Archive for entertainment

‘A Benin Coronation: Oba Erediauwa’ launched in Benin

‘A Benin Coronation: Oba Erediauwa’ launched in Benin

The book, ‘A Benin
Coronation: Oba Erediauwa’ written by Tam Fiofori, a columnist with
NEXT newspaper was launched at Oba Akenzua Cultural Centre in Benin
City yesterday.

Chair of the book
launch, Sam Igbe, the Iyase of Benin Kingdom,said that the Benins
should remain grateful to the author of the book for a job well don
which he said is an window to the past. He expressed satisfaction with
the River State-born author, who was raised in Benin City, for
capturing the events of the coronation of the Benin monarch 32 years
ago, describing it as a wonderful job.

The book reviewer,
Eghosa Osaghae, vice chancellor, Igbinedion University, Okada,
described the book as a timeless masterpiece. He said the book was a
vivid reminder of everything that happened during the coronation of the
Oba of Benin; going further to note that the book is not only about the
coronation, but is also about the history of Benin Kingdom. Osaghae
observed that, by compiling the pictorial book of the coronation which,
the author did himself, his family and the Benin kingdom a great
honour. Edo State governor Adams Oshiomhole, who was represented a the
book launch by the state commissioner for Local Government and
Chieftaincy Affairs, Victor Enoghama, described the book as one of
important and inestimable value to the state.

He assured the
photographer-author of the state government’s support, just as he
launched the book with the sum of N1 million. Tam Fiofori, who said he
regards Benin City as his home, described the book as a pictorial
demonstration of the Oba’s coronation. “I can call myself, a non-Benin,
a Benin boy,” he said.

He described the book as one with a lot of history behind it. He
also expressed his love and respect for Benin culture. “The book is to
re-affirm my love and affinity for the Benins,” Fiofori said.

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Women, subtitling and other film concerns

Women, subtitling and other film concerns

Subtitling and the
place of women in Nigerian movies were the main issues discussed at the
fourth plenary session of ‘Reading and Producing Nollywood’, the
international symposium on Nigeria’s movie industry concluded at the
University of Lagos on Friday, March 25.

The trio of
Onookome Okome, professor of English and Film Studies, University of
Alberta; Bic Leu, a Fulbright Fellow currently researching Nollywood in
Nigeria; and Duro Oni, Dean, Faculty of Arts, University of Lagos
convened the three-day meeting attended by players from all sectors of
Nollywood. There were three scholarly presentations during the session
where the topic, ‘Reading Culture, Women and Religion in Nollywood’ was
examined. Former Director General, National Theatre, Ahmed Yerima,
chaired the meeting while Executive Secretary, National Institute for
Cultural Orientation (NICO), Barclays Ayakoroma, presented the first
paper. It was titled ‘Giving Women Pride of Place in Nigerian Video
Films: A Critical Reading of Andy Amenechi’s ‘Egg of Life’.

Beyond decorative objects

Ayakoroma noted
that film scholars have always felt that women do not play significant
roles in Nigerian video films, especially the epics, which he
classified into three. “They are reflected more as decorative objects
in the palace…They are never part of the decision-making process in
the community; and they are never meant to argue, even if such
decisions are not in their interest,” he said.

The theatre scholar
however noted that Amenechi broke the mould in ‘Egg of Life’, which he
described as a female version of ‘Igodo’, a male epic the director had
earlier co-directed with Don Pedro-Obaseki. “It is more of a feminine
version of ‘Igodo’, probably in the bid to display gender sensitivity.
It is apparently in pursuance of the need to portray women as heroines,
capable of saving the community in times of need,” he further explained.

‘Egg of Life’ is
about seven maidens who undertake a dangerous quest to save the king’s
son and the soul of the community. They succeed eventually but it is at
great personal costs. Ayakoroma explained that the film gave women
pride of place because, “instead of the women sitting with their hands
between their legs, waiting for their husbands or sons to return from a
journey of redemption, they undertake the epic quest.” He added that
“the film posits that the feminine gender could assume leadership
positions and move the country forward.” The untranslatable Emmanuel
Adedun’s paper, ‘From Yoruba to English: The Untranslatable in Selected
Nollywood Movies’ generated a lot of reaction from the audience,
probably because of the scholar’s position. The lecturer in the
Department of English, University of Lagos, contended that English
subtitling of Yoruba films contain linguistic and cultural inadequacies
which causes a gap in communication with the audience. Adedun was also
of the belief that the low standard of subtitling in Nigerian movies is
due to lack of professionalism. Using slides from three Yoruba movies,
‘Ipile Wa’, ‘Apaadi’ and ‘Aba’ as examples, Adedun noted that there are
some chants, proverbs and incantations that filmmakers find
untranslatable in English.

He submitted that
as a result, there are communication gaps, misleading semantic
inaccuracies and embarrassing grammatical infelicities in a significant
number of Yoruba films. Adedun, however, did not fail to offer some
suggestions. He noted that cultural matters can and should be
communicated and that Nigerian filmmakers should pay attention to
subtitling. Adedun also recommended hiring of competent professionals
to subtitle; and the establishment of centres and institutes of
translation studies.

Igwe!

Olaoluwa Senayo’s
‘Igwe!!! Monarchy, Paradox and Cultural Passage in Nollywood: Some
Preliminary Notes’ centred on the portrayal of the republican Igbo
society as a monarchy in Nollywood movies. He argued that productions
have popularised the Igwe theme to the extent that Nigerians and others
erroneously believe that the Igbos are monarchical. Senayo, who
disclosed that the paper is part of an ongoing research and who used
‘My Kingdom Come’ as example, submitted that Nollywood has succeeded in
diffusing the concept of Igbo monarchy into Nigerian popular culture.

