Archive for entertainment

Erediauwa book for launch

Erediauwa book for launch

A new book on the
1979 coronation of the Oba of Benin is set for launch later this month
in the Edo State capital. ‘A Benin Coronation: Oba Erediauwa,’ will be
presented to the public at the Oba Akenzua Cultural Centre in Benin
City, on March 30.

The 200-page coffee
table book is a pictorial written by veteran journalist, photographer
and NEXT columnist, Tam Fiofori. It documents the historic images shot
by Fiofori during the coronation ceremonies held between March 23 to
30, 1979, to install Oba Erediauwa onto the throne.

The book also
includes writings on the position and role of the Benin dynasty,
spanning over seven centuries. According to event organisers, the
launching of the book, which has received the blessing of the
traditional ruler, will be launched in commemoration of the 32nd
anniversary of his ascension to the throne.

Sun Art, which published the book, is working in collaboration with
the Benin Traditional Council to make the event a successful one, just
as they hope to attract international attendance and attention to the
gathering. Some of Fiofori’s images from the coronation have previously
been exhibited in Lagos, Abuja and in the Benin Palace.

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Zilayefa’s choice

Zilayefa’s choice

Kaine Agary’s
‘Yellow Yellow’ has a captivating title. It leaves you wondering what
it is about if you haven’t read the book. The story on the other hand
kicks off from the very first chapter. The reader is led into the plot
of the book from the start, and is not left wondering what the story is
about. ‘Yellow Yellow’ parodies the critical issue of crude oil in the
Niger Delta region. There is oil spillage on hectares of land in
Zilayefa’s village, caused by the vandalism of oil pipelines.
Zilayefa’s mother is also affected and she loses her means of income to
this.

Zilayefa, the
progagonist through whom the events are seen, is an innocent young girl
until she leaves the village. She is called ‘yellow yellow’ by everyone
in the village because of her complexion, which isn’t much of a
controversy until she goes to the city. She is of mixed heritage, born
to an Ijaw mother and a Greek father. She does not know much about her
father except that he was a sailor who came to Nigeria and left her
mother high and dry.

In search of a
better life and what she calls ‘freedom’, Zilayefa leaves for Port
Harcourt, but the city is not all it is cut out to be, as she soon
finds out. Although she lives a comfortable life with Sisi, she is
surrounded by the constant fear and poverty of the Abacha regime. She
is also faced with the controversial issue of her skin colour and is
considered different. Those with this type of skin colour are called
‘born-troways’, ‘African profits’, ‘ashawo pikins’, ‘father–unknowns’
and other such labels. And she is definitely no exception. She speaks
of the discrimination against her colour thus, “I came to understand
that people had preconceived notions about others of mixed race, they
thought we were promiscuous, undisciplined and confused.” Now away from
the watchful eye of her mother, she starts to date a much older man;
Retired Admiral Alaowei Amalayefa is old enough to be her father. She
seems to enjoy the attention of this older man who is like the father
she never knew. However, all the doting love stops when she gets
pregnant. Reality dawns on her and she has to continue with her life by
ending that of her unborn child. ‘Yellow Yellow’ is not only about
Zilayefa. Rather, her story is cleverly intertwined with other
interesting issues, one of which is the political situation of the
country. The background of the novel is obviously the military regime.
Zilayefa speaks of an ‘unpredictable leader’ and a democracy where
there is only one candidate running for the post of president.

Another issue worth
mentioning is the Niger Delta crisis. The main event in the first
chapter says something about this. After the oil spillage on her farm,
Zilayefa’s mother along with others makes complaints to the village
head, Amananaowei, who seems powerless to do anything about the matter.
The victims are not compensated and the vandals are not apprehended.
This parodies the nation’s corrupt system where justice does not
prevail.

Zilayefa speaks of
justice thus: “People did not call the police to settle disputes, and
even when they did and a matter was charged to court, there was so
little confidence in the fairness of justice that very few waited for
the court’s decision…”

Agary successfully
describes the hustle and bustle of city life in Port Harcourt in the
‘90s, a milieu with its fair share of mixed race residents. They were
the aftermath of the relationships between white businessmen and local
women. The white men left for their countries as soon as their business
was completed. The Nigerian woman was then left alone to bear the
burden of the products of their relationships. Thus a notion was
created around the children, that they were the product of ‘ashawo’
mothers who were looking for greener pastures with white men. And
indeed some of them were, as the Zilayefa vividly describes the
situation.

“I could find my
way to a place like Bonny, the base of expatriates working for the oil
companies, and sell my body to a whitey.” This is a portrayal of the
fact that the white expatriates in the Niger Delta region are sought
after for a means of livelihood. What is also clear, is tht the women
are forced to do this because of the economic situation they find
themselves in.

Agary writes about
the Niger Delta from a feminist perspective. This is almost unusual,
considering that most of the writing about this region is about the men
and their plight. Agary portrays the woman as being exploited at home
and in the society at large. The narration of the novel is very simple
and not fantastic. However Agary’s use of Pidgin English and Ijaw makes
the narration more compelling to the reader. The novel has an
interesting story except that it seems to end on a rather dull note,
failing to live up to the promise at the beginning of the novel. The
reader is left wondering what happens next.

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Mercy Misunderstood

Mercy Misunderstood

Nollywood Actress,
Mercy Johnson, first graced television screens in 2004 when she starred
in Kenneth Nnebue’s ‘The Maid’. Portraying a possessed maid in a
wealthy household alongside already established acts, Eucharia Anunobi
and Clem Ohameze, the Kogi State born actress garnered attention for
herself afterwards. With the film going ahead to receive rave reviews,
it also brought the young actress into the limelight.

Born in the 80s to
a retired military officer father and a mother who trades in fabrics
and jewelleries, the actress has no formal acting training. The
offshoot of fame: she had to drop out of the Lagos State University
(LASU) where she was studying English, to yield to the demands of the
movie world.

Johnson, who has
six younger siblings, had a humble beginning and so is quick to make
reference to those trying times, adding that it prepared her for the
challenges ahead. ‘My past makes me work hard and crave for success in
all I do, for fear of going back to my past. It made me a better person
in every ramification because I am where I never dreamt to be; and I
realise that hard work is all you need to succeed. I never look down on
anyone unless am helping them up and I learn to always keep my head
low,’ she says.

New role

While critics have
dubbed her a typecast performer who only takes emotional and steamy
roles, the leggy actress says she is a versatile actress who has her
eyes on the bigger picture. “I hope to play something as challenging as
an autistic patient, like the Bollywood Actor Sharuk Khan did in ‘I Am
Khan’. I want a character which will portray me different from all I
have done. For example, if I had to play an autistic patient, it will
require me to have extreme interaction with [those living with the
condition] in order to practise and achieve the best characterisation,”
she says.

