Kunle is like that,” he told me. “He likes girls too much. Our father is tired of talking.”

When the conductor
came round, Kunle paid for the girl and gestured that his brother would
pay for him. My seatmate had to pay for two, and he wasn’t too happy.

“Kunle,” he warned, “Wait first. I hope you know that you cannot bring this kind to the house?”

The girl,
blissfully deaf, was giving Kunle her full attention. By now their
public romance was in full swing, and bemused passengers egged them on.
She was laughing at the boy’s reckless use of sign language. While she
could convey a lot by a small gesture, a twirling of the fingers, the
boy had to dramatise everything, talking the whole time, sometimes
forgetting that she couldn’t hear him.

“How much will you take to follow me home tonight?” Kunle asked, using a combo of words, signs and dance.

The girl put her palms together.

“Ten what?” asked
Kunle eagerly, “N10?” and he brought out a N10 note to show her. She
shook her head vigorously. “Oh, you must mean ten tens then,” he said,
taking out a hundred naira note. But the girl laughed.

“You people are hard to understand,” said Kunle who delved into his pocket to fish out a crisp N1,000 note.

“Kunle!” exclaimed
his brother, “You said you had no money when we went to eat, and now
you want to give N1,000 to a deaf girl, abi?”

Loverboy, deaf to
recriminations, was busy pressing the money on the girl. She shook her
head, and brought her palms together, again. Kunle was now confused.

“She said she wants N10,000,” said an old man beside him, helpfully.

Kunle flipped his lid and abandoned pantomime altogether.

“You are a thief,” he shrieked. “If I give someone like you N10,000, how much will I give the ones who can talk?”

And there was politically-incorrect hearty laughter all round.

“Good for you,”
said his brother, alighting as the bus came to a stop at Iyana Oworo.
“Are you going to come down now or are you following the deaf one
home?”

Still, our friend
continued to press the girl to reduce her charges. The driver engaged
gears, warning that he wouldn’t be stopping until Oshodi.

“What of N3,000?” Kunle asked, one eye on the door as the bus began to move.

Suddenly, as if on cue, a number of voices shouted: “Kunle!” and he scrambled out of the bus to fits of laughter.

Click to Read More Latest News from Nigeria

WikiLeaks’ Assange says he is victim of smear campaign

WikiLeaks’ Assange says he is victim of smear campaign

WikiLeaks’ founder
Julian Assange has declared that he is the victim of a smear campaign
after being freed on bail over rape allegations and sent to spend
Christmas at an English country house. The 39-year-old Australian
computer expert said that curbs on him, which he described as “hi-tech
house arrest,” would not halt the release of official secrets. Assange
walked free from a London court Thursday, freed on 200,000 pound
($312,500) bail after nine days in London’s largest jail. Sweden wants
to extradite him for questioning over alleged sexual assaults on two
WikiLeaks’ volunteers.

“This has been a
very successful smear campaign and a very wrong one,” Assange told the
BBC after arriving late Thursday at the country house in Suffolk,
eastern England where he will spend Christmas and the New Year.

He said he expected further attempted smears from the Swedish authorities but did not elaborate.

Assange angered the
U.S. authorities after his organization began releasing some of the
250,000 secret U.S. diplomatic cables it had obtained, teaming up with
newspapers around the world to amplify their impact.

Assange said his opponents had seized on the accusations against him to attack WikiLeaks.

“One only needs to
look at the sneering smile of Defense Secretary (Robert) Gates upon
hearing of my arrest… to understand the value to opponents of this
organization,” Assange said. Gates last week described Assange’s arrest
as good news. Assange is accused of having unprotected sex with one
woman, and sex with another while she was asleep.

“HI-TECH HOUSE ARREST”

As part of his bail
conditions, Assange must stay at the sprawling house owned by former
British army officer Vaughan Smith, situated close to the city of
Norwich, around three hours’ drive from London.

Smith has said that
the Internet connection at the house is not good. Assange, who must
report to police daily, abide by a curfew and wear an electronic tag,
said the conditions were “a gross impediment to my work” but would not
stop him.

“Now that I am back
to assist directing of our ship, our work will proceed in a faster
manner. But as we have seen with my absence, things are well set up to
proceed even without my direct involvement.” Assange told reporters
soon after his release that he was more concerned the United States
might try to extradite him than he was about being extradited to Sweden.

Assange and his
lawyers have voiced fears that U.S. prosecutors might be preparing to
indict him for espionage over WikiLeaks’ publication of the documents.

Australian police said WikiLeaks was not committing any criminal offence in Assange’s home country by releasing the U.S. cables.

Celebrities such as journalist John Pilger, film director Ken Loach and socialite Jemima Khan are backing Assange.

Janice Game, 63,
who lives opposite the Georgian house said she had come out to see
reporters waiting in the snow for Assange to drive through the gates of
the 650 acre estate.

“I do not think that Vaughan would have him at the house unless he believed completely that he was innocent,” she said.

Click to Read More Latest News from Nigeria

Fashola pleads with striking Lagos varsity lecturers

Fashola pleads with striking Lagos varsity lecturers

The governor of
Lagos State, Babatunde Fashola, on Friday called for negotiations with
lecturers of the Lagos State University (LASU) chapter of the Academic
Staff Union of Universities (ASUU) over the ongoing industrial action.