Beyond the ordinary

“Translation and
credit are areas people have not concentrated on. We are planning a
workshop for translators and people in Nollywood have to focus on
credits. The way their own names are spelt is an apology,” noted
Ayakoroma while reacting to comments on the papers. He also seemed to
suggest that subtitling is unnecessary, saying, “subtitling subtracts
from the viewing experience.” Adedun, who was taken up on his
dismissive comments, insisted that Nollywood has a long way to go with
subtitling. “Nollywood movies are content-driven, they are
message-driven, unlike Hollywood and Bollywood productions that are
action driven,” he declared. Though he agreed that there are
theoretical and cultural factors that guide subtitling, he insisted
that what currently obtains is not subtitling. Adedun who also admitted
the difficulty in translating chants and proverbs, urged Yoruba
filmmakers to strive “to go beyond the ordinary.” Director of ‘Tango
With Me’, Mahmood Ali-Balogun who attended the session with some of his
colleagues including Kunle Afolayan and Bimbo Manuel, defended
filmmakers against flaws highlighted by the speakers. He explained that
every frame in a movie tells a story and that language is just to help
the viewer. “Why subtitling appears to be problematic in Nollywood is
because movies are not well made,” he said, adding that things are
changing.

Ali-Balogun also commented on the negative portrayal of women in
movies. He explained that patriarchy is not the cause but that
“producers tell stories they want to tell. My own movies give women
voice. Most of the issues your papers are on are being taken care of.
Very soon, you won’t dwell on them.”

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Nigerian Idol finale: what went down

Nigerian Idol finale: what went down

The Nigerian Idol
finale was recorded last Saturday at the Dream Studio on Bamako Street,
Omole, Lagos. The pre-recording, which was compered by comedian Tee-A,
started with a musical performance by Reeta, a singer largely unknown
to the studio audience. She performed an untitled song that sounded
like a fusion of soul, pop rock and reggae. The CEO of Optima Media
Group, the producers of Nigerian Idol, Rotimi Pedro was then called on
stage to make a speech. He talked briefly about how and why his company
obtained the franchise. “The Idols franchise is a global brand and
Nigeria deserves to be part of it that is why we wanted the Nigerian
Idol and not something for West Africa or Africa,” he said. He also
mentioned that the Nigerian Idol website had up to 7.5 million hits
during the course of the show.

The CEO of
Etisalat, main sponsors of the TV show, Stephen Evans also came up to
speak. He thanked the co-sponsors – Cadbury, Sony and Pepsi – and
mentioned that his company would love to continue sponsoring the Idol
franchise in Nigeria as it is the biggest musical reality show in the
world.

As part of a build
up to the main recorded show, there was a performance by Kele Kele Love
singer, Tiwa Savage, who first dedicated the song ‘Natural Woman’ by
Aretha Franklin to the two finalists, before singing her own hit.

Sponsors Idol

Tee-A then invited
representatives from three of the sponsoring companies, Royal Exchange
Assurance, Cool FM and Etisalat to come and perform in what he termed
the Sponsors Idol. Royal Exchange Assurance was represented by the same
dance group that performed on their TV advert while OAP Joyce was
called up for Cool FM and a staff from Etisalat, Gerald represented his
company.

The dancers
re-enacted the same dance-routines from the advert before giving an
original performance which earned them loud cheers from the audience.
Joyce wowed the audience with an acapella version of ‘Heard it through
the Grapevine’ by Marvin Gaye; which she sang in her beautiful alto.
The loudest ovation, however, went to Gerald who brought the house down
with his rendition of ‘Hello’ by Lionel Richie.

Tee-A then
announced that Sponsors Idol was actually a serious one with a prize
involved. The winner as chosen by the studio audience would go home
with a 42 inch Sony Bravia TV Set. However, the audience was unable to
conclusively decide between Gerald and the dancers from Royal Exchange,
forcing Tee A to declare a tie.

Top 13

The main recording
eventually started with the usual introduction of the hosts Annis
Holloway and Misi Molu followed by the judges Audu Maikori, Jeffrey
Daniels and Yinka Davies. The Top 13 contestants on the Nigerian Idol
were then invited on stage for a rendition of the National Anthem. The
first guest artist for the main recording was Banky W who sang his
popular hit, ‘Strong Thing’.

Clips from the show
which focused on the whackiest of the auditioning contestants, and
bleeps by the hosts and judges playing silly were then shown, to the
amusement of the audience. The contestants apart from the two finalists
Yeka and Naomi then came on stage again to perform Black Eyed Peas’ ‘I
Got a Feeling’.

After their song,
host Annis announced that one of the Top-Thirteen, Ola had won the
Pepsi Idol. The Pepsi Idol was based on online votes on the Nigerian
Idol website. Along with the gifts which the general gift for all
contestants (iPads and boxes of Tom Tom amongst others), Ola would also
get to go on a trip to South Africa with the top three finalists, Yeka,
Naomi and Emma.

The audience also
got to watch a recording of a song written by one of the judges Jeffrey
Daniels in tribute to the victims of the tsunami in Japan. Prior to
coming to Nigeria, the former Shalamar bandmember had made his home in
Japan. The song titled ‘Nigeria cares-Nigeria to Japan’ was performed
by Annis Holloway, the Top 13 finalists and two other contestants, Toun
and Godson.

Christy Essien-Igbokwe

Then came a
performance by former Idols West Africa Winner Timi Dakolo who sang one
of his singles, ‘Heaven Please’. His emotive singing earned him a
standing ovation from the Idol judges and some members of the audience.
The biggest ovation of the night however went to the Lady of Songs,
Christy Essien Igbokwe. She was heralded by the two finalists Yeka and
Naomi singing ‘Seun Rere’, one of Ms. Igbokwe’s many hits from the 80s.
The sudden appearance of Igbokwe on stage caused the audience to scream
in surprise and then stand throughout the rest of the performance.