As a step in a
right direction, the actress buttresses her point by making reference
to her latest movie role in ‘Heart of a Widow’, which made her the
highest trading topic on Twitter. For the movie, Johnson had to shave
off her hair for the second time in her career (the first was for
‘Before the Light’, in which she played a cancer patient). She then
posted photos of her shorn self on Facebook and Twitter, in a move that
caused quite a stirr among her fans. Visibly excited about the
challenge, she said, “Heart of a Widow’ is dearest to me now. The movie
is being produced by Magic Movies’ Chijioke Nneji, written and directed
by Micheal Jaja. I had to shave my hair in the movie because I got to
go through the unbelievable experience that widows go through, their
fears, tears and shame. Its theme is all about the negative belief of
what friendship means as well as the betrayal and inner experience of a
widow that is inexplicable to the outside world. I played June, the
widow alongside Kenneth Okonkwo.

“The complexity of
the life they live after the loss of their dear ones and husbands were
too heartbreaking. It endeared me to accept the role and I can proudly
say that it is my best work for now,” she adds.

Did this role see
her smiling to the bank and a few millions richer? She laughs off the
speculation, merely saying that she was “very well paid”, but declining
to explain further.

Although in person,
the actress appears quite soft spoken and calm, she reveals that
because a lot of people do not know her well enough, they are quick to
describe her as a snub. “I have a personality that people cannot handle
and so they tend to mistake it for an attitude, but I am just me,” she
quips.

The actress, who in
the past months has gone from media sweetheart to a tabloid target, is
rumoured to have had squabbles with her colleagues, Patience Ozokwor
(a.k.a Mama Gee and most recently, Mike Ezerounye. But she says this is
not the case. “I am very cordial with them,” she insists, but adds
that, “I don’t have friends in the industry.”

Moving forward

Lately, Johnson
shuttles between her Lagos base and Asaba, Delta State, where a number
of Nollywood movies are being shot. However, she says going back and
forth has being necessitated by the “need to make movies and do
business by the side.” Charity is one area the actress holds very dear
to her heart. “I have the Mercy Johnson Foundation for Children, the
‘Widows Smile for Widows’ and the ‘Easy Movement Scheme for the
Handicapped’,” she says in an emotion laden voice. She has also
succeeded in shielding her love life from the public eyes, but marriage
is in now on the cards for the 27-year-old. Her eyes light up as she
talks about her man. “Odi and I are working on it. We are engaged and
are taking our time because this is a lifetime union so no rush, but we
will inform [the fans] when it happens,” she says, smiling.

Acting, she says,
comes naturally to her; and she asserts that she has gotten better over
time. Surprisingly the buxomly actress is quick to add that although
she is not inspired by any foreign actor, “Genevieve Nnaji is my sole
inspiration for arts here and abroad. I never had any foreign
motivators but her; and for charity, it should be Oprah Winfrey”.

In her six year career, the actress is grateful for the accolades
and encomiums she has received. Kicking of the year on a bright note,
she clinched the Future Awards Best Actress, edging out the likes of
Ini Edo, Uche Jumbo and Tonto Dikeh. Johnson informs that, although she
is yet to feature in any international movie, “I am in negotiations
with a crew doing a feature film in London and the Ukraine.” Any plans
to move into movie making? “Yes,” she replies. “I do want to make my
own film in future, but am taking my time because I want to make an
impact in my career in an extremely positive and different way. When I
do that, then I will start rolling out my own movies.” Describing
herself as the “girl next door”, Mercy Johnson, who describes herself
as a child of destiny says she is rebranding for the new year. “After a
strategy meeting with my management company, Platform Management and
publicist, Bigsam Media, we set a goal for my career and that goal is
for me to be more committed to my craft. Year 2010 was wonderful but we
hope to move to greater heights in 2011. I want to do more, break
boundaries, move higher and contribute my quota to further put and
entrench Nollywood on the global map. That is my goal and that is why I
will do whatever it takes to interpret my role and entertain the
audience without debasing womanhood and the African culture.” So, there
you have it.

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Victor Uwaifo: Guitar Boy and Ekasa King

Victor Uwaifo: Guitar Boy and Ekasa King

Victor Uwaifo has a
string of firsts as taut and sound as those on his guitar. Among
others, he is the first to break the mould of Nigerian bandleaders
being either trumpeters or horns-men; Nigeria’s first true master
guitarist and one of the best in world contemporary popular music. He
is also the first to give a leading role for the guitar in Nigerian
popular music; the first Nigerian musician to play a double-necked
guitar; the first to have his record on the BBC Home Service chart-in
1966 (that hit went on to become the first Gold disc in Africa and,
remains the only Gold disc in West Africa, because it was the only 45
rpm record Gold Disc before the format was phased out) and the
first-ever Commissioner for Arts, Culture and Tourism in Edo State.

It’s no wonder then
that Uwaifo exhibits a streak of confidence in his art as he declares
candidly and uncompromisingly, “I am not just a master guitarist; I am
an institution as an instrumentalist, mostly on the guitar and flute
and, basically in all spheres of life.” He might not be modest, but he
has risen from being a guitar boy into a guitar maestro, genius and
national musical icon.

Guitar Boy

For nearly five
decades Uwaifo has continued a creative love affair with the guitar
that has flourished. He has produced an exhaustive and varied catalogue
of world famous contemporary popular music as well as structural
innovations to the musical instrument.

Uwaifo recalls that
he did “manual labour” to earn money to buy his first guitar in the
1960s. A decade later, he produced and released a tune, ‘Guitar Boy’,
which became one of his greatest hits and national bestseller of the
1960s. Uwaifo had every right to tag himself the Guitar Boy back then.
He is still an active instrumentalist and continues a famous musical
and artistic life! His influence on guitarists in other genres of
Nigerian popular music is enormous. “I inspired Sunny Ade and other
juju music guitarists to stand up and play as against sitting down to
play the guitar,” Uwaifo asserts.

He developed into a
confident innovative master guitarist and showman. His repertoire of
choreographed stunts include a stylish sequence of aerobatic
somersaulting, complex body gyrations, dancing, doing the splits,
playing behind his back and even with his teeth. “I bite my guitar,” he
declares with relish. He attributes his physical fitness and ability to
perform these tasking stunts to body-building, which he started as a
secondary school student at St. Gregory’s College, Lagos. At school
then he established a high jump record of 6 feet 6 inches that still
stands.

Victor Uwaifo’s
trademark as a guitarist include a sustained fluency in extended solos;
multiple ripples of melodic sounds and harmony interlaced with
percussive chords. Marvelous multi-layered guitar solos distinguish two
of his greatest hits, ‘Joromi’ and ‘Guitar Boy’.