Explaining that
the state is willing to pay the workers their wages, Mr. Fashola, while
speaking to reporters at the presidential wing of the Murtala Muhammed
Airport (MMA), Lagos disclosed that his government has other pressing
needs that require financial attention.

“We are concerned
about the strike and we expect that some understanding [will] prevail
in our negotiations with the striking workers for we cannot afford that
this strike continue in the interest of the students. But here we are
as we continue to negotiate and discuss with them to see the reason;
this is not a case of unwillingness to pay but our inability to do so
if we must attend to all other competing social responsibility of the
state,” he said.

The governor
argued that the increase of employees’ wages by the federal government
should not be mandated of the states, adding that the lecturers should
be considerate of the plight of their students.

“The point really is that this is not an agreement we were part of.
The federal government negotiates a salary structure with its own
staff, it cannot impose that on the states and that really is the
substance but we believe that dialogue will be the critical element and
lecturers should be showing restraint and concern for the students
whose academics are being affected. Here we are too, we are dealing
with the problems of infrastructure; even the school, we are dealing
with the issue of accreditation, new classrooms, new libraries and it
is from this same purse where salaries are meant to be paid and the
money to re-acredit and to build all these structure,” he said.

Click to Read More Latest News from Nigeria

Akinyili’s APGA move roils Anambra politics

Akinyili’s APGA move roils Anambra politics

One of the strong
points of former information and communications minister, Dora
Akunyili, is her ability to confound expectations, and this she
confirmed last Wednesday when she left her former colleagues in the
Peoples Democratic Party to defect to the All Progressives Grand
Alliance (APGA) on whose platform she plans to contest the Anambra
Central Senatorial ticket. Mrs. Akunyili, last Wednesday stunned the
nation when she resigned her appointment from the federal cabinet to
pick the senatorial form of the APGA. Many politicians, including the
Anambra State governor,

Peter Obi, hailed
her action as courageous and wise. But others saw it as a risk. Yet to
some others, her adoption of the APGA platform made no difference. But
it is a different kettle of fish for some of those vying for the same
seat in the party who feared there was an orchestrated move by the
party hierarchy to foist her on APGA, despite early assurances by the
party that there would be no favoured candidates. While receiving her
into APGA, its national chairman, Victor Umeh told Mrs. Akunyili there
would be no automatic ticket for her as she would have to endure the
rigours of a primary election.

Apparently not
satisfied with that assurance, the only APGA House of Representatives
member from Anambra State, George Ozodinobi, who represented Anaocha,
Njikoka and Dunukofia federal constituency from 2003 to 2007, fired the
first salvo when he accused Mrs. Akunyili of political prostitution.
According to him, there was no reason why she should leave her party,
PDP, for APGA at a time when she was needed by President Goodluck
Jonathan in his election bid. Mr. Ozodinobi believed she might have
taken the decision based on assurances of an automatic ticket, even
though he did not buy the idea she had been adopted by the party.

“Adoption is not a
proper word because no one has said anyone is to be adopted. But if we
can pre-empt what is happening, something must have given her the
confidence to come out and want to join APGA between now and January
2nd when there will be primary to begin to know the grassroots; to know
even the name of her ward’s women’s leader and stand for an election in
APGA to win the primary,” Mr. Ozodinobi said.

A level field

He threatened to go
to court if eventually she was adopted by the party. “I believe in the
rule of law. The Electoral Act says every party must do primaries. Let
there be transparent primary. That’s all I’m asking for. Nobody is
above the law. And the courts are there for redress to be sought if
things are done to the contrary,” Ozodinobi warned.

But APGA insists
there will be a level playing ground for all the candidates. In a chat
with NEXT in Awka, the state vice chairman, North, of the party,
Fidelis Okafor, assured the other candidates they had nothing to fear.

“To the best of my
knowledge, yes, APGA intends to do a transparent primary. That’s what
we’re preparing for and that’s what we promised our aspirants. The
issue of who picks APGA tickets will solely depend on the outcome of
the primaries,” Mr Okafor said. He said it was natural for aspirants
such as Mr Ozodinobi to be apprehensive, but assured that nobody in the
party, no matter how highly placed, was thinking of an automatic ticket
for Mrs Akunyili.

“Akunyili, like others, is desirous of running for senate and APGA is her choice as she has told the world,” Mr Okafor said.

But while her new
party appears happy to have her, given her intimidating credentials,
other parties say they are not intimidated. Underwhelmed opposition
parties Afam Ilounoh, state publicity secretary of the People’s
Democratic Party, PDP, while welcoming Akunyili into the race said his
party had nothing to fear.

“It’s an
interesting development. She’s well known and well respected. The game
has become even more interesting now she has thrown her hat into the
ring, but PDP has nothing to worry about as it will win next year’s
elections in Anambra State. In no way are we intimidated by her entry.
Anambra is a PDP state and PDP will take it over in 2011,” Mr. Ilounoh
said.