The last guest
artist for the night was former Project Fame contestant Praiz, singing
his own original song, ‘This is What She Needs’.

Yeka wins

Finally, it was
time for the finalists to perform. Yeka backed by fellow contestants,
Emma, Zoe, Chito, Nina and Aj, sang Whitney Houston’s version of ‘I’ll
Always Love You’. Next, Naomi backed by Alex, George,bibi, Ola, Tonii
and Glory sang, ‘Heal the World’ by Michael Jackson.

Jeffrey Daniels commended the two finalists, saying, “You two ladies
are superstars and nothing less than that. It’s been a great pleasure
having the opportunity to be judge for you and I wish you all the
best.” Audu Maikori declared that the moment was emotional for him,
adding, “It’s fantastic seeing people grow, and you will continue
growing.” Time finally came to announce the winner of the Nigerian Idol
competition, a job which compere Tee-A assigned to Stephen Evans as his
“heart was beating.” Mr Evans without preambles declared: “Yeka is the
winner.” At this point, Yeka knelt on the stage in disbelief. Cries of
“No,” could be heard from the audience as some yelled “Naomi is the
winner.” Despite these slight outbursts, the rest of the event
continued smoothly. Naomi after kneeling down to hug her fellow
finalist walked off the stage, as Yeka got up to her feet to make a
speech. The former Miss Abia thanked the judges, her fans who voted for
her and her vocal coach. She also exhorted the audience to “Follow
their dreams.” To close the show, Yeka sang a song which had been
written and produced by Jesse Jagz specifically for the winner of the
Nigerian Idol. After the song which was barely audible due to the loud
bangs that followed the release of the celebratory confettis and
balloons, Yeka Onka was presented with her cheque for 7.5 million naira
and thus the journey to becoming the first Nigerian Idol came to an
end.

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Goethe Institut opens on Lagos Island

Goethe Institut opens on Lagos Island

The German Cultural
and Information Centre, Goethe Institut formally opened its office at a
new location, Lagos City Hall, Lagos Island, on Friday, March 25. The
centre ceased operations in its former office on Ozumba Mbadiwe,
Victoria Island, Lagos in December 2009.

The City Hall
opening ceremony was well attended by members of the arts and culture
fraternity. Kathrina von Ruckteschell-Katte, Regional Head of Goethe in
Sub-Saharan Africa and the Consul General of the German Consulate in
Lagos, Walter L. von der Driesch, were also present. In the opening
address, Marc-Andre Schmachtel, director of the Institut, expressed his
gratitude towards all who graced the occasion and spoke briefly about
the new location of the institute. “I am happy that this is a place
that is very central. It’s a good location, lively surroundings with
good parking space,” he said. He added that if people cannot come to
Goethe, then Goethe has to go to them and this informed their choice of
the present location.

Determined to
continue with its task of organising and promoting cultural activities
in Nigeria, Schmachtel, disclosed that the institut has created a
webpage tagged ‘Live in Lagos’ where information about scheduled
cultural activities can be uploaded free of charge. The director also
revealed that the institute would be celebrating its 50th year in
Nigeria in 2012. Ruckteschell-Katte, who also gave a brief speech was
pleased that the institut is no longer homeless.

She reiterated the
determination of the Goethe towards pursuing its goals. “The goal of
the institut is to bring together African artists and foster
intercultural dialogue.” The Consul-General in his address said that
the Goethe Institut has been in Nigeria since 1962 and has achieved a
good reputation among Nigerians. “In addition, Goethe Institut provides
a comprehensive picture of Germany by sustainable information about
cultural, social and political life in Germany,” he said. “The institut
permits continuous cultural work and language teaching in a decent
environment.” After the address, the director of the institute took the
attendees on a tour of the new office.

The well spaced office arena includes classrooms and a library. A
small exhibition of paintings and installation art were on display in
one of the rooms at the institute. There were also musical performances
by highlife singer Orlando Julius and his band, Nigerian-German
songster, Ade Bantu as well as Germany-based Jazz singer, Chinaza.

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Kunle Ayo’s African guitar blend

Kunle Ayo’s African guitar blend

Kunle Ayo is a
welcome breath of fresh air in Nigerian-South African international
cultural relations. He belongs to the second wave of a prominent
minority of Nigerians who in the turbulent waters of South Africans’
seeming anti-foreigners-sentiments; have kept their heads high and
proud whilst contributing immensely in enriching socio-cultural life in
the Rainbow Nation.

Kunle Ayo is
definitely not as prominent and revered nationwide in South Africa as
the Nigerian academic-cum-actor and advertising pin-up, Kole Omotosho;
or his famous son Akin, the TV series-actor. Neither is he as popular
as Nigerian footballers like Idah Peterside and Okpara who became
household names and were hero-worshiped in the vibrant big-money South
African Football League. Nonetheless, Ayo is ‘creeping-up’ and growing
in acceptance. Musically, he belongs to the second generation of
Nigerians who have impacted the South African music scene, though with
a difference. In the eighties, Nigerian keyboards- star Gboyega Adelaja
was a member of music icon Hugh Masakela’s band that performed around
the world while producing international hit albums.

Kunle Ayo, a
guitarist, is more involved in becoming a recognised brand on the
current South African music scene. When Adekunle Ayodeji Odutayo got to
South Africa he discovered that the people could not pronounce his
surname, so he started using the new name of Kunle Ayo, “which is
easier for South Africans to pronounce” and “is becoming a household
name.”