Joromi

His ingenuity with
the guitar has also inspired him to design different types and shapes
of the instrument. Unique to these Uwaifo wonder guitars is a
combination guitar and keyboard he named Joromi.

The Guitar Boy of
yesteryears is now a 70-year old Hon. Sir, Dr Victor Efosa Uwaifo JP
MON. After his secondary school education, he won a scholarship to the
Yaba College of Technology where he obtained a National Diploma with
Distinction in Graphics. He obtained a first class honours degree in
Fine and Applied Arts from the University of Benin in 1995 and went on
to earn a Doctorate degree. Currently, he is Chairman of Joromi
Organisation, Chairman/Director of Joromi TV (JTV) and Recording
Studio. and the Victor Uwaifo Art Gallery in Benin City.

Uwaifo became a
Nigerian popular music icon and international superstar in the 1960s. A
many-faceted pioneer, he has contributed his own distinct musical
flavour to the genre of Nigerian popular music called Highlife. His
megahit ‘Joromi’, that made the BBC chart in 1966, propelled him to
monumental and permanent fame. It became Africa’s first Gold disc and,
over the years, Uwaifo accumulated 12 other Gold discs.

‘Joromi’, however,
remains special. Its lyrics and theme, like the bulk of Uwaifo’s music,
is deeply rooted in his native Benin culture. “Everything about my
sound and rhythm is Benin,” he explains. “Ekasa is a rattle you tie
around your ankle when you dance. The sound creates the Ekasa rhythm,
which is similar to the sound of a locomotive engine. The only time
they dance Ekasa in Benin is during the crowning of a new Oba (King).
Some of my songs are also traceable to certain Obas and their eras. It
is a way of documenting history through music.” The story of Joromi is
an intriguing Benin fable. According to Uwaifo, “Joromi in Benin
mythology was a wrestler, a world champion who after conquering the
whole world decided to go to hell and fight the Devil with seven
heads.” It is no wonder that Uwaifo named his first studio in Benin,
opened in 1978, Joromi.

Legend

His background as
a trained artist contributed to his creative process as a musician.
“Art has form, music has form,” he explains, adding: “Art has colours
and the colours have relativity with sound. Sound and colours are in
harmony. If you take the harmony one by one, you have do re mi fa so la
ti do…do, you represent with black, re-red, mi-blue, fa-green,
so-neutral/white (which is no colour), la-yellow, ti-violet, do-you go
back to the same octave. Then you can mix several colours to begin to
have other families of colours. These are just the basic things. Music,
art, writing, creativity, are all the same thing. They are all
interwoven, co-cyclic and they work in motion and action. Once you can
see art on a deep level, you can also see music.

Music has form and
structure just like in architecture. You cannot put certain sounds in
wrong places. Even if you are doing abstract art, the deliberate
distortions must make sense.” What are the flavours of his unique sound
and rhythms? “To explain the different forms of my music, I gave them
different names. They have different time signatures and
interpretation. Their rendition is also different. That’s why I
identified them as Akwette, Sasakosa, Mutaba, Ekasa, Titibiti, and so
on.” What about his approach to instrumentation? “I inter-marry African
instruments, Benin instruments, percussion and other instruments with
contemporary musical instruments to make African sounds. And I still
retain the authenticity of the African sounds. That is the beauty of
it.” How does Uwaifo classify his music? “Some of my music is Highlife.
All other music whether the Ekasa or Titibiti and, all other ones put
together from the East and West of Nigeria are under the same umbrella
of Highlife. Highlife is the music of Nigeria and West Africa. The
sounds may differ but all these various sounds put together come under
Highlife!”

Click to read more Entertainment news

Victor Uwaifo: Guitar Boy and Ekasa King

Victor Uwaifo: Guitar Boy and Ekasa King

Victor Uwaifo has a
string of firsts as taut and sound as those on his guitar. Among
others, he is the first to break the mould of Nigerian bandleaders
being either trumpeters or horns-men; Nigeria’s first true master
guitarist and one of the best in world contemporary popular music. He
is also the first to give a leading role for the guitar in Nigerian
popular music; the first Nigerian musician to play a double-necked
guitar; the first to have his record on the BBC Home Service chart-in
1966 (that hit went on to become the first Gold disc in Africa and,
remains the only Gold disc in West Africa, because it was the only 45
rpm record Gold Disc before the format was phased out) and the
first-ever Commissioner for Arts, Culture and Tourism in Edo State.

It’s no wonder then
that Uwaifo exhibits a streak of confidence in his art as he declares
candidly and uncompromisingly, “I am not just a master guitarist; I am
an institution as an instrumentalist, mostly on the guitar and flute
and, basically in all spheres of life.” He might not be modest, but he
has risen from being a guitar boy into a guitar maestro, genius and
national musical icon.

Guitar Boy

For nearly five
decades Uwaifo has continued a creative love affair with the guitar
that has flourished. He has produced an exhaustive and varied catalogue
of world famous contemporary popular music as well as structural
innovations to the musical instrument.

Uwaifo recalls that
he did “manual labour” to earn money to buy his first guitar in the
1960s. A decade later, he produced and released a tune, ‘Guitar Boy’,
which became one of his greatest hits and national bestseller of the
1960s. Uwaifo had every right to tag himself the Guitar Boy back then.
He is still an active instrumentalist and continues a famous musical
and artistic life! His influence on guitarists in other genres of
Nigerian popular music is enormous. “I inspired Sunny Ade and other
juju music guitarists to stand up and play as against sitting down to
play the guitar,” Uwaifo asserts.

He developed into a
confident innovative master guitarist and showman. His repertoire of
choreographed stunts include a stylish sequence of aerobatic
somersaulting, complex body gyrations, dancing, doing the splits,
playing behind his back and even with his teeth. “I bite my guitar,” he
declares with relish. He attributes his physical fitness and ability to
perform these tasking stunts to body-building, which he started as a
secondary school student at St. Gregory’s College, Lagos. At school
then he established a high jump record of 6 feet 6 inches that still
stands.

Victor Uwaifo’s
trademark as a guitarist include a sustained fluency in extended solos;
multiple ripples of melodic sounds and harmony interlaced with
percussive chords. Marvelous multi-layered guitar solos distinguish two
of his greatest hits, ‘Joromi’ and ‘Guitar Boy’.

Joromi

His ingenuity with
the guitar has also inspired him to design different types and shapes
of the instrument. Unique to these Uwaifo wonder guitars is a
combination guitar and keyboard he named Joromi.

The Guitar Boy of
yesteryears is now a 70-year old Hon. Sir, Dr Victor Efosa Uwaifo JP
MON. After his secondary school education, he won a scholarship to the
Yaba College of Technology where he obtained a National Diploma with
Distinction in Graphics. He obtained a first class honours degree in
Fine and Applied Arts from the University of Benin in 1995 and went on
to earn a Doctorate degree. Currently, he is Chairman of Joromi
Organisation, Chairman/Director of Joromi TV (JTV) and Recording
Studio. and the Victor Uwaifo Art Gallery in Benin City.