Tony Nwafor Okafor,
a leader of Congress for Political Change (CPC), said Mrs Akunyili’s
entry was just like any other person’s. He said she needs to win her
party’s nomination first before other parties could worry about her
candidacy. “After that, she should brace up to face other parties’
candidates. She may have been successful as NAFDAC boss and in other
positions, but she has never been elected. This time she should prepare
for battle,” Mr. Okafor, who boasted that CPC would sweep the stakes,
said.

For the Action
Congress of Nigeria, Mrs. Akunyili’s entry into APGA had not added
anything to APGA’s electoral fortunes, even as the party spokesperson
said it amounted to a vote of no confidence on PDP which she left.

“The equation has not changed one bit with her entry,” ACN’s Anambra State publicity secretary, Madukaife, told NEXT.

According to him,
Mrs Akunyili had just succeeded in reducing the Igbo quota in the
federal cabinet. He said ACN would win the three senatorial seats on
offer in the state.

Support from above
However support is coming Akunyili’s way from an unexpected quarter. A
prophet, Rama Asuzu, from the ancient Nri Kingdom in Anambra State,
wants Nigerians to support Akunyili so that she could even become the
senate president.

“I wish that a
woman would be the senate president in the next dispensation and the
expected woman is Prof Dora Akunyili. She will perform more than she
did at NAFDAC and in her former ministerial position because she is a
chosen vehicle that will take the less privileged beyond the shores of
lack of want,” Mr Asuzu said.

He added that Mrs Akunyili was destined to use her position to give succour to orphans and widows.

“This will be a manifestation that will encourage women to keep
participating fully in the Nigerian polity in order to save the country
from the vicious circle of unreason,” he said.

Click to Read More Latest News from Nigeria

Meeting Chief Anthony Enahoro

Meeting Chief Anthony Enahoro

On the phone recently, a friend let slip that he was going to a
meeting in a matter of days at which Chief Anthony Enahoro would be present. My
mouth fell open but no sound came, a quiet hysteria gripped me. Here was my
chance to brush fleetingly with indestructible history. To have my existence
validated by this meeting of paths, as a small stream is validated by its
confluence with a mighty river. It was my chance, and it was slipping away.
Then came a lifeline as my friend said, ever so casually: “You can come
along if you want”. I seized upon it, and blurted out: “Of course I
would love to come!”

We walked into the hotel on the day and saw Taiwo Akinola,
Secretary of the National Reformation Party (NRP) Europe Chapter. He was
weighed down by six or so hardback copies of Enahoro’s 1965 book Fugitive
Offender
. Akinola waved goodbye to a lady from the book’s publishers, who
had helped source these used copies from various libraries in England. We
proceeded further into the hotel until I could make out Chief Enahoro’s figure
further ahead in a reception area. My smile masked the butterflies in my
stomach as I forged ahead with my two companions. I heard my name announced as
I took the Chief’s hand, my knees lowering in courtesy.

I took a seat on another table from where I could catch some of
Chief Enahoro’s conversation, conducted sometimes in English, sometimes in
Yoruba. I was pensive as I contemplated the moment. No words could adequately
capture my feelings about seeing this man whose life has been closely
intertwined with Nigeria’s history; whose actions helped shape the course of
that history. To me he was like an oracle, on whose person is written epochs I
could not even begin to imagine.

Soon others arrived, including Dr Philip Idaewor, head of NRP
Europe. He had read some of my writings and shook my hand warmly, saying:
“Ah! The lady who destroys people with her pen!” This he said with
great conviviality, and one does not defend oneself against a compliment. I was
the only female present, and when I wondered aloud whether it would be
appropriate for me to “put my journalist’s hat on”, Chief Enahoro
jokingly replied: “It would have to be a journalist’s gele”. There
was a benevolent atmosphere to the meeting, during which we mere mortals spoke
freely in the presence of a great man who made one feel at ease. It dawned on
me that true greatness needs not assert itself. It can simply be.

Dr Tony Kakhu, a research fellow at London’s Imperial College, was
also a first time observer in the group. He wanted to know the party’s plans
for regrouping ahead of the 2007 elections. Chief Enahoro’s definition of a
political party differs somewhat from that of the INEC, which places more
emphasis on the number of seats held by parties. To Enahoro, a political party
does not have to contest elections: “A party can be about ideas, and
Nigeria lacks ideas”. His is a long-term vision in which it matters not
that the NRP is not in power today; it can be in 10, 20 years time, or as he
explained, the big parties can adopt NRP’s ideas. “Politics is a game of
ideas. If a game of numbers, China would rule the world”, he declared.

There were concerns about external forces seeking to influence the
emergence of a Nigerian leader in 2007. It was noted that similar policies in
the fifties and sixties had resulted in the elimination of progressive African
leaders like Lumumba and Nkrumah to be replaced by despots like Mobutu and Idi
Amin. All agreed that the monetisation of Nigerian politics further exacerbates
the problem, and should be resisted.