Starting out

He picked up the
guitar in 1992 and started playing with Ebenezer Obey at Decross. He
played with the band in church, at shows and on Obey’s first two Gospel
albums. Ayo credits Niyi Adams, a multi-instrumentalist and the Musical
Director of the Obey/Decross band, for his own musical progress.
Between 1993 and 1996, Ayo took time out to study Accountancy at the
Federal Polytechnic, Ilaro. He went back to music, working with The
Compassion Band of the Little Saints Orphanage in Palmgrove, Lagos
owned by Dele George (wife of navy captain, Jide George); a source of
income for the Orphanage, raising funds by playing at dinner parties
and concerts. The other members of the Compassion Band were Bright Gain
on bass, Sam Ibe drums, Philip George keyboards and Uncle Dan as lead
guitarist. After three-year with the Compassion Band, Ayo joined
Lagbaja in 2000; he toured Europe and Brazil (2002) with the masked
musician.

The guitarist
embarked on his own album project in 2002, and went to South Africa for
its finishing and release (Universal SA). He describes this first album
as “instrumental Gospel tunes because of my influences. My father is a
Reverend who relocated to the U.S.A. in 1991 and is back in Nigeria
now. The album was heavily gospel but instrumentally jazzy and South
Africans liked it!” His second album, ‘Beyond the Borders’, won the
2004 KORA Award for Best Male Artist from West Africa. Femi Kuti won
the same award in 2003.

Kunle Ayo describes
his music as, “very jazzy, very soulful and very youthful. A fresh
sound people really enjoy.” He went to South Africa, “because of the
long and huge jazz tradition there.” He is definitely right about that
country’s long and outstanding jazz tradition that has produced
international stars like Dollar Brand, Dudu Pukwana, Johhny Dyani and
Louis Moholo, to name just a few.

Ayo further
justifies his move south by asking, “In Nigeria these days, how many
[artists] are jazz musicians that are big? It’s more of hip hop than
jazz.! Know your Jazz

So, how can
Nigerians come back to jazz? “By educating the media to know what jazz
is about. Before you say you want to write about jazz, what do you know
and what do you want to know about a genre of music that is sacred and
unique? Jazz is the mother of all musical genres. Unfortunately in
Nigeria, jazz is also connoted to mean going to a juju or medicine
man!”Ayo replies.

What can Nigeria
learn from South Africa in the sphere of music? “Too much. First, is
the love of art as a form of expression. To know how to appreciate the
art form of music and being able to improvise on it,” Ayo explains,
adding that “South Africans love their own people. They have a word,
ubuntu, which means humanity; human enough to tolerate others. South
Africa doesn’t necessarily have a lot of nightclubs. However, the
system enables people to function easily. You can stay at home and hear
good quality music on the radio. The deejays on the radio stations will
go look for great music old or new in all genres. And when you go out…
you will find… live music you will enjoy. In Nigeria people want the
musicians to play what they know.”

Best of Both Worlds

Was it easy to
break into the South African music scene? Kunle Ayo is quite candid.
“It wasn’t easy. I had my days of being seen as a foreigner. People
didn’t understand my music. Where is he from, they would ask. Nigeria
doesn’t have a great name in South Africa because the first Nigerians
that went to South Africa were into drug dealing. It wasn’t easy but
because of my passion and tenacity I kept on and over time they started
listening to my sound.” How was your sound different? “I write Yoruba
songs and Yoruba melody. Melody is influenced by your area and what
type of music you listened to. I grew up and lived in Lagos, so I had
to adjust to their sounds in South Africa and fused them with more of
my own. This is what I have achieved in my new album, ‘Best of Both
Worlds’.” Who are Kunle Ayo’s favourite guitarists? “People like George
Benson, Pat Metheny, Earl Klugh, Jonathan Butler, and Norman Brown
helped me find my voice.” What about style? “My style is crossover and
heavy fusion. I can play juju music like Ebenezer Obey, smooth jazz
like George Benson and bebop jazz like Wes Montgomery. I am a junkie
for speed on the guitar, and because of that, I like Montgomery and
Benson a lot. I also like a little of Jimi Hendrix and getting to know
more of his music.”

Kunle Ayo was in Nigeria recently to play at the Lagos Polo Club
with his Nigerian band, “offering quality music” as he put it. Whilst
here, his cover version of Joromi enjoyed a lot of airplay in the
run-up to Victor Uwaifo’s birthday. He believes the Nigerian music can
move forward and progress. “Our boys are trying hard and I hope they
will take serious music seriously and with passion.” Meanwhile Ayo,
unquestionably a good guitarist strives at jazz concerts and on records
to be a deservedly great and original guitar voice.

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EMAIL FROM AMERICA: The poet lives in us

EMAIL FROM AMERICA: The poet lives in us

As someone who thoroughly enjoys reading Nigerian poetry, let me just observe that several of our new poets are timid holdovers from the Soyinka-Okigbo era; that era that Chinweizu famously derided as unreadable and obscurantist. Such an uncritical adherence to that era ignores the fact that even as oblique as their works were, Soyinka and Okigbo were truly relevant to the times in at least one sense. They spoke in decipherable code to their fellow intellectuals (some of them in uniform) and the intended audience listened closely. Soyinka has many seasons of incarceration to show for the effectiveness of his poetic rage. Okigbo died carrying his message.

An uncritical adherence to a Eurocentric approach has the unintended consequence of isolating our best voices, and assigning their songs to a pantheon of obscure mediocrity. On behalf of our long-suffering people, I would like to urge a return of voices to the true songs of our people. Africa cannot afford the consignment of its griots to the barracks of the unreadable. How does the poet become truly relevant to the yearnings and anxieties of our people?