Uwaifo became a
Nigerian popular music icon and international superstar in the 1960s. A
many-faceted pioneer, he has contributed his own distinct musical
flavour to the genre of Nigerian popular music called Highlife. His
megahit ‘Joromi’, that made the BBC chart in 1966, propelled him to
monumental and permanent fame. It became Africa’s first Gold disc and,
over the years, Uwaifo accumulated 12 other Gold discs.

‘Joromi’, however,
remains special. Its lyrics and theme, like the bulk of Uwaifo’s music,
is deeply rooted in his native Benin culture. “Everything about my
sound and rhythm is Benin,” he explains. “Ekasa is a rattle you tie
around your ankle when you dance. The sound creates the Ekasa rhythm,
which is similar to the sound of a locomotive engine. The only time
they dance Ekasa in Benin is during the crowning of a new Oba (King).
Some of my songs are also traceable to certain Obas and their eras. It
is a way of documenting history through music.” The story of Joromi is
an intriguing Benin fable. According to Uwaifo, “Joromi in Benin
mythology was a wrestler, a world champion who after conquering the
whole world decided to go to hell and fight the Devil with seven
heads.” It is no wonder that Uwaifo named his first studio in Benin,
opened in 1978, Joromi.

Legend

His background as
a trained artist contributed to his creative process as a musician.
“Art has form, music has form,” he explains, adding: “Art has colours
and the colours have relativity with sound. Sound and colours are in
harmony. If you take the harmony one by one, you have do re mi fa so la
ti do…do, you represent with black, re-red, mi-blue, fa-green,
so-neutral/white (which is no colour), la-yellow, ti-violet, do-you go
back to the same octave. Then you can mix several colours to begin to
have other families of colours. These are just the basic things. Music,
art, writing, creativity, are all the same thing. They are all
interwoven, co-cyclic and they work in motion and action. Once you can
see art on a deep level, you can also see music.

Music has form and
structure just like in architecture. You cannot put certain sounds in
wrong places. Even if you are doing abstract art, the deliberate
distortions must make sense.” What are the flavours of his unique sound
and rhythms? “To explain the different forms of my music, I gave them
different names. They have different time signatures and
interpretation. Their rendition is also different. That’s why I
identified them as Akwette, Sasakosa, Mutaba, Ekasa, Titibiti, and so
on.” What about his approach to instrumentation? “I inter-marry African
instruments, Benin instruments, percussion and other instruments with
contemporary musical instruments to make African sounds. And I still
retain the authenticity of the African sounds. That is the beauty of
it.” How does Uwaifo classify his music? “Some of my music is Highlife.
All other music whether the Ekasa or Titibiti and, all other ones put
together from the East and West of Nigeria are under the same umbrella
of Highlife. Highlife is the music of Nigeria and West Africa. The
sounds may differ but all these various sounds put together come under
Highlife!”

Click to read more Entertainment news

EMAIL FROM AMERICA: Good Reads

EMAIL FROM AMERICA: Good Reads

I am enjoying
several books at once. I just finished reading EC Osondu’s ‘Voice of
America’. The title story alone is worth the price of the book. Osondu
uses crisp language, shorn of gimmicky frills to tell engaging, funny
stories. The stories spoke to me personally, and took me to an era I am
intimately familiar with. Osondu wrote about the past and it seemed
like it was here.

Uche Nduka has a
volume of poetry with the enigmatic title ‘Eel on Reef’. I adore Nduka,
I believe he is one of Africa’s most important poets, he writes with
care, erudition, vision and affection, every word in place, almost
fastidious, but still bold. Find that book and devour every luscious
word, this is how to write poetry.

The journal AGNI
(72) has a portfolio of African Fiction edited by EC Osondu and William
Pierce. Some of Africa’s best writers are assembled under that canopy,
having a good time with their muses and demons. I read ‘The Treasonable
Parrot’ by Ogaga Ifowodo. It is pretty good, with an edgy hilarity.
Victor Ekpuk has some art pieces in there nicely breaking up the
monotony of text. There is a harrowing piece by Chuma Nwokolo
(‘Sentencing for Six’). If you don’t know Nwokolo, please run, don’t
walk to www.African-writing.com, he is addictive. Victor Ehikhamenor is
up there cracking ribs with his patented njakiri. I shall be reading
Igoni Barrett’s piece next. Barrett is darkly brilliant, enigmatic and
eclectic, one of the younger literary Turks to watch. Oh, please go to
AGNI online and read Akin Adesokan’s affecting short story, ‘Knocking
Tommy’s Hustle’.

I am officially in
love. With Abimbola Adunni Adelakun’s book, ‘Under the Brown Rusted
Roofs’. They say never judge a book by its cover. When I first got the
novel, I took one look at it, spied some typos in the first few pages
and tossed it into a corner of my bedroom where books that I don’t care
for go to die. This is one poorly produced book; the editor and the
publisher should not be allowed to touch another manuscript again,
ever. I only went back to the book after reading an interview in which
Professor Niyi Osundare gushed over it. I see now why Osundare loves
this book. Adelakun studied Yoruba customs, folklore and mythology,
apparently not in a classroom, but on the gritty streets of Yorubaland.
There are strong shades of Ola Rotimi’s intimacy and proficiency with
Yoruba folklore. The dialogue is straight from the street’s pots, no
pretense. I am going to start a campaign to find a good editor and a
real publisher that will take ‘Under the Brown Rusted Roofs’ to the
heights that they deserve.

Hear Adelakun:
“Afusa never went to school, but always taught her children their
homework. She taught her first son the alphabet by gazing into his
alphabet book for long and mastering the letters… Afusa was worn out
with the stress she had gone through in the day but while she waited
for the herbs to boil, she made her son, Sikiru, who had just started
school, read the alphabet. ‘A for APPLE,’ the boy read. ‘Hen-en. Go to
the next one.’ The boy paused and asked her what an apple was. ‘Why
didn’t you ask your teachers?’ The boy shrugged. ‘See. It is the thing
they drew on the page. Look at it. It is round like a ball.’” A for
Apple! Oh Nigeria, what have you done? This book makes me sad, but I am
deeply in love with it.