The group reiterated its position on a Sovereign National
Conference at which all groups in Nigeria would be represented. Chief Enahoro
recalled the Conference held before Nigeria’s independence, for which the
British had initially asked for the three leaders only – Awolowo, Azikiwe and
Balewa. “We wrote a stinker”, said Enahoro, smiling at the memory;
“it was my honour to take the stinker to the Consul General”. The
“stinker” informed the British that they would need more than just
the three leaders for a Sovereign National Conference, and the colonial power
was forced into rethinking the process. The Chief also shared his views on party
composition: “You can no longer sell the idea of a party based purely on
ethnicity. Even in Yorubaland, people don’t want that. They like the idea of
members in Calabar and other places.”

Copies of Fugitive Offender lay on the table. One, bearing
the sticker and stamp of the House of Commons Library, had come from the many
copies of the book in the British Parliament. I sniffed at it, wondering if the
Nigerian Legislature had a copy, or valued its importance at all. It was my
first time seeing the book and Taiwo Akinola informed me that this was by no
means unusual; 95 percent of Nigerians had never seen it either. I leafed
through the pages. A photograph of a young and handsome Enahoro in traditional
dress – he could have been the prince of some ancient kingdom. Awolowo and his
beloved HID on one page, Zik of Africa smiled on another, and so on – each page
suffused with history.

There are plans to publish a second edition of Fugitive
Offender
later this year, to give younger generations the opportunity to
know about the book, and the man. This is important, Akinola said,
“because of his relevance in Nigerian life and politics”.

Official meeting ended, I moved across to Chief Enahoro’s table to
ask him questions over drinks. He was feeling peckish but all the hotel could
offer by way of snacks were chips, which the Chief called by their American
name, French Fries. A plate of chips duly arrived and he motioned for me to
join him as he tucked in. I looked at the chips but held back, not wanting to
break the spell of this enchanted hour.

I asked for Chief Enahoro’s views on the way forward for Nigeria.
“The way forward to where?”, he asked. I certainly didn’t know. But
he was forthcoming: “We need to recreate Nigeria on the basis of a
restructured federation and it should be a federation of nationalities. Each
nation should itself be a federation of the sub-nationalities. This should
accord with our natural existence. It would be easier to build a democracy on
that basis”. News of Chief Aminosoari Dikibo’s killing had broken in
London but the details were still sketchy, so Chief Enahoro did not want to
comment. But on the spectre of high-profile assassinations in Nigeria
generally, he expressed the view that the system we are operating “is
contributing to this outbreak of violence”. He believes the easier it is
to remove people from office the more senseless it is to seek to eliminate them
because there is no other way.

Chief Anthony Enahoro had been away from Nigeria for two months,
preoccupied with the “daunting task” of writing his memoirs. He hopes
to complete the project in the next 15 months. The new edition of Fugitive
Offender
will be followed by a collection of his speeches through the
years. The final part of the memoirs will be mainly political, covering major
events in Nigeria from 1963 to the present. In undertaking the project, Enahoro
believes his task is to report and interpret the events for the benefit of the
post-independence generation. In so doing, he is “not trying to lecture
them, just stating the particulars of life” as he recalls them.

Our chat over, I moved along to allow others the chance to talk to
him. There were still plenty of chips left but the Chief seemed to have had his
fill, so I pulled the plate close to me. These were historic chips, and I was
determined to get some inside my belly. I wolfed them down with relish, though
I wasn’t hungry.

Then it was time to go. “Ee pe fun wa Sir”, I said to
Chief Enahoro in Yoruba as I shook his hand in farewell, wishing him plenty
more years this side of heaven. “Why do we write things down?”,
someone asked in print recently. “To make them real, perhaps”, she
sought to explain. The friend who took me to the meeting, NRP Europe official
Dele Ogun, knew instinctively that I would write of the experience.
“Somehow, the chips will find their way into the recount, I’m sure”,
he speculated. “You bet”, I felt no shame confirming. When you have
eaten from the same plate as the man who moved the motion of Nigeria’s
independence, you don’t let the matter rest.

What a burden it must be for men like Chief Enahoro, for almost
every person you meet to look at you as a living relic of a valiant past, which
must of necessity point the way forward. I remembered a documentary I saw last
year about Nelson Mandela. In one scene, the Madiba was leaving a function at a
hotel in South Africa when suddenly a kitchen maid appeared in the lobby,
plastic cap and apron still in place. Forbidden perhaps from leaving the
kitchen, she heard that Mandela was passing by and, unable to help herself,
broke hotel protocol. She wept and tore at herself as she wailed after the
hero, yet made no attempt to approach him. Her words about what he meant to her
were subtitled for us in English at the bottom of the screen. Mandela, who must
get this kind of thing daily, did not look back. “Mandela! Mandela! I have
waited for this moment!”, shouted the kitchen maid as the old man made his
way slowly to the lift, burdened by history.

If Chief Anthony Enahoro is burdened by history, or the constant
gaze of an endless stream of people like me, it didn’t show. Enahoro is now an
octogenarian like Mandela. There are no sweeping comparisons to be made between
the two, but it could be argued perhaps that certain parallels exist. In
Enahoro’s presence I knew something of what that South African kitchen maid
must have felt on seeing Mandela, only I was not weeping or tearing at myself.
Unlike her however, I had not waited for the moment. Quite simply, I never thought
I’d see the day.