Soyinka, Gabriel Okara, Okigbo, these poets spoke to the oppressors in the language they understood. Our new oppressors do not understand the complex nuance of the type of poetry that many of our poets seem to favour, that pass the smell test in the West. And if therefore they do not read our poetry, when will they hear the clanging of the chains around our people’s necks? Which begs the question again: What are our poets living for today? It is about seizing opportunities. Our lands lie devastated, enduring rape upon rape. Our poets stare stunned, in disbelief and in shame, because, this time, their voices have been drowned in shallow pools of self-absorption.

Word to the poet: turn your poems into songs of freedom, and let your songs morph into weapons of war. We are at war, what are you doing stringing together incoherent sentences? The poet lives, breathes in all of us. And as Soyinka would probably say it, the poet dies in all who keep silent in the face of tyranny. Let us honestly define the difference between poetry and unadulterated drivel. The consumer is the ultimate arbiter of what good poetry is and what is painful to the eyes. But I miss the haunting lyricism and imagery of poets like Okogbule Wonodi. Hear him sing to me: “But we have poured more wine/than the gods can drink/more than the soil can drink/and have become outcasts/dispersing the fishes/for which the baskets are laid/and the fisherman did not like us.” [Okogbule Wonodi, Icheke: IV] Is Wonodi a bad poet? I would never know. I hope that there are many more bad poets where he came from. I come from a land of simple people who hide deep meanings inside simple words. One has to listen carefully to my people to get the insult or the accolade. I look for those kinds of poems to enjoy. Freed from the stifling confines of classrooms, I have taught myself to only pay for that which my heart seeks. If a poem turns out to be what the acerbic reviewer Randall Jarrell refers to as giving “the impression of having been written on a typewriter by a typewriter,” I will simply move on quietly to a more worthy pursuit. Our poetry is not dead; it just needs packaging.

Thriving societies of thinkers and doers look at their world and they see visions of possibilities and they say, why not? We have inherited a culture that celebrates customs as sacrosanct, and the past poses as the present tense. The great societies take their best thinkers and exhort them to think, no, dream of a better world, and worry about the constraints later. Every day, we lose our tenuous grip on our continent; I think we are going to drown in the syrupy fluid of Western customs and traditions.

In the beginning there were walls. And in the beginning walls defined every being and everything. The Berlin Wall is no more and poets lament the coming of the new dispensation. Except that the new dispensation is not new; it is here. Books are dying, poetry as we know it is limping on life support and prose is hawking her wares in obscure literary journals like a junkie in need of a fix. But the world lives, life goes on and ideas continue to rock our foundations. In the seeming irrelevance of the written word, the poet lives. Poet, do not cripple your voice with silly little sentences that make sense only to the terminally drunk. I say, speak up, don’t stutter. Straighten up and lift our people’s dreams on the strong backs of your strong voices, and carry them through to the deaf myrmidons of darkness who live beyond the valley of darkness, past the hills of decadence. And sing it; sing it for a people long used to the silence of her priests. The poet lives. The poet lives in all of us.

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Bad night for Nollywood as Viva Riva sweeps Africa Movie Awards

Bad night for Nollywood as Viva Riva sweeps Africa Movie Awards

Congolese film,
‘Viva Riva’ has beaten features from across the continent to win Best
Film at the 2011 Africa Academy Movie Awards, held Monday in Yenagoa,
Bayelsa State. Nigerian films were left floundering as movies from
Congo, South Africa and Ghana won multiple awards in various
categories. ‘Viva Riva’ was the top film of the night, winning AMAAs in
six categories including: Best Supporting Actor, Best Supporting
Actress, Best Cinematography and Best Director.

A gritty
rollercoaster of a film set in Kinshasa, ‘Viva Riva’ tells the story of
a criminal who intercepts a lucrative consignment of fuel during a
shortage, and the ruthless Angolan gang hot on his tail. Patsha Bay
Mukuna, who played the charismatic Riva, attended the AMAA ceremony,
alongside the film’s Best Supporting Actress winner, Marlene Longage.
Accepting the Best Film award, producer Boris Vanglis said, “It’s a
historic moment for us. This is the first film in Congo-Kinshasa in 20
years in Lingala (language).” He paid tribute to the vision of the
director, Djo Tunda Wa Munga, said to be away in Europe promoting the
film. ‘Viva Riva’ has wowed audiences at international festivals and is
now set for release in Britain and America.

Another big AMAA
winner was ‘Sinking Sands’, a Ghanaian film written and directed by
Leila Djansi. It got awards in three categories including Best Actress
for UK-based actress, Ama K. Abebrese. A story about domestic violence
and love gone sour, ‘Sinking Sands’ also stars Haitian-American actor
Jimmy Jean-Louis, a Best Actor nominee. Accepting the Best Screenplay
award on behalf of Djansi, Jean-Louis urged for more collaboration
between African moviemakers, noting that ‘Sinking Sands’, though a
Ghanaian film, used actors and crew from several countries including
Nigeria, Britain and Germany. A major presence at the ceremony, Jimmy
Jean-Louis featured in at least four films nominated for this year’s
awards. The African American actor, Nate Parker (‘The Great Debaters’),
also attended the awards.

Showing Nigeria pepper

A number of South
African films including ‘Izulu Lami’ (Best Film in an African
Language), ‘Hopeville’ (Best Actor, Themba Ndaba), and ‘A Small Town
Called Descent’ – featured strongly. Receiving one of the first awards
presented on the night, a South African filmmaker jokingly promised
that her country would “show [Nigeria] pepper”. Much later, she was
able to boast, “I told you earlier that South Africa will show you
pepper.” Another South African film, ‘Shirley Adams’, won the
Achievement in Sound as well as the coveted Jury Prize, for being the
kind of movie “that doesn’t come along all the time,” according to
juror, Ayoku Babu.