I am reading Chukwuemeka Ike’s ‘The Potter’s Wheel’ again. Ike is
one of Africa’s most unsung writers. Hear him describing a
nine-year-old spell a jawbreaker: “Obu spelt his name slowly and
correctly. The teacher was satisfied. ‘Now, we shall see.’ He switched
over to English. ‘Spell me em – em – tintinnabulation.’ The whole class
shouted as the jaw breaker rolled out of the teacher’s mouth like bombs
from the hatch of a bomber. No one in the class had heard a word so
bombastic before. Obu rolled his big head from one side to the other
and accepted the challenge. ‘We shall see’ was at the blackboard with a
piece of chalk waiting to write the letters down as Obu spelt them.
‘T…i…n…’ The teacher wrote the letters down. ‘t …i… n … n
…’ Obu bit his lips, held his chin with his left hand, looked at the
seven letters on the board and saw the rest of the word dearly in his
mind’s eye: ‘a…b…u…1…a… t… i…o…n’. The teacher dropped
the chalk without writing the last letter on the board, and rushed to
shake the small hand of his new-found genius. ‘Wonderful Terrifious!
Marvellous! We shall see this year.’ Obu was the kind of boy every
teacher wanted in his class – young, full of brain rather than brawn,
the type who was destined to enter Government College, Umuahia if it
reopened after the war.” Read what you enjoy. Toss the rest. Life is
short.

Click to read more Entertainment news

FICTION: When Death is Lovely

FICTION: When Death is Lovely

I used to know a
little boy called Light. He liked to write. No. First, he was a
storyteller. His stories were strange. They were about children who
were older than their parents and parents who were younger than their
children. I told him they did not sound real, but he told me they lived
around the right corner of his head and were very real and not absurd
like I claimed. Another time he told the story of an unborn child who
gave its mother a sermon. That day it was very hot, so hot some of the
wild flowers were in danger of dying. If you must know, the little boy
and I lived on a strange street. There were no people on that street,
only flowers, wild flowers with sweet smell and strange colours. If you
asked me how I came to know the little boy, I would most probably say I
do not know. One day, while I was hungry, a wild flower begged to be
eaten by me. Oh yes, the flowers gave us a condition to dwell among
them. We dwelt there to eat them.

That day, while I
was hungry, the flower begged to be eaten by me. Forgive me if I had
said that before, but like light told me once I was a woman who did not
think straight. I was worried about the effect of the heat on the
flowers, afraid that if the flowers died we might die of hunger. Light
continued with his story about the sermon from the womb, but my worried
look must have stopped him. Transforming into my dead mother, he told
me there were incantations of revival and reversal that could help the
flowers. Which did I want? I said revival was more suited to the mood,
but also wanted to know why he needed to become my mother. I also
wanted to know if he was a magician and… this time he interrupted me
with a smile. Light said he was just a mentalist, but that he could
also be anything. She then turned herself into a little girl in a green
dress. As she became a girl, the flowers began to sway for joy. Their
colours began to change. Those that were green changed to orange, the
orange ones became pink, the pink ones white. The transformations went
on and on and the otherwise silent street became a noise of swirling
colours. You would think the now laughing flowers had encountered a
presence of absolute majesty.

Light began
chanting in a language that I had never heard. The language sounded
like the flapping wings of millions of butterflies and then it became
the sound of rushing water, before it became a language that I knew.
So, she said, as bees make honey, as chicken does not refuse corn, as
goat does not refuse grass and the smoking rack does not refuse fish,
so too I command you faithful flowers to not refuse the melody of
souls. They revived and even the climate became cooler. Light turned
back into a little boy to conclude the story. He said the baby warned
the mother who had been dying to bear fruit since she became a borne
fruit herself that desire bred grief. That was it! I cried wild- eyed
and hungry again. That was what this story was all about? Light told me
it was a very powerful and potent sermon, the type that gave one wings
to escape. Escape from where and what? From living and the heart, he
answered. It was then I remembered that on the day I met him, when he
had come to me like a cloud of white smoke, I had been running away
from a desire.

That day, as I
sniffed the white smoke thinking it was sweet death and that I could
dwell in it forever, being that we would make no demands on each other,
it became a boy. I was going to accuse him of hypnotism, but Light had
assured me that he had been a little boy all along. He said I had seen
white smoke because I was thinking of something that it suggested. That
was how I suppose we met and dwelt among the flowers with no sense of
time. We might have lived in eternity for all you know. He wanted to
know what desire I had run from and I said I had to try to remember as
I had not quite thought about anything except eating and hunger. Not
that I blame myself. The flowers were too pretty not to devour. While I
thought about myself, Light began to tell another story. It was the
legend of the star. Once, he said, a star lived in the sky among other
stars. Because of its dazzling beauty, it began to behave like a
peacock, thinking that it was the only star in the sky. It went as far
as betraying other stars and that was when it came tumbling down from
the sky. Down to Earth it fell. Down to a place where the darkness of
oppression and injustice made it impossible to shine.

In the time of
finding that desire which I had run from, which in any case I did not
find, Light began to write. He said he wanted to write stories I could
read so as to forget everything… I made a face of protest, telling
Light that I was down to the zero level of forgetfulness. We argued
loud for he felt that I was trying too hard to remember, which meant I
had not completely let go. He said if I completely became empty I would
fill up slowly again. Now tired and angry, I became quiet while he
wrote, thinking for the first time what living among the flowers was
all about and how come the little boy was all around me like a shadow.
As if reading my mind, he looked up from his writing like a painter who
had found an unexpected source of inspiration and told me my head was
talking again. I knew of living in a space where one day my tongue
failed me. I began to mope around, carrying words inside me that I
could not speak. No, wait, before then, I talked to the walls. It all
started like a romantic alternative to emptiness.

Something in my
head tells me it was not emptiness but solitude, for I was perfectly
serenaded by the songs of birds and the songs of the forest, which
would have been enough to reassure me that all the worlds I have known
sounded alike. So, the romance with the wall might have started as a
prayer: “Bless my pain with fruit, inside this dark wall, I eat words
and long for nothing, for nothing longs for me.” The wall was angry for
she did not feel she was dark. That first time with the wall, I did not
mind that a stone talked back at me. It did not even occur to me to be
angry, for I was too lonely to care. I told the wall that I might have
become a flying witch. I was sleeping and waking up in my country, in
this country, in my village, in all the places I have lived and it was
hard for my mind to stay in one place.

At about the space
my mind slipped back, there I go again, has time become an alien? Was
time space? At about that wavering moment, Light was writing a story
about an island where people had the same dreams and actually lived by
dreaming and even when they died they could dream themselves back to
life. On that Island, dreaming was living, therefore everyone lived
inside a rainbow… The wall asked if I would like to go back to the
place my mind liked the most. I told her that it would have been better
if I did not venture to any place except where I was born. She argued
that venturing was good, for it broadened the mind. I said No with a
scream that startled the wall. I said wandering had caused me pain for
I had been cured of my blindness. She played cool and asked if I was
venturing or wandering and I shouted that in my case, it was the same.
I began to shout, cursing the people who spoilt the land of my birth.
She asked if there are no roads. I said the roads are as wide as narrow
paths. What about food? It is fresh and far. School? The school of
crime. Hospital? Born to die. Survival? Jungle smart-ass. Body and soul
together? Laughter.