First published in The
Guardian (2004)

Click to Read More Latest News from Nigeria

High tension on Nigerian Idol

High tension on Nigerian Idol

The theatre stage of the Nigerian Idol
was as gut-wrenching as the producers had promised. This was the stage
where the 100 contestants who made it up from the audition stage were
trimmed down to 50. The mood was as ominous as could be. The judges
were no longer smiling and the tension was clearly apparent on the
faces of the contestants. Imagine coming all the way from Abuja, Enugu,
or Calabar and being asked to go home after the first stage.

To ease the
tension, judges Jeffrey Daniel and Audu Maikori teased the contestants
a bit. “Step forward,” Daniel said to some contestants. “Turn to your
left, then to your left again. Hug the person in front of you because
you are all staying.” The relief was so great for a contestant that she
immediately fell to the floor rather than do as she was told.

Audu Maikori on
his part toyed with the viewers too, sometimes eliminating the
contestants whom he asked to step forward and other times the ones at
the back instead. He also used the opportunity to dish out advice to
those whom he felt did not play up to their strengths.

However, the lone
female judge, Yinka Davies, had no time for such shenanigans. “You did
not make it. You are going home,” she would say bluntly to the
eliminated contestants. (At this point and even though the judges
remain less than brutal, it would be safe to say we have found our
Simon Cowell, but He is a She.)

After the 100
contestants from the auditions had been trimmed down to 72, they were
asked to form groups of three. Following performances that were judged
based on individual strengths, another set of contestants were sent
home. The rest were further asked to form duos. Finally, the lucky 50
were chosen.

The undoing of
most of the contestants were the songs which were selected for them by
the show producers. During the individual performances, for example,
the male contestants were asked to sing ‘Kiss From a Rose’ by Seal, a
song that went beyond the range of most of them.

However, an
ability to “own” the song and perfect it within your range would be a
true test of a true performer, an ability which, frankly speaking, very
few displayed. Thankfully for everyone involved in this tension-filled
stage, including viewers, the judges were able to recognise those
voices that were skilled enough, despite how much they were tasked by
the songs.

However, starting from last Thursday,
the judges were finally relieved from making the tough choice of who
gets to go and who stays as the Nigerian Idols entered the third stage:
the Top Fifty/Elimination stage. Each week, ten contestants would
perform in front of a studio audience at the end of which viewers would
be asked to vote. The top two from each week would then move to the
last stage: the Top Ten, which is always filled with high performances
as contestants battle to be the next Nigerian Idol. </

Click to read more Entertainment news

Carols for the yuletide season

Carols for the yuletide season

Christmas is a
season for ceremonies in many forms. This year is no different, with
numerous events already lined up to lead Nigerians into the yuletide
and the New Year. Some, however, remember to maintain the birth of
Christ as the sole purpose of their jubilation.

One of such was the
Annual Christmas concert by Lemuel Iyalla and his Greenland Classics
that held at the University of Lagos on Sunday, December 6. The 2010
edition was another in a series of concerts, which began in 2008, two
years after the group – a harmonious bundle of vocal talent – was
established. Tagged ‘Peace. Be Still,’ the event, which took place at
the campus’ Chapel of Christ Our Light, promised music as medicine for
the soul’s troubles.

A praise-worthy evening

With lawyer and
academic, Yemi Osinbajo, as chairman, the event lived up to its billing
as a promising night of songs. Not only was the audience constantly
moved to sing along, there were numerous entertaining, yet
inspirational messages to draw from the performers’ repertoire.

Apart from the
Greenland Chorale and The Mass Choir, director of the Greenland
Classics, Lemuel Iyalla, Prisca Enyi, Peter Bema and Amaka Sam-Ejelu
were also on the list of the night’s singers. Emcee’d by Olawale
Samuel, the evening opened with a performance of ‘Lord for Thy Tender
Mercies’ Sake’ by the Mass Choir, followed by a solo rendition of
‘Bless this house’ by the tenor, Iyalla.

Osinbajo then gave
his remarks. “It is good to give praise”, he said, “especially for a
nation like ours where against all odds we stayed united and our people
still had the chance to display their talents.”

The former Lagos
State Attorney General hailed the Christmas concert as an initiative
that was worthy of praise and that should be continued.

Affirming the
professor of Law’s claim on the event’s quality, Prisca Enyi, a
soprano, came on stage and wowed the audience. Her rendition of
Mozart’s ‘Exultante Jubilate’ was sonorous and soul-stirring. Nothing
else could describe sweet music to the ears. Her composure and stage
presence was magnified by her gestures and facial expressions which
reflected the tone and mood of the song. Enyi’s was indeed a magnetic
performance that could only add to the bright sparks of the Christmas
season.

Iyalla returned to
the stage to perform a medley of Christmas carols, which included ‘O
Holy Night’ and ‘White Christmas.’ Up next was the elderly Josephine
Okuboyejo singing ‘Silent Night’.

Courtesy of the
mass choir, the audience was treated to ‘Tidings of Comfort and Joy,’
‘Ding Dong Merrily on High,’ and with audience participation performed
‘Once in Royal David’s City…’ The choir added their own style to the
songs, ending the second carol on a flourish.