Nigerian filmmakers
were left subdued as the night wore on. Only the Yoruba language epic,
‘Aramotu’ put up a decent showing, winning two of the six categories it
was nominated for. Directed by Niji Akanni and produced by Femi
Ogunrombi, ‘Aramotu’ won for Best Costume and was crowned the Best
Nigerian Film of 2011. Accepting her award, the film’s costumier Toyin
Ogundeji said, “I want to thank my mother who was the repository of all
my search in costume.” ‘Mirror Boy’ a film set in The Gambia but
written and directed by Nigeria’s Obi Emelonye, fetched the Best Young
Actor award for its star, Edward Kagutuzi, a UK-based actor of Ugandan
origin. The high production musical, ‘Inale’, was rewarded for Best
Soundtrack, won by Bongos Ikwe whose award was picked up by his
daughter and the film’s producer, Keke Bongos.

Erratic Jim Iyke

A major minus of
the award ceremony was the erratic behaviour of the show’s
co-presenter, Jim Iyke, whose cringe-worthy performance included
homophobic and sexist remarks. At one point, he told co-host, actress
Nse Ikpe-Etim to “shut up.” When in onstage banter he asked her to come
to his room later and she asked what for, he replied, “You’re a Calabar
girl, you should know, now!” Forgetting he was in front of an
international gathering of the liberal arts for a show telecast live on
Africa Independent Television (AIT), Iyke had earlier gone off on a
tangent about gays and their “weird” ways. “There is something wrong.
It’s just wrong.” It was left to Ikpe-Etim to say, “Okay, that’s
enough. I must apologise for my colleague. There is nothing wrong with
being happy.” But she could only smile powerlessly as the actor’s
behaviour degenerated further onstage, reading his notes with dark
shades on; and ranting about anything from an ill-timed defence of
Omotola Jalade-Ekeinde’s weight to women “popping pills” to stay slim.

The speeches

In his speech at
the ceremony, the governor of Bayelsa State, Timipre Sylva, called on
African filmmakers to tell positive stories about the continent.
“Africa today cannot be portrayed as the dark continent,” he said. The
governor added that the “horrendous impression” created about Africa by
the West, should be resisted.

Presenting the
award for Best Visual Effects, filmmaker Kunle Afolayan canvassed for
more support and corporate sponsorship for AMAA. “We should give [AMAA]
all the support and we should embrace it. This is the only platform
where African films can be appreciated all over the world,” he said,
giving testimony to the impact of the awards on his own career since
his multiple wins in 2010 for ‘The Figurine’. The award ceremony
featured performances by music stars including Tee Mac and his 10-piece
band, Wande Coal, and the South African group, Malaika. Another
performer, the hip-hop act, Doctor Sid, revealed that he is the son of
Nollywood actor, Justus Esiri. Thousands attended the awards, held at
the Gloryland Cultural Centre in Yenagoa. 320 films were submitted from
all over Africa for this year’s awards. 180 of these were features,
from which the Jury selected 30 for nominations. “We received a
stunning range of film – films that tell us moviemaking is alive and
well in Africa,” said juror, Keith Shiri, who represented the Jury
Chair, John Akomfrah.

CEO of the Africa Movie Academy, Peace Anyiam-Osigwe, pleaded with
corporate organisations in Nigeria and across Africa, “Take us
seriously. We are the reason Africa’s perception is changing. The
positive thing coming out of Africa is Nollywood. I need my industry
taken seriously. I need piracy wiped out.” At a press conference with
the AMAA jury earlier in the day, Anyiam-Osigwe had told Nigerian
filmmakers who like to snipe about not winning, “If your film does not
win, it didn’t win because it’s not good enough.” It will be food for
thought for Nollywood practitioners as they mull over their poor
showing in the seventh annual AMAA awards.

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NON-FICTION: They call me Alhaja

NON-FICTION: They call me Alhaja

My father’s people call me Alhaja It’s the same name they called my grandmother who died when I was four.

When she returned
from Mecca, she earned the society’s credentials for a Muslim woman who
has been on pilgrimage to the joint capital with Riyadh, Saudi Arabia.
A man would be called Alhaji.

Grandma returned
from Mecca with a golden tooth and wore a golden skull cap made of wire
mesh on her head, before she tied her gele on it, before she headed for
the market where she was a woman leader. She carried me by strapping me
on her back. Well, I could walk, but she preferred that I didn’t. This
is what I always remember of her. It is the other things that they say
about me and her, that I don’t. And for this reason, I desired to know
how I earned her name. And this is because, for a long time, it did not
occur to me that my grandma could have a name other than Alhaja. It did
not matter that her mate – her best friend and my step grandmother –
was also called Alhaja, which we differentiated it with a prefix Elepo,
as she, sold palm-oil.

Now, as a grown-up,
I have come to understand that every Yoruba Muslim family has its own
Alhaja, and where there is more than one person of such appellations,
relatives distinguish them by locations – Alhaja Surulere or Alhaja
Ibadan; or even by size – Alhaja Small or Alhaja big.

I earned a name
from grandma – and I did not have to be a Muslim or take a trip to
Mecca to get that. For typically, as a Yoruba, should I have needed to
get respect for coming back as her, I might have borne names like
Iyabo, Yewande – a reincarnated mother – should I have waited until her
death to be born. Yet, I am treated as a reincarnate. Things like extra
chicken where the others get one, lots of gift, and a blossoming
relationship between Father, who sees me beyond his daughter. I was his
mother. So I can always walk up to him and talk of the others’ domestic
shortcomings. I was a mouthpiece for anyone in my home that could not
approach my disciplinarian father.