The wall wanted to
know if people just lived by laughing. I started laughing and singing
that we stand by laughter. We live on laughter. Over laughter we abide.
The wall too began to laugh and said: “So you must love it here.”
Plenty food? Weight watching. Wide roads? Drunk drivers. Hospital?
Beyond Tylenol, cut-throat. School? Beyond primary, out of reach.
Sophisticated living? Afraid of neighbours. Perfect law and order?
Living robots. By now we were rolling in laughter until I ended up at a
nearby station. I was warned to be mindful of others. I would later
fall out with my speechless companion. Venturing into another
wall-induced prayer I had begun, bless my fruit with fruit. I am inside
a dark wall where beyond the ruins of time are layers of memory waiting
to be exhumed… The wall got mad that I had once again referred to her
as dark. I was now livid that even a mere stone could talk back at me.
The wall shouted that mere stones build cathedrals and domes and
sphinxes… I shouted back, saying she was not a cathedral or dome or
sphinx, just a disillusioned wall. Now it laughed, wandering who it was
that was breaking.

Again, Light had
begun another story, actually two stories in one or as one. It was a
tale of two countries. In one country, Hunger had become a roaming
angel and even those with the holy spirit had succumbed to him. Because
the roaming angel had become a mass disease, the people’s consciousness
became altered and everyone saw the other as human vegetable. They ate
one another, then they began to eat themselves, until that country
became a nightmare of half-formed humans. The other country had reached
the height of great perfection and civilisation and so had no need to
do anything except eat and sleep and plot against any perceived higher
intelligence. There were no humans on the streets of that place. For
robots did everything. Humans had no need to go out. Then the robots
developed their own trickery and would sometimes refuse to bathe these
humans, so that the air was filled with a foul smell and the humans
began to die slowly by getting too big. The robots were feeding them
junk – joy mixed with deadly rays from outer space… The altercation
with the wall got me more than a warning and made Oga-best mad. I was
assessed. The team of experts said it must have been the loss, so I was
borderline this and pipi that, pipi being post-something depression.

Oga-best, who had
once told me that I was his heart because I could make a career out of
dreaming, which meant we might yet become rich and visit the moon
someday, became raving mad. Certainly this had gone beyond
heart-matters. First, he raved about how he was supposed to report the
matter to people back home. Then he got mad about not having the
dialect equivalent of the English word and then he raved that it would
have been better if I had any kind of cancer other than that which the
experts said I had. I looked to the wall. I saw dead silence and I lost
my tongue and began to hear too many voices in my head all at once,
like the whole world was my Verizon network. The experts advised I
write everything down, so I wrote a letter to Pastlyn, a friend in my
head. I wrote: I was crying every night, feeding on my tears and
because I was feeding on my tears I was able to save twenty naira. Then
one day, I noticed that my eyes had gone dry. Eyes gone dry? Dat na
die. I would die of hunger without the tears that had been feeding me.
I met someone who acted as a friend and said I needed a switch, like
from tears to hope. She convinced me that hope would fill me up in a
way that would make it impossible for me to be hungry again. Off I went
with her to Futurelina Lane to meet the woman who sold hope. I took all
of my twenty naira savings.

I was surprised
that the house of hope was built on termite-infested wood. As we
entered, the house shook as if an imminent collapse was inevitable.
Even the hope-seller looked weird. Her hair reached down her back, yet
looked like strands of straws. Her dark eyes, enhanced by kohl, had
sunk deep into her sockets, yet they darted here and there with the
agility of a thieving eye. Her smile was dazzling, yet her teeth were
like remains from a crime scene. She kept smiling until I fell asleep
and by the time I woke up, I believed I had been shot with a lifetime
of hope. That night my sleep was a dream and there I was in a bank. I
began to shake with excitement and actually fainted when I saw the
vault filled with man-made money. Back to life, so to say, I found
myself in my bug-infested bed feeling empty and dead. Wanting to find
solace, I tried to cry, but my eyes had gone dry. Twenty-four hours
later, that same friend said I could buy a lifetime of tears at
Stream-hollow, only this time I had become so poor even tears were
pointless…

Once again I
quarreled with Light. I complained that his stories were becoming too
grave. He did not like the word, so he taunted me about my head-voices
being graver. A song entered my head and I sang that even the place of
paradise and eternity was not an Eden of gardens, for there were s and
so many branches of the true story. Light gave me a long stare before
saying with much pity that I was in the presence of great sorrow which
led to great wisdom without knowing. What was this shadow saying, I
thought wildly, as I remembered that my head story about the dry eyes
caused so much stir among the experts. I became a long list of possible
cases and this further infuriated Oga-best. He vented his anger on the
little we had, for as he saw it I was no longer anything; therefore if
he vented on me, it would seem like punching an unseen fate. I cowered
in a corner, helplessly leaning on the stone wall and at that point
wishing to be situated within the sweet nights where nothing happened.
You know, those familiar nights in my homeland where we drink and
babble… drink and babble our energies away on the theories of survival,
of progress, of the way forward. We conveniently lose our tongues on
the jargons of different agendas, the one-point agenda for corruption!
The seven-point agenda for rebranding the soul of a nation! The
zero-point agenda of hopelessness! No one talks about the needless
point agenda for total love, such as: why love is not an ideology? For
example, lovism instead of communism! We just roll with the night, the
same way as we live by laughter. I cowered while Oga-best pointed ten
ominous fingers at me saying I should rein myself in. What does he
mean? A cage? I was already there, couldn’t he see that? So we drank
and babbled while the monks in the high places looked at us like sad
tales of mortality.

In the days that
followed, I still cowered by the wall like a frightened animal. I was
turning into a cupboard of skeletons, but I was not all that hungry for
I was hearing music in my head – the music of silence, of sorrow, of
sweetness. It was as if I had become a stream of floating song, had
totally become the song… I let myself go. I hear the voice of Celestine
Ukwu singing in my head, saying the world belongs to no one. Saying
that death comes for everyone – saints and sinners alike. Saying people
had come to love life more than death… There was no gospel according to
CU. His voice becomes two angels who asked me to ride on their wings,
which I felt obliged to, under the circumstances. I climbed onto the
balcony rails ready to fly but instead fell on a stretcher with straps
holding me down – me, Kabo, from the lineage of kings and queens, from
a place where “good morning” was an insolent manner of greeting. Being
that I was born in the royal clan, I am hailed in greeting: “Heavens.”