Inspirational performance

The most inspiring
story and performance of the night was that of Peter Bema’s. The Rivers
State-based Bema is a visually-impaired, highly-talented vocalist and
instrumentalist. His vocal ability was reminiscent of Andrea Bocelli’s.
In a country with challenges even for the able-bodied, Bema’s success
story echoed that of gifted soprano, Victoria Oruwari, and expert music
producer, Cobhams Asuquo.

The musician
himself admitted that his parents had not expected him to come this
far, but for the glory of God. “Jesus,” Bema said, “is the reason for
the season,” before breaking into ‘Jerusalem’ from Handel’s ‘Messiah.’

His message before
the next song was for us to find our purposes in life and never to let
anything stand in the way of our dreams and aspirations. His glowing
tenor had stunned the audience in his first performance; his dexterity
on the keyboard soon ‘double-stunned’ the audience.

Taking his place
behind the keyboard, Bema’s fingers flew expertly across the keys as he
accompanied himself on a motivational Kenny Rogers’ tune titled, ‘Till
The Season I’m Strong Again.’ His ingenious performance – impressive
vocal quality imbued with theatrics and a commanding stage presence –
was rewarded with a standing ovation.

Embodying the
message of the concert was Amaka Sam-Ejelu’s performance of a personal
composition. Her rendition of the song ‘Sing for Christmas’ outshone
her sparkly black and gold costume and was a thrilling, memorable ode
to the purpose of the yuletide celebrations. The song could very well
become a Christmas anthem, as it was much similar to others that had
come before it in message and in tune.

The climax of the
evening was a rendition of indigenous praise songs by the Greenland
Chorale, led by Iyalla. These included popular tunes like ‘Gbo Ohun,’
‘Ise Oluwa,’ ‘Ni Gbogbo Ona E Se’ and Efik songs like ‘Amanam.’

It can only get better

Following a vote of
thanks and closing prayer by Bishop George Bako, the Greenland Chorale
and the Mass Choir gave a joint rendition of ‘A Merry Christmas,’ a
wonderful note on which to send the congregation into yuletide mode.

An undoubtedly
amazing night in this year’s Christmas season, the event was not
without its hitches. Some of those billed to perform were absent and
not all the songs listed were eventually performed. However, as a
prelude to its other major concerts, this year’s Christmas Concert was
a laudable effort on the part of the organisers.

For those eager to experience the Greenland Classics, upcoming
concerts to look out for include the ‘Heritage for Life’ concert, ‘The
Essence of Music’, and ‘The Garden Experience.’

Click to read more Entertainment news

In praise of the donors

In praise of the donors

The Musical Society of Nigeria (MUSON)
staged a donors’ appreciation concert on December 6. Chief among these
donors is the MTN foundation (MTNF). It was an event that revealed the
best of the MUSON Diploma school, with mixed performances of classical
and indigenous musical pieces.

“The donors’ concert is our own little
way to showcase the product of the school and their proficiency level,”
stated the chairman of the MUSON board of trustees, Femi
Adeniyi-Williams. “At this very frugal time, you have come to the aid
of MUSON. We appreciate you,” he told the donors.

This was the fifth year of running the
Diploma School, which has produced about 90 students with 60 students
in-house, while some of the others have gone abroad to pursue further
studies in music.

Certainly, it was an event that
captured some inspiring performances from the students. The
performances by the MUSON Diploma Concert Band left one wishing that
orchestra pieces could be creatively incorporated as soundtracks in
Nigerian movies, the way it was done in foreign movies.

The band also performed in
accompaniment to a duet of ‘When You Believe’ performed by two soprano
soloists, Tobi Aregbesola and Tosin Abiodun. A Mozart piano duet,
‘Sonata in G Major’ was also rendered by two young men, Timothy Adesina
and Ayorinde Oladele.

Gentlemen’s Ensemble

We got a feel of the Negro Spiritual
when ‘Gentlemen’s Ensemble’, a group of 12 males, performed ‘Mary Had a
Baby’ by William Dawson (1899-1990), an African American composer and
professor. The ensemble also performed an ode to women titled, ‘Viva
Tutti’.

Aside from the impressive performances
of pieces by Johann Sebastian Bach, Titus Ogunyemi, and more, the MUSON
Diploma Orchestra added style to their act when the ladies in the group
turned out in stiletto heels with black hoses and fishnet stockings.

We saw a solo performance of the violin
accompanied by the piano by Evelyn Acquah and soprano Chika Ogbuji’s
solo performance of Mozart’s ‘Amore Un Ladroncello’.

Muson Diploma Choir

Away from the classic pieces, the
concert went indigenous, thanks to the Emeka Nwokedi-led MUSON Diploma
Choir; which had been selected by the International Society for Music
Education (ISME) to represent Africa and to perform at its 29th
conference in Beijing, China. They stole our hearts with their
heartfelt and arresting performances of ‘Una Hear Me So’, a song done
in pidgin about the need for unity among Nigerians and ‘Jehova Emewo’,
a piece in Igbo about the grace of God.

According to Nwokedi, who conducted the
affair, some of the songs were performed by the troupe in China earlier
in the year. The choir, which got the audience excited as they trooped
onto the stage in their green and white aso-oke attires, did other
songs; two of them South African.