A change occurred.
One of my aunts visited my parents, whom I still live with, and patted
me on the back – again. Then her hand fondled my chin – embarrassing me
into self-consciousness now that I am a matured woman. She rendered a
brief panegyric – originally my grandma’s – and lots of prayers on
advancement, prosperity and opportunities. Then she said as she left,
‘Alhaja, my mother, take care of your father.’ Ok. There’s a problem
here. (I didn’t tell her that bit). Her parting propped up a decision
in me. I decided to remember or assume how my name change occurred. It
would perhaps make a definition of my duties as a batoned grandmother
easier.

Again, my decision
is borne of the fact that I feel like someone who has borne another’s
name for too long, and not even with benefits of sharing the
responsibilities that should come with it. Should there be need for
any. And so I impressed it upon myself to assume a mental
responsibility of being a big aunt, mother or cousin to my paternal
relatives, allowing my quiet to inhabit the grandeur of that space of
deference which I am accorded.

Nothing mattered
for a while, until recently, when a friend, flipping through my photo
album, remarked about how much I look like my late grandmother. Again I
picked up a photograph of the woman and pictured the nose, flamboyant
at the extremes, yet it would not pass as the typical African nose. It
was too small. Her lips, full as mine, would not curve towards the
chin; hers was spread into a smile – perpetual. Her eyes, even in the
black and white photograph, were intense and questioning. What colour
were her eyes. Mine are deep brown, under the lights, and they are like
sundials with chocolate spread. I looked deeper. The picture wouldn’t
tell.

My grandmother’s
love grew out of the stories I heard concerning my fondness for her.
Fondly, mother would express how she died, ‘a good death’ – in her
sleep. ‘She went to the market and slept.’ Her death did not amount to
much performance. She lived, and then died.

Father, an only
child to his mother, would sometimes look at me with a smile afloat on
his face. Finally, if in a too-light mood, he would tell me how I would
sit, sleep, and eat with her when I was younger. ‘No one could take
your hijab from you,’ he said. ‘You really loved her.’ ‘I did?’ ‘And
every weekend we knew we had to take you to stay over at her place.’
‘At grandpa’s house, abi?’ I smiled at that. The house in question was
my grandfather’s. I grew up knowing the place as the ‘Sallah house’ (Id
el kabir). Many years after, grandma died, my father still celebrated
Sallah on her behalf, calling the mosque to say prayers on her behalf
and afterwards there was so much fried meat for the children to eat.
Yet, I could not remember this Alhaja whom I looked so much like.

‘What did I do when
she died?’ ‘Well you cried.’ ‘Just cried?’ ‘Yes. Or what else would you
have done?’ Crying was alright, but there was a part of me that trusted
that I could have done something else.

So I became again,
that four-year-old, whose beloved is lowered into the earth, holding
the edge of her mother’s dress. Crying? Just crying, could not be
alright, if I really loved her and became her. Then, I wondered if it
was a divine plan at the time to understudy her before she died. It
didn’t work out. I am a writer. I didn’t turn out a trader.

Perhaps in death,
people will wonder aloud, how death took away a kind-hearted and
helpful human. Until then, I explored the realities, which showed me
that understudying her did not work out.

Perhaps before
then, I was there besides her when she died, pulling her rigid body to
wake for prayers, at dawn? The mosque calling for prayers and the rush
of a tenement building – scrambling, screaming and stifled shouting.
But what did I do after that? My mind could not pull through, I let it
pass.

Father said I was
at home with them when she died. That someone brought the message to
them and I was in the living room with everyone else.

So I imagined a
great scream from my mother once some-somebody came to deliver the
message. Her cry halted the teasing from my two elder brothers. We all
stilled, unsure of what happened. Perhaps, at the time, I was hungry.
My brothers understood that something was wrong with grandma, but I
didn’t. So I waited for everyone to calm down and I acted normally, but
the people around me didn’t. They petted me, cuddled me, offered me
help….

Perhaps the next
morning, mother would not leave the kitchen. Her younger and elder
sister – both known as big mummy to me, stayed with her. Then my aunts,
uncles and some other people whom I had never met came to see my
father. Not one along kokoro, biscuits and go-go sweets, like grandma
always did when she came for a visit. They patted me on the back and
sat close to my father. Fondled my chin, one after the other. Then a
family meeting began – loud, whispers, cries and again talks.

Between, their talks. Food was served. It was not a party, but a lot of people around.

Perhaps a part of
me, said: ‘something is amiss. Grandma is not a part of the meeting. So
I walked outside, and hoped to see grandma, who would arrive with the
usual delicacies.

I remained outside, until, the visitors came out one after the
other, patting my head and smiling kindly – than normal to me. One
after the other, they gave me her name, ‘Alhaja…’

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STUDIO VISIT: Aisha Augie-Kuta

STUDIO VISIT: Aisha Augie-Kuta

Why Art?

Art allows me to express myself and also inspire others in more ways than one. I can show people exactly what I see in a way that I compose it because sometimes people select only what they want to see; I am therefore able to focus on issues that mean the most to me and to my society.

Training

I studied Photojournalism as one of my undergraduate courses in Mass Communication. I picked up skills in film photography and darkroom techniques. I have mostly been self-taught in the digital era of photography, studying online, practising a lot and also learning from a few of my mentors.

Medium

Photography (Film and Digital).

Influences

My father got me my first camera as a child. I had seen black and white images by Sunmi Smart-Cole then and I had dreams to have my own. My uncle got me my first professional SLR film camera in 2003, a lot of change in technology and a few cameras later, I still get influenced by them and the work of many other photographers; too many to mention.

Inspirations

Time is my main inspiration. Every second is gone forever so I feel the need to document as many of those seconds as possible. Once time is captured, it can never be taken back. It never stops but we can look at the images and remember things exactly as they were (for images without photo manipulation). We enjoy the memory, try to change how we felt about the time it was taken or look up to it.