I thought to myself that Light was a blessing that I must thank.
But, alas, Light had become a pillar of tears. One flower taking pity
on my new-found confusion told me that Light heard the call of return,
for his job was done. I asked what job was done and was told the job of
telling stories and I cried that stories were endless because our souls
dwelt in eternity. I was really tired and alone and in that instant all
the flowers began to die. I saw the past and the future and there was
little or no difference and in that instant I knew why Virginia Woolf
took to the sea and the other one took to the oven. They were tired of
dying daily. It was not nothingness they saw, it was eternal stillness,
soul sacrifice… I loved Light so much… The flowers were dying. For once
I understood why they had let me eat them, for they knew this day would
come, this day when I had to pay the ultimate price of love to be eaten
by the flowers so they can live to be eaten. As they closed in on me, I
was smiling for it was not death I saw. It even went beyond sacrifice.
It was eternal stillness.

Click to read more Entertainment news

New officers at Pen Nigeria

New officers at Pen Nigeria

This is to formally bring to your notice information on recent change of guards in the affairs of Pen Nigeria Centre.

At a convention of
the Centre held in room 311, Faculty of Arts, University of Lagos,
Akoka on Saturday February 26, 2011, the Pen Nigeria executive under
the presidency of Femi Osofisan, following constitutional provisions,
dissolved itself as well as all standing committees it set up to ease
its operations.

In a subsequent
election that held immediately afterwards, the following persons were
elected to steer the ship of the Centre for the next three years in
accordance with provisions of its constitution.

•Tade Ipadeola – President

• Folu Agoi – Vice President I

• Perpetual Ezeifule-Ohiri – Vice President II

• Ropo Ewenla – Secretary General

• Funmi Aluko – Treasurer

In line with its provisional constitution also, the following committees were reconstituted, as follows.

Writers in Prison Committee

Sola Olorunyomi – Chairperson

Deji Toye

Dagga Tollar

Uche Umezurike

Women Writers Committee

Prof. Akachi Adimora Ezeigbo – Chairperson

Jumoke Verrissimo

Maria Ajima

Joy Esuku

Translation & Linguistic Committee

Imail Bala-Garba – Chairperson

Ayo Yusuf

Richard Alli

Wunmi Oni

Click to read more Entertainment news

Asa, free spirit

Asa, free spirit

Asa’s earliest
memory was singing through the painful hours it took her mum to braid
her hair for school when she was little. As a child, Bukola Elemide
(her birth name) had realised the power of music to exorcise pain and
disillusionment. And she never let go of that knowledge. “The
recollection that stands out the most is that I was constantly singing,
that was all I did. My parents often scolded me for it.” Of course it
must not have helped that her father, a cinematographer, had an
eclectic collection in his audio library. Asa cut her musical teeth
listening to Juju, Apala, Blues, Afro beat, and Raggae; trying them out
and gradually forming her own musical sense from these influences.

Born in France, Asa
moved to Nigeria at age two, living in several places before finally
settling in Lagos. She chalks her peripatetic life to “decisions that
your parents make and you just follow.” She did eventually finish her
secondary education at Federal Government College, Jos.

Growing up in
Nigeria is not one of happy reminisces for the musician who was the
only female of four children. “It is normal for an African girl to take
up the mother role; you are trained to be responsible. But I am a free
soul, and I spent a long time fighting for freedom.” Asa’s need to
break out of the mould resulted in an insularity which she is now only
coming to terms with. “Asa has just grown; I missed out when I was a
teen because I was so into my own world,” she says.

She ultimately
attained her long-sought freedom when her parents endorsed her decision
to relocate to coastal Badagry, on the outskirts of Lagos State, to
study music. This time, she says, was six months well spent mastering
the guitar. With the hindsight of two successful albums, and a number
of international nominations and awards including the 2008 Prix
Constantin for French new talent, Asa sees her Nigerian upbringing as
the inspiration for her musical success. “I learnt morals and a
compassion that I would not have had growing up in Europe. In Nigeria,
you learn to improvise, to become a survivor. My family went through
phases of tough times, Nigeria toughens you that way. You learn to
think.”

Evolution between albums

Asa’s debut image
may have positioned her as Bob-Marley and Tracy Chapman rolled into a
youthful, contemporary whole, but with her sophomore album, she appears
to have embraced a more feminine and optimistic sense of style and
music. This, she explains as a change in mindset: “While composing my
first album, I was like an angry teen; I wanted to talk about so many
disappointments without seeing it from the world’s point of view. I was
an angry person who did not understand why things were the way they
were.

Having said all
that I had to say in my first album, I now am less burdened; and with
‘Beautiful Imperfection’, I am speaking from the point of view of a
woman who has experienced life. I have a renewed sense of self and I
know that there’s room for negotiation. I just wanted to be happy and
uplift people with my music.” Blood red nails, a carefully made-up
face, coiffed dreadlocks and form-fitting attire are a further
reflection of this change in outlook. Especially for a musician whose
national appeal had – besides her soul searching lyrics – had a lot to
gain by her eschewing of a feminine flamboyance in favour of a more
staid, if unconventional, appearance.

Asa’s anger,
however, still targets naysayers, who peddle untruths about her.
Speaking on a recent libel suit she launched against a media company,
which had sought to query her sexuality and relationship her with her
best friend and manager of eight years, she exhibits a contemplative
equivocation. “I did sue them. People do not watch their mouths, and
it’s especially horrible when it is not true. But with these
situations, you never know if it’s the right thing to do.”

Beautiful Imperfection

While still
largely cut from the same poignant socio-political criticism mould of
her self-titled debut, she softens things up in ‘Beautiful
Imperfection’ with pop track ‘Be My Man’, admitting a more sensitive
side that she now thinks she is “mature enough to explore”. “My
favourite movie is ‘Pretty Woman’. There is something vulnerable about
a woman who finds her Prince Charming. I’m still cheesy that way,” she
laughs self-effacingly.

Asa’s musical
identity is inspired by her native Yoruba word for ‘hawk’; and one
would think that the young musician who punctuates the interview with
native proverbs, and whose songs (particularly Awe from her debut) are
a wonderful employment of native Yoruba idiom, would be one to boast a
remarkable knowledge of the language; but she reveals, “I don’t speak
Yoruba as well as I sing it; most of my childhood we were spoken to in
English, and in school punished for speaking vernacular. I think that
was one of the biggest mistakes our parents made.”

Taking flight

The
single-mindedness that Asa shares with the avian inspiration for her
name informed a decision to return to the European country of her birth
in 2006 for musical opportunities which she felt she had exhausted.
“Nigeria is a wonderful place to acquire inspiration but pursuing an
individual definition of success is difficult back home. There’s a
close-mindedness concerning what constitutes success.” If she had done
as the society had deemed propitious, she would have kept pace with her
mates, attended university and perhaps gotten a job hustling the nine
to five. “Our parents have brainwashed us with the belief that success
is a direct result of education.” She sings ‘bata mi a dun koko ka’, a
yoruba pedagogical rhyme, to illustrate this. Nigeria is no doubt one
great music export richer for Asa’s refusal to be judged by society’s
standards.