The female performers of the Sax and
Drum also shone at different points, but notably during the very
entertaining live performance of Lagbaja’s ‘Feyin E’. Brief and leaving
one wishing it could go on, this performance was stellar.

“When we start the highlife tune, you
are free to dance wherever you are,” encouraged Nwokedi after the mass
choir, which included all those in the Orchestra and Band, had
performed Christmas tunes from Handel and Mendelssohn.

The MTN Foundation

The comments from Marion Akpata,
director of the MUSON School of Music, at the end of the concert were
on point. She drew attention to the contributions of the MTN Foundation
to the development and exposure of the students at the school.

The MTNF financed a trip for some of
the students to go to Germany to get training and certification as
Suzuki teachers of violin for young children. “Come any afternoon and
you will see our youngest musicians with their small violins seriously
training to master their instruments,” Akpata stated.

She highlighted some of the recent successes of the students, especially the ISME conference in China.

“Our success in the ISME performances
prompted the invitation from Nigeria’s ambassador to China, Ambassador
Wali, to return to [Beijing] to celebrate Nigeria’s Golden Jubilee
which we did in October, fully financed by the Nigerian Embassy,”
Akpata disclosed.

She revealed that it was difficult to
get sponsors for some of their activities and programmes in spite of
their successes. She then passionately appealed to the government and
private sector to support music and especially the schools that were
dedicated to training the next generation of musicians.

“Music is a veritable tool for human
development, information, education as well as entertainment and
national pride,” Akpata pointed out. She also canvassed the
establishment of an endowment fund for the school.

She described it as “A fund that could bring us closer to the day
when the MUSON School of Music will be the West African Conservatory of
the Performing Arts and offer degrees in music and the other performing
arts.”

Click to read more Entertainment news

Storehouse of talent at MUSON concert

Storehouse of talent at MUSON concert

The Musical Society
of Nigeria (MUSON), in collaboration with the Consulate General of
Italy, staged a Christmas concert on December 5, 2010 at the Agip
Recital Hall of the MUSON Centre, Lagos.

The event was
tagged ‘Christmas Concert with the Italian Artistes of BelCanto
Ensemble’. BelCanto Ensemble is Italian for ‘a little group’. However,
it was not just an Italian affair as it also featured some of the
MUSON’s finest acts: Tenor, Joseph Oparamanuike, and Contralto, Fatima
Anyekema.

Soprano singer,
Rosaria Buscemi, was the lead performer while the BelCanto Ensemble, a
group of four men playing the piano, clarinet, violin, and horn played
some pieces. Alessandro Vuono was on the piano; Antonio Arcuri, the
Clarinet; Francesco Clemente played the Violin; while Massimo Celiberte
played the horn.

Oparamanuike is
well established at the MUSON as a tenor and is a member of the
organisation’s choir. Anyekema is also a rising act at the MUSON where
she studied music for two years on MTN scholarship.

First half

The ensemble began
the show with a performance that saw each instrument contributing its
own peculiar sound. They were later joined by the petite but buxom
Rosaria Buscemi, who had an energy and presence that belied her frame.

She performed with
humorous, bold, and brash gestures that elicited chuckles from the
audience. There were operatic pieces from Giacomo Puccini, who composed
the famous Madam Butterfly aria, Gioacchino Rossini and Nigerian
Kehinde Oretimehin, among others.

Anyekema and
Buscemi did a hilarious piece by Rossini titled ‘Humorous Duet For
Cats’, while Ayekema did a solo performance in contralto.
Oparamanuike’s solo act, another Puccini number, was short and
melancholy.

Buscemi engendered
the mood of Christmas in Adolphe Adam’s ‘Cantique de Noel’. She came
back on stage with Anyekema and Oparamanuike. All three were spotting
comic-looking Santa caps. They performed ‘Stille Nacht’ (‘Silent
Night’).

Second half

After a 15-minute
interval, the ensemble came back on stage. This time, they did a lively
tune which could cause even the most unenthusiastic watcher to tap a
foot. It reached a crescendo, then stopped abruptly.

The next piece was
somewhat experimental. They moved from fast to slow, then lively to
melancholy. It was like the highs and lows of life; the dramatic, the
sad, the angry, the cheerful, and then the skip in one’s walk. The
performance could be termed ‘The rhythm of life.

Oparamanuike and
Buscemi’s duet ‘O Soave Fanciulla’ by Puccini seemed like a
conversation between two lovers. The woman was coy and resisted the
man’s touch. Finally, they came together in an embrace.

Oparamanuike and
Anyekema did a beautiful duet of ‘Meri L’Omo Aguntan’, a Yoruba Opera
version of the nursery rhyme, ‘Mary Had a Little Lamb’ – a piece was
written by Oretimehin.

Buscemi became the
petulant little Miss in Leonard Bernstein’s ‘Glitter and be Gay’, which
ended the concert, although the three performers did one last piece as
a show of appreciation towards the audience.

The Italian
Consulate was gracious enough to make the show free and the turnout was
fair. There were secondary school students who had come in their school
bus accompanied by their teacher to see the concert. If they were
students of music, then the show would have been an eye-opener for
them.