Best work so far

I was part of a project that supported cancer awareness and fundraising. It may not have been my best work in artistic terms but it was my best in terms of giving back to society. It felt good knowing that I could help in my own little way. The images were not gory in nature but they drove the message home to the people who saw them. I also love my aerial photography series of Abuja and Lagos, they make the cities and the people seem so small and fragile.

Least satisfying work

I’m not yet fully satisfied with my documentation of Nigerian cultural festivals. So far I’ve documented the Eyo festival, Osun-Osogbo festival, Durbars in Kano, Zaria and Niger, Argungu and the more modern carnivals but they do not seem to be enough. I want to get at least 5 more which includes the new yam festival and the not so popular others. I’m seeing it as a full body of work so I won’t get satisfied until it is complete, God willing.

Career high point

Every exhibition I’ve had has been a high point for me but this year, winning The Future Award for ‘Creative Artist of the year’ sealed it. It was pleasing to know that my peers and others felt that I was good enough to be nominated but winning made me feel highly appreciated and grateful. I now want to do so much more.

Favourite artist living or dead

I love different artists for different reasons. Selecting just one is impossible for me.

Ambitions

I want to inspire as many people as possible with my work; right now, tomorrow and eras after. I would love to encourage the Nigerian woman to try to be the best she can be and tell as many of our stories as possible through my photography.

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Documenting her life

Documenting her life

Old age has not
diminished Rhoda Omosunlola Johnston-Smith’s productivity. She is still
writing at 86, even without being able to use a computer, preferring
her trusted pen and paper instead.

It was encomiums
galore for the grandmother on Thursday, March 17, at the public
presentation of her autobiography, ‘Richly Blessed’ held at NECA Hall,
Agidingbi, Lagos.

With 30 published
works and 9 yet to be published, Johnston-Smith’s works are drawn from
her life experiences and range from cookery books including ‘Miss
Williams’ Cookery Book’ (published in 1957), to books on home
management, short stories, hymns and songs.

Apart from writing
in English, the octogenarian, who trained as a Home Economist, also
writes in Yoruba. Her ‘Ise Awon Iya Ati Baba Nla Wa’ (The Occupation of
Our Forefathers) won her publisher, Longman, the NOMA Award for
Children’s Literature in 1983.

Her effort at
preserving Yoruba culture is also evident in works including
‘Traditional Yoruba Greetings’; ‘Uncommon and Special Yoruba Names’;
‘Yoruba Etiquette Good Manners’; ‘Yoruba Proverbs and Their English
Equivalents’; “A Treasury of Yoruba Proverbs -The Wits and Wisdom of
The Yorubas’ and ‘Ire’- (Blessings).

Johnston-Smith’s
works of fiction include ‘Iyabo I’ and ‘Iyabo II’ written in Yoruba;
while she offers insights into her life in ‘Never a Dull Moment’,
‘Thanking God at 75 Glorious Years’ and ‘Counting The Roses Not The
Thorns.’

Facing the sun

To share in the joy
of her latest exploits, were family and friends including head of the
Interim National Government, Ernest Shonekan, the first military
governor of Lagos State, Mobolaji Johnson, and former deputy governor
of Lagos State, Sinatu Ojikutu.

The book, according
to the reviewer, Gbemi Smith, enjoins all to “face the sun and never
see the shadow.” She added that ‘Richly Blessed’ is very witty, chatty,
and easy to read. However, she wasn’t happy with the binding which she
noted “could have been better.”

Amongst others,
‘Richly Blessed’ dwells on the author’s life as a young girl growing up
on Lagos Island and her privilege in being a student of the late
Premier of the Western Region, Ladoke Akintola, in secondary school.

It also mentions
how she fled to Paris instead of buying a sewing machine after
completing her training at Gloucester College of Domestic Science, UK;
the death of her first husband in 1970, and her second marriage to a
widower, Oladokun Smith.

Persevering spirit

Chair of the
launch, Kehinde Smith, commended the author for her perseverance. “At
Mama’s age, most people will decline to write, but it seems her own
capacity is on the increase. One does not write memoirs on nothing.
Mama has achieved a lot in her life and most especially, she has
touched many lives.”

One of the special
guests and wife of the Alake of Egbaland, ‘Tokunbo Gbadebo, recalled
Johnston-Smith’s winning of the NOMA Award for Longman in 1983 with
‘Ise Awon Iya Ati Baba Nla Wa.’

Femi Williams, a
relative, decried the non-recognition of the author’s achievements by
government. “What sort of country are we in that this author is yet to
be given a national honour?” he asked. He added that, “The quality of
her work is quite fantastic,” and disclosed that ‘Miss William’s
Cookery Book’ was a major determinant in his dating a preferences as a
young man. Williams enjoined women in gender based organisations to
push the author’s feat to the forefront for necessary recognition by
the government.

The chief launcher,
Charles Oladehinde Richards, said “after the Bible, this book is the
next book I honour” and urged everyone to get a copy.

Blessed on all fronts

In her remarks at
the occasion, Johnston-Smith disclosed that it was her late son that
asked her to write the autobiography. This is in spite of other
publications that already contained sketches of her life. “Dare is not
here today to see the end of this book but he read part of it,” she
said.

The author added
that ‘rich’ in the title of the book is not monetary but that, “I have
been richly blessed in many ways. Of course, I have had even darker
moments in my life but I feel very richly blessed despite the ugly and
painful deaths, accidents, and traumatic ups and downs.”

She later disclosed
in an interview that most of her writings were initially private and
meant for just her children and grandchildren. The idea of publishing
them came subsequently and she was further inspired by a book given to
her during her 80th birthday.

Thanks to the gift, she discovered that a missionary of her age had written over 100 books.

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