Her remarkable
debut and sophomore albums have been internationally certified platinum
and gold respectively; the latter since its release in October, 2010.
Nominated for Best Female Act at Victoires de la Musique (French Music
Awards); the young guitar-wielding musician recently thrilled the
British media to a performance showcase as part of her on-going tour of
Europe.

These among other international recognitions are more than enough
proof that the world needs a paradigm shift. “Besides,” says the
diminutive 28-year-old who has worked extensively with producer Cobhams
Asuquo and collaborated with Nigerian rappers like 9ice and Naeto C,
“travelling the world and trying out restaurants in the countries I
visit is so much fun, even if my band and I have been on the bus,
camping out on tiny bunk beds all week.” Asa will be performing on a
double bill with Ivorien Reggae Musician Tiken Jah Fakoly on April 4 at
the Barbican, London, as part of her European tour.

Click to read more Entertainment news

Asa, free spirit

Asa, free spirit

Asa’s earliest
memory was singing through the painful hours it took her mum to braid
her hair for school when she was little. As a child, Bukola Elemide
(her birth name) had realised the power of music to exorcise pain and
disillusionment. And she never let go of that knowledge. “The
recollection that stands out the most is that I was constantly singing,
that was all I did. My parents often scolded me for it.” Of course it
must not have helped that her father, a cinematographer, had an
eclectic collection in his audio library. Asa cut her musical teeth
listening to Juju, Apala, Blues, Afro beat, and Raggae; trying them out
and gradually forming her own musical sense from these influences.

Born in France, Asa
moved to Nigeria at age two, living in several places before finally
settling in Lagos. She chalks her peripatetic life to “decisions that
your parents make and you just follow.” She did eventually finish her
secondary education at Federal Government College, Jos.

Growing up in
Nigeria is not one of happy reminisces for the musician who was the
only female of four children. “It is normal for an African girl to take
up the mother role; you are trained to be responsible. But I am a free
soul, and I spent a long time fighting for freedom.” Asa’s need to
break out of the mould resulted in an insularity which she is now only
coming to terms with. “Asa has just grown; I missed out when I was a
teen because I was so into my own world,” she says.

She ultimately
attained her long-sought freedom when her parents endorsed her decision
to relocate to coastal Badagry, on the outskirts of Lagos State, to
study music. This time, she says, was six months well spent mastering
the guitar. With the hindsight of two successful albums, and a number
of international nominations and awards including the 2008 Prix
Constantin for French new talent, Asa sees her Nigerian upbringing as
the inspiration for her musical success. “I learnt morals and a
compassion that I would not have had growing up in Europe. In Nigeria,
you learn to improvise, to become a survivor. My family went through
phases of tough times, Nigeria toughens you that way. You learn to
think.”

Evolution between albums

Asa’s debut image
may have positioned her as Bob-Marley and Tracy Chapman rolled into a
youthful, contemporary whole, but with her sophomore album, she appears
to have embraced a more feminine and optimistic sense of style and
music. This, she explains as a change in mindset: “While composing my
first album, I was like an angry teen; I wanted to talk about so many
disappointments without seeing it from the world’s point of view. I was
an angry person who did not understand why things were the way they
were.

Having said all
that I had to say in my first album, I now am less burdened; and with
‘Beautiful Imperfection’, I am speaking from the point of view of a
woman who has experienced life. I have a renewed sense of self and I
know that there’s room for negotiation. I just wanted to be happy and
uplift people with my music.” Blood red nails, a carefully made-up
face, coiffed dreadlocks and form-fitting attire are a further
reflection of this change in outlook. Especially for a musician whose
national appeal had – besides her soul searching lyrics – had a lot to
gain by her eschewing of a feminine flamboyance in favour of a more
staid, if unconventional, appearance.

Asa’s anger,
however, still targets naysayers, who peddle untruths about her.
Speaking on a recent libel suit she launched against a media company,
which had sought to query her sexuality and relationship her with her
best friend and manager of eight years, she exhibits a contemplative
equivocation. “I did sue them. People do not watch their mouths, and
it’s especially horrible when it is not true. But with these
situations, you never know if it’s the right thing to do.”

Beautiful Imperfection

While still
largely cut from the same poignant socio-political criticism mould of
her self-titled debut, she softens things up in ‘Beautiful
Imperfection’ with pop track ‘Be My Man’, admitting a more sensitive
side that she now thinks she is “mature enough to explore”. “My
favourite movie is ‘Pretty Woman’. There is something vulnerable about
a woman who finds her Prince Charming. I’m still cheesy that way,” she
laughs self-effacingly.

Asa’s musical
identity is inspired by her native Yoruba word for ‘hawk’; and one
would think that the young musician who punctuates the interview with
native proverbs, and whose songs (particularly Awe from her debut) are
a wonderful employment of native Yoruba idiom, would be one to boast a
remarkable knowledge of the language; but she reveals, “I don’t speak
Yoruba as well as I sing it; most of my childhood we were spoken to in
English, and in school punished for speaking vernacular. I think that
was one of the biggest mistakes our parents made.”

Taking flight

The
single-mindedness that Asa shares with the avian inspiration for her
name informed a decision to return to the European country of her birth
in 2006 for musical opportunities which she felt she had exhausted.
“Nigeria is a wonderful place to acquire inspiration but pursuing an
individual definition of success is difficult back home. There’s a
close-mindedness concerning what constitutes success.” If she had done
as the society had deemed propitious, she would have kept pace with her
mates, attended university and perhaps gotten a job hustling the nine
to five. “Our parents have brainwashed us with the belief that success
is a direct result of education.” She sings ‘bata mi a dun koko ka’, a
yoruba pedagogical rhyme, to illustrate this. Nigeria is no doubt one
great music export richer for Asa’s refusal to be judged by society’s
standards.

Her remarkable
debut and sophomore albums have been internationally certified platinum
and gold respectively; the latter since its release in October, 2010.
Nominated for Best Female Act at Victoires de la Musique (French Music
Awards); the young guitar-wielding musician recently thrilled the
British media to a performance showcase as part of her on-going tour of
Europe.

These among other international recognitions are more than enough
proof that the world needs a paradigm shift. “Besides,” says the
diminutive 28-year-old who has worked extensively with producer Cobhams
Asuquo and collaborated with Nigerian rappers like 9ice and Naeto C,
“travelling the world and trying out restaurants in the countries I
visit is so much fun, even if my band and I have been on the bus,
camping out on tiny bunk beds all week.” Asa will be performing on a
double bill with Ivorien Reggae Musician Tiken Jah Fakoly on April 4 at
the Barbican, London, as part of her European tour.

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