In a conversation
with NEXT after the show, Anyekema talked about her passion for
singing. “I started singing as a child and I had been singing in
church, but I began pursuing singing professionally in 2004 when I came
to Lagos,” she disclosed.

She was discovered
by Emeka Nwokedi, one of MUSON’s finest music teachers, who had heard
her sing. She is a member of the MUSON choir. For Anyekema, who had
been a contralto for four years, this would be the first time she would
be performing with international acts.

“The contralto is just a little lower than the alto. It’s a chest range voice,” she explained.

About Oretimehin

Kehinde Oretimehin,
who composed the Yoruba Opera, revealed to NEXT that he has a lot of
works, both solo and orchestra types. He blamed lack of sponsorship for
his not having many of the pieces performed.

“The problem is
sponsors. You need to pay for the orchestra, the hall, and other
things,” he said. He further revealed that some of his pieces have been
taken abroad by some foreign performers who have taken interest in
them.

You hear the names of great composers whose eternal pieces are still
being performed all over the world today and you are in awe. So when we
find one of our own who is also doing a great job, he should be
appreciated. The MUSON is a storehouse of amazing talent and potential
that should not be ignored.

Click to read more Entertainment news

Hot commentary from The MAMAS

Hot commentary from The MAMAS

That the MTV
Africa Music Awards is one of the continent’s biggest music events was
made apparent by the calibre of people that attended the award show on
December 9 – from media moguls like the Murray-Bruces and Tajudeen
Adepetu to showbiz impresarios like Keke and D1. There were also
celebrities from across the continent and some parts of the globe,
apart from those that were nominated and/or performed.

The event started
with the red carpet and cocktails that took place by poolside of the
Eko Hotel and Suites. It was a chance for the media and celebrities to
mingle. There were music and small screens on which the nominees’
videos were played. Guests were soon asked to move to the Expo Hall
where the main event was to take place.

Unlike most award
shows organised within the country, the MAMAs set itself apart as one
that was made for television broadcast. The countdown clock affixed to
the wall of the hall meant that the already rehearsed performances and
award presentations were not allowed to exceed their allotted time
slot.

However, a lot
more attention was put into the broadcast quality than the live event.
The speakers within the hall produced poor sound, especially around the
VIP area, leading guests to continually ask, “Who is performing? Whose
name just got announced?” Still, it held on to a party-like atmosphere,
with lots of screams from the crowd at the bottom of the stages.

The show opened
with an explosive performance by American rapper, Rick Ross, which got
the crowd singing along and waving their hands in the air. As usual,
there were a lot of group performances that cut across different genres
of music and featured various stars on the same stage. Among the
collaborations was a rendition of Banky W’s ‘Lagos Party’, featuring
South Africa’s Big Nuz, Angola’s Cabo Snoop and Paul G, and Democratic
Republic of Congo’s Barabara Kanam. Nigeria’s female rapper, Sasha, got
to perform alongside her American counterpart, Eve, who was also the
host of the show.

Tuface Idibia’s
performance of two of his songs ‘Only Me’ and ‘Implication’ was
show-stopping and crowd-inclusive. After rendering ‘Only Me’ on one of
the two stages, he was literally carried by the crowd to the second
stage where he performed ‘Implication’, backed by two ladies dressed as
sexy policewomen.

There were also
performances by American stars, T-Pain, Rick Ross, and Chuck D of
Public Enemy. Chuck D was also on hand to announce recipient of the
MAMA Legend award, which was awarded to Miriam Makeba who died in
November 2008. She would be the third posthumous recipient of the
award. Previous recipients were Fela and Lucky Dube.

Among other award
presenters were: ex-Super Eagle, Daniel Amokachi, who got on to the
stage to the cries of ‘The Bull’, a sound that was initially mistaken
for boos. D’Banj and rumoured girlfriend, Genevieve Nnaji, also served
as co-presenters, presenting the award for Artist of the Year to Tuface
Idibia.

In past editions
of the shows, the award categories and nominees list had come under
much criticism for putting artistes under the wrong genres and pitting
them against the most unlikely competitors. An example would be in 2008
when 9ice won against ‘The Game’ for Best Hip-Hop. This year, MAMAs
took a safer route by focusing more on geography, language, and overall
performance than genres.

As expected, ‘the
Nigerians’ took the highest number of awards with Mo’Cheddah winning
Brand New Act, P Square Best Group, Sasha Best Female, and TuFace
Idibia who went home with Artist of the Year and Best Male. Other award
winners included: Daddy Owen (Kenya) – Best Anglophone; Cabo Snoop
(Angola) – Best Lusophone; Big Nuz (South Africa) – Best Performance;
Liquid Deep (South Africa) for Song of the Year; and Fally Ipupa (DRC)
who, like Nigeria’s Tuface Idibia, was the only other artist who got
two awards, winning for Best Video and Best Francophone.

The show ended with the appearance on stage of all presenters and
performers after a ‘command performance’ of the song ‘Win’ by T-Pain,
Rick Ross, Da Les and Tuface. The “partying” however’ continued with an
after-party at popular nightclub, Tribeca.

Click to read more Entertainment news