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Showing Nigeria in a good light

Showing Nigeria in a good light

Photographer Dayo
Adedayo, who has made a name for himself in the profession both within
and outside the country, talks to NEXT about the passion and creativity
that has taken him from humble beginnings and catapulted him to a place
of prominence.

He also talks about
his latest project, a compilation of images from a seven-year tour of
the 36 states of the federation. The coffee-table book, ‘Nigeria’ is a
beautifully packaged publication featuring historic and scenic sights
around the nation, festivals, and lots more.

Give us a background to yourself and your profession

I am a citizen of
Nigeria. I do not like to say I am from one state or another. Before
God we are all equal. I am closer to 50 than 40. Photography was
something I started early. I am lucky to be among those who went to
school to study what they love. In my early years, I studied
agriculture but when the Andrews began to check out of the country in
the 80s, I joined them.

My sister gave me a
camera on my 18th birthday and that’s how my passion for photography
began. I’ve got tons of pictures of myself and my friends growing up.
While they spent their monies on girlfriends and stuff, I spent mine on
buying films and printing.

My roommate in
school then had a 35mm camera and that was my first encounter with such
a [device]. He didn’t know how to operate it as it was sent to him from
abroad. So I took advantage of that and found opportunities to borrow
the camera to improve on my skills. I am a shy person by nature, but
once I handle my camera, the shyness disappears.

Can you tell us how you got photography training?

I studied
photography in the UK. I went to one of the best universities in media
in the UK, University of Westminster. You had to have a strong body of
work to get a place in the university. I also attended Westminster
College before I went into the University. If I hadn’t been to school,
there’s no way I would have known the rudiments of the profession.

You need to get
trained because there are skills you need to be taught. Joe Bulaitis,
one of the best photographers in the UK, saw me at a wedding. I was the
only black photographer there. He had been coming to Nigeria. He took
interest in me and gave me some tips which I still use now. It will
also interest you to know that I have a diploma in Video production.

Did you practise video production professionally?

Yes, briefly. But I
got tired of it along the line. I am a restless person and photography
affords me the opportunity to be up and about rather than being behind
a camera filming.

You seem particular about getting educational training

Yes, because that’s
what differentiates the professionals from the roadside photographers.
If I were president, there are three things I would work towards:
education, education, education. With an educated mind, what you can do
is limitless. I’m glad I studied photography. Photography is like
medicine. There are different genres.

When did you begin professional practice and what has been your experience so far?

After I left
Nigeria for London, I did a few menial jobs to support myself. I still
practised my photography, but not professionally. On my off day, in
‘87, all I did was photograph all of London. London has really changed.
I still hope to do a then and now of London.

One of our problems
in Africa is that we don’t keep records. In that regard, I hope to also
do a then and now of Nigeria. Photography is one of the best things to
have been invented. It’s like a knife, you can use it to slice bread
and it can also kill. I remember that there was a time when news kept
making the rounds that the Speaker of the House of Representatives,
Dimeji Bankole, did not participate in the compulsory National Youth
Service scheme. Then one day, a picture surfaced on the front cover of
the Punch newspaper showing Bankole in NYSC regalia and that
immediately killed the talks.

That is to show you
the power of photography. Again in 1963, during the Cuban missiles
crisis involving America, a possible Third World War was averted
because of a photograph.

In this
environment, we tend to look down on things that are not the norm, but
we are moving into the digital age. In ‘91, a friend of mine who was
getting married needed a photographer. I covered it and people started
calling me and I quit my job at MacDonald’s then because photography
was getting me more money.

I have also worked
with Ovation Magazine. I did a photography piece titled ‘See Dubai and
Die.’ Dele Momodu the publisher was impressed when he saw it because he
had no idea I was working on such a project. That particular edition of
Ovation sold about 500,000 copies.

What are some of the challenges associated with working in Nigeria?

There is no
dedicated professional printing studio in Nigeria. This is essential in
that as a photographer you wouldn’t have to worry about your films
because these are professionals who understand the business of
photography in addition to printing. They are all struggling and we
have not even scratched the economy. Major stuff on entertainment are
still being produced abroad.

There is also the
problem of infrastructure. To run a printing studio, you need water
working twenty-four/seven. You also need light.

What are your own contributions to improving the nation? What are you giving back?

The book is the beginning of my giving back. Also, people have learnt from me.

Why this book?

People come into
Nigeria, visit Lagos, which is the commercial hub of the nation, and
then maybe Abuja, and they assume that is all there is to the nation.
Nigeria is beyond Lagos and Abuja. Nigeria is one of the most beautiful
countries in the world. But have we explored it? Yes, we have potholes,
yes there is no light, but these things have been there. America was
developed by Americans. This country can be built within five years. I
went abroad and saw pictorial books about countries abroad. When I look
at Nigeria, I don’t see Yoruba, Igbo or Hausa. When the national team
plays nobody cares if the goalkeeper is a Northerner.

In Nigeria, we
don’t honour our own. It took me seven years of deprivation and using
my own personal funds to ensure that my dream of people seeing Nigeria
in a good light is fulfilled. You can’t take the picture of a junkyard
and then call it Nigeria. Those are the kinds of pictures the West
wants to see. But you would never see such images of the West. The book
came out in 2010.

One of my dreams
has been that no one goes through the day without seeing one or two of
my images. And this dream is gradually becoming a reality. For
instance, I took the images you see displayed on the new Nigerian
e-passport. My works are displayed at the presidential lounge of the
airport in Abuja.

I also photographed
the images used for the Heart of Africa commercial during Olusegun
Obasanjo’s tenure. The arts may not fetch you so much money, but you
have the name, contacts etc. And your works will live on after you.

Through the
photography project for this book, I can tell you about the best places
to visit in Nigeria in a particular order. There is the Mambilla
Plateau in Taraba, which is 100 kilometres of breathtaking beauty.
There is the Awhum Waterfalls in Enugu, Jaffi falls in Borno, which is
the end product of a comet falling and forming a crater, and then you
have Obudu. I want my photography to get to the point that when you
need anything imagery in Nigeria, you’ll come to Dayo Adedayo.

When is ‘Nigeria’ going public?

I do not want to
talk too much about the book, but I hope to launch it after a few
things fall into place. And at that, the book is coming out in limited
numbers, after which it will become a collector’s item.

What else is on the cards?

It’s an ongoing
project which involves state by state photography. We have already
begun with four states namely Lagos, Abuja, Rivers, and Ebonyi, and we
hope to be done before the end of June this year. Other states will
follow after this and before 2014, we would have covered the whole
country. We are also taking this project beyond Nigeria as by 2015 we
hope to have covered West Africa.

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STUDIO VISIT: ‘Dayo Adedayo

STUDIO VISIT: ‘Dayo Adedayo

Why Art?

Photography was
something I started early in life. My sister gave me a camera on my
18th birthday and that was essentially how it all began.

Training

I went to college
in the UK before going to the university. I studied photography in one
of the best universities in media in the UK, which is the University of
Westminster. I was fortunate to have come in contact with the likes of
Joe Bulaitis, who took special interest in me and taught me a few
things in the profession which have been of great value to me and my
craft.

Medium

Photography.

Influences

There are a lot of
them. For portraiture Yousuff Karsh, who has photographed some of the
greatest people of the century. For landscape, Ansel Adams. There is
also Joe Bulaitis.

Inspirations

Little things. Anything from travelling, to just looking through the window and viewing the environment around me.

Best work so far

I don’t know. It’s subjective. For me, I think the best is yet to come. It’s all work in progress as far as I am concerned.

Least satisfying work

I don’t have any. My works are my babies.

Career high point

To have my works
honoured by visiting presidents. To have been afforded the opportunity
of taking the pictures currently displayed in the new Nigerian E-
passport.

My works are also
displayed at the international airport in Abuja. These are
accomplishments that have moved me to tears when I think about them.

Favourite artists, living or dead

Yousuff Karsh

Ambition

To leave an eternal
legacy in photography. Also, to get to the point whereby nobody ends
the day without having seen one or two of my images in the course of
the day.

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Viewing the world through the third eye

Viewing the world through the third eye

For Kayode
Adegbola, grandson of the late Bola Ige, slain Minister of Justice and
Attorney-General of the Federation, photography is “a way of recording
things in ways they would never be seen again.”

According to the
artist, his interest was fired by his undying attraction and
appreciation for photography and works of art in general.

“But, I didn’t
start paying much attention until 2007. Then, I picked up camera more
actively and made it my best friend. Since then, I have never looked
back,” he told NEXT at the Ibadan opening of his debut photography
exhibition, on December 23, 2010.

His tenacity
fetched him a collection of eminent Nigerians when he gathered people
for nine days for the display of some of his most striking images thus
far.

Young and older
generations took their time to behold the wonders Kayode had done with
his camera. According to him, the photographs were taken within and
outside the shores of Nigeria, covering a wide range of interests,
including the abstract.

Further explaining
his fascination for the still world, kayode noted that, “As you sit
down here, if I take a photograph of you and I take another one in
another moment, the last will not be exactly like the former one. You
will probably blink or move your head. That is why I think recording
events with photography is important because you cannot have the same
situation the same way again. And I do that with my third eye; I refer
to my camera as my third eye.”

Facets of a man

A man of many
parts, Kayode is in his final year as a Law student in the University
of London, United Kingdom. He agreed that the two vocations are worlds
apart, and summed up his reasons for combining the two thus: “There is
no link between the two. I look at Law and Photography as parallel
lines and parallel lines cannot meet. They can overlap. I do
photography in my spare time. When I go on holiday, I do my travel
photography. When I come home, I do some polo photography. During
weekends, I do music photography. It is a way of living a fuller life
by having a passion separate to what you do as a profession.”

He, however, said
he would not contemplate leaving one for the other. “I can’t leave Law
for Photography, neither can I leave photo for Law. They are parallel
lines. I enjoy studying law. Photo is one of my passions. I am very
interested in politics, current affairs, music and cultural things.
These are the things that make me who I am. They are the different
facets of me.”

The exhibition
raked in some decent cash for the artist. Kayode packaged items of the
collections on display for fees and a good number of the participants
made their bookings before leaving.

And besides
fulfilling his passion, the exhibitor described the cash coming in as
one of the joys derived from his investment in art.

“The greatest thing
about my photography is the fulfillment that it gives me. I have
developed my photography to a kind of art. I begin to reap the effort
that I have sown. I am becoming fulfilled doing photography and the joy
is what it gives.”

Supportive parents

Looking back at his
very early days in photography, he recalled how his father gave him his
first camera as his 17th birthday gift in 2007, adding that “though I
saved up about half of the cost, my dad happily paid the rest.”

“My parents are the
type that would not discourage you from doing something which some
conventional parents would not really want their children to do. They
have embraced my passion, helped me to push it forward, and have
supported me financially and morally,” he said.

His mum, Funso
Adegbola, a lawyer and school proprietress, described herself as the
proud mother of Kayode. She told NEXT that her pride goes beyond what
the young man was displaying that day, but that “because he is not a
typical 20-year-old boy, has artistic eye. He is focused and looks at
everyday things with different perspectives.”

Ekiti Chair

That perhaps was
also what endeared the young Adegbola to Kayode Fayemi, Ekiti State
governor, who was the chair of the occasion on the exhibition opening
day.

Fayemi, who was
represented by Ayo Afolabi, publicity secretary of the Action Congress
of Nigeria (ACN) in the South West, expressed his high respect for
Adegbola’s intellect and deep sense of reasoning.

Mrs. Adegbola,
during an interview, hinted that her son had elected to commit a
percentage of the proceeds from the exhibition to charity.

He had earlier done
something similar, when in 2007, he donated all the proceeds from the
launch of his poetry book and picture collections to the children’s
ward of the University College Hospital (UCH). He had been on admission
on the same ward ten years earlier.

Of this photography exhibition, his mother disclosed that, “Part of
the money is going to charity. He did not tell me the percentage.
Whatever God lays in his heart is going to be for mankind.”

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‘The cradle of acting is the stage’

‘The cradle of acting is the stage’

Theatre, which
helps to reflect a people’s style and way of life, is dying in Nigeria
because most Nollywood stars are stage shy and also not sufficiently
schooled in stagecraft, Lari Williams, a veteran actor, has said.

The University of
Calabar Theatre Arts lecturer observed that, besides today’s actors and
actresses’ inability to stand before an audience to perform, government
at the federal and state levels have turned theatre halls to events
hosting centres, a development that has further worsened the prospects
of live stage acting.

“Most Nollywood
stars cannot act on stage. They cannot stand before a crowd. Theatre is
where we have to reconcile between stage and screen acting. Wole
Soyinka got annoyed and walked out of the National Theatre in Lagos
some years ago when one of the famous names in Nollywood could not
recite the lines of his play,” Williams said.

Also, most
Nollywood actors and actresses are not schooled in Theatre Arts, as
their only qualification for the screen is a beautiful face and good
voice, unlike the trained professionals that can act on and off stage
in accordance with the rules of the industry, adding that all Nollywood
people do is to memorise their lines for six weeks and get recorded on
video.

How to revive theatre

“Theatre in Nigeria
is dying. It cannot raise its head anymore because of Nollywood.
Nigerians now prefer to buy cheap video compact discs to watch films in
the confines of their homes. The implication is that they no more go to
cinema halls to watch plays. This, more than anything else, has killed
drama in the country,” he declared.

According to him,
this is not helping the country as “theatre is a reflection of a
people’s life. We vibrate through theatre, playing back our good and
bad sides. Despite the advent of technology and its advance in the
Western world, people there still go to theatre halls to watch plays.
Plays there are categorised and acted in the various cinema halls based
on their rating.”

The first
president of Actors Guild of Nigeria argued that if the West, which is
so advanced in everything, has not rejected stage acting, Nigeria that
is still crawling in all spheres of development cannot afford to do
otherwise. He solicited for the support of government, corporate
bodies, and wealthy individuals to revive theatre projects in the
country.

Williams, who is
the Omenka 1 of Akumazi Kingdom, Delta State, and director of the Lari
Williams Play House, particularly advised the Cross River State
government to encourage theatre, rather than waiting for only December
“to give our local musicians the voice to mime their records. Stage
acting should be an all year round affair. If theatre is still going on
in Britain and USA that produce all kinds of films, Nigeria should not
be an exception.”

Training is essential

He argued that,
for theatre to regain its lost glory in the country, there is the need
for basic training in the profession to be enforced. He further
stressed that, until the Actors Guild of Nigeria which makes it
compulsory for members to undergo the basic training in acting, films
produced in the country will continue to be of low quality, without
standing the test of time or competing favourably with others from the
rest of the world.

The university
teacher faulted the adoption of the name ‘Nollywood’ for the indigenous
movie industry, saying the lifting of the coinage from America’s
Hollywood without knowing its origin was wrong.

“Hoolywood came
about in the US because of the trees grown in that part of California.
Those trees are known as Hollywood, hence that part of Califorina is
known as Hollywood City. Pinewood (Studios) in England came about by
the pine trees found in that part of the country.”

Williams believes
that, instead of Nollywood, the Nigerian film industry should have been
known as Camwood, since camwood is found in abundance in the country,
that is if the suffix ‘wood’ must be used. Williams kicked against the
indiscriminate use of ‘wood’ after the different movie industries of
countries around the world.

“The proliferation
of home videos is good for actors and actresses, but the cradle of
acting is the stage. We should not let it die. Yes, home videos are a
reflection of our culture, but it is the arts that keep it alive. We
must do everything humanly possible to preserve the arts since acting
starts from the home through every day activities,” Williams maintained.

What government can do

‘In order to revive
theatre in the country, government should ban the use of theatre
auditoriums for wedding ceremonies, political rallies, and church
services. University authorities should stop hiring out their arts
auditorium for non-acting use by members of the public,” he further
advised.

He urged government
to ensure professionalism in the appointment of ministers and
commissioners of culture, if results are to be achieved.

The veteran actor also called on federal government to raise a
committee for the release, disbursement and use of the S200m US dollars
promised to the Actors Guild of Nigeria by President Goodluck Jonathan.

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EMAIL FROM AMERICA: A hundred seasons of joy and gratitude

EMAIL FROM AMERICA: A hundred seasons of joy and gratitude

I would like to
start off this new year on a positive note. I am superstitious like
that. First of all, a big thank you to all of you who spend time
reading my column. I actually enjoy reading the online comments on my
column. They communicate more than folks realise and in many instances
provide valuable insights into the subject matter.

Most of the
comments on my column have been respectful, thoughtful, and gracious.
This is especially impressive, given that most of the respondents are
writing under aliases. There are ample opportunities to be abusive but
few of my readers take advantage of them.

My columns are
mostly opinions based on my life’s journeys and I totally understand
how some may be offended by my admittedly strong views. I do not
understand the mystery of writing, why and how I feel the need to say
certain things, but it is what it is and I really appreciate the
patience of so many folks.

One such patient
person is my editor, Molara Wood. I was one of the writers she
contacted at the founding of NEXT. One day, I got this email from her
wondering if I would author a column of my musings to be hosted by this
new newspaper outfit called NEXT. The column would be in the Arts and
Culture section and I would be free to basically say whatever I felt
like saying.

I was flattered
but nervous about the whole idea. I am not a trained journalist; I have
a full time job and a large active family that occupies most of my
time. It just seemed like a lot of work at the time. Those who know
Wood would say she is gently steely about her vision and I did not look
forward to saying NO to her. I said YES, and chanted a silent prayer to
the gods of my ancestors.

It has been
roughly two years and the other day I realised that I had written over
one hundred essays since then. I salute Molara Wood for befriending me
when she did not have to, for seeing in my demons opportunities for
communing with the world. She has faithfully edited my works, leaving
just enough irreverence and darkness to keep readers coming back. I
thank her for putting the ‘u’ back in my ‘color’ and reminding me that
Nigeria is a place on earth where my placenta is buried.

I must thank NEXT
for giving me such a beautiful platform for expressing myself. It is
great to be in the company of dreamers and doers and the founders of
NEXT have assembled some of the best writers and visionaries out there.
I am proud to have been part of this exciting project. I believe
Nigeria is the better for it because of NEXT.

I always thought
that there would be times when I would beg off this assignment for a
little while to attend to my family, work, and personal demons. We have
not confronted that junction yet; indeed it is the case that I have not
had a week when I was short of something to say. Instead, I have been
in the embarrassing situation of begging my editor to just print my
thoughts as is because I could not reduce the words to the requisite
length. My muse and my demons have been hopping, providing me the
necessary inspiration to keep engaging and sometimes enraging my
readers.

Sustaining a
family and enjoying the process is challenging. My lover is mystified
by my need to write nonstop at all times and in inappropriate places
but in over two decades, she has held us all together while I doused my
demons in e-ink. My escapades within and without the family unit have
been a source of inspiration for my column. Our children complete me
and their pet names are probably now household names, especially
Ominira and Fearless Fang. My life and my writing would be incomplete
without them.

English literature
as practised in Nigeria is a lifelong passion of mine. There are many
things wrong with Nigeria, but telling our stories is not one of them.
There is a new generation of writers out there determined to tell our
stories. They are doing a great job, running as fast as they can. If
you love reading, this is a great time to be alive: From Facebook to
books, our stories are being told. I salute our writers.

Finally, the theme
of my life is friendship, warts and all. Nothing is sexier and more
thrilling than having a really good friend to be with. The Internet and
Facebook have given me the gift of umpteen friends over the years. They
have all been extremely supportive, even when I have not been
charitable to them.

I wish every one of you a great and prosperous New Year. And this is
a promise: I am not going anywhere, I shall be here goading and
enraging all of you into greatness. Because I love you all.

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The Holocaust: dealing with the past

The Holocaust: dealing with the past

At the first sight
of the Holocaust Memorial, one is amazed and wonders what it
represents. We all stand by the edge of the street bordering the
American Embassy and backing the Tiergaten Park in Berlin. From here,
one has a landscape view of the memorial; it looks like a sea of
moulded square bricks.

It is not until you
make the move to start walking in-between that you realise that it can
swallow one up, height-wise; you will feel so small. Our guide asks us
to walk for 30 minutes in the maze of brick and come back to tell her
what we felt, what kind of ideas we had. Then the proper tour.

Done in memory of
the six million Jewish victims of the holocaust, the memorial was built
in 2005 but its history dates back to the late 80s.

It was designed by
Peter David Eisenmann, an architect known for his radical designs and
architectural theories, often characterised as deconstructive.

How do we preserve memory?

Germans started
asking how they would deal with the memory of the holocaust in 1987,
when the Berlin Wall was still in place and there were two Germanys.

It was in West
Germany that the discussion started. People asked: how it is possible
after 40 years that there is no memorial to commemorate the biggest
crime in German history? There were survivors, but they decrease in
number with the passing years. How do we keep the memory alive? These
and other questions kept coming up.

A citizens’
initiative group was formed; they walked the streets canvassing
opinion, asking citizens and prominent figures for signatures, to lobby
for government support. They also sought donations through media
campaigns.

How do we deal with history?

The next phase of
questioning covered the following: “How do we deal with our history?
How do we deal with the past?” This sparked a big debate with differing
opinions; some for a memorial, others against. “What was the memorial
about? Why do you build a memorial?”

It has the purpose
of telling the history but most importantly, it is for future
generations to ensure that the same event does not repeat itself. This
was difficult for most Germans; they did not want future Germans to
feel guilty about their history and the part they played in the Second
World War.

The memorial should
be about taking responsibility, to ensure a remembrance of the
holocaust; and as a sign of respect to the victims and their offspring.
It is not about feeling guilty. Nonetheless, this clarification took
about four to five years to gain wider acceptance.

What about non-Jewish victims?

The Jews were not
the only group of people persecuted by the Nazis, so the question
arose: ‘What about the other groups?’ Victim groups of the holocaust
included homosexuals, the disabled, Jehovah’s Witnesses, and Gypsies.

The Jewish
community in Germany was not comfortable with the idea of a memorial,
fearing it could spark a new wave of anti-Semitism. They did not want
people saying: ‘The Jews are at it again.’

There was also
another theory put forward by those against a memorial: such a
structure could imply closure: You build a memorial, that is it, ‘we
are done, let’s move on’. Some thought it would no longer be about
keeping memory alive, but coming to terms. Many argued that you can’t
come to term with this kind of past.

The European Dimension

In 1992, the then
German Chancellor, Helmut Kohl, made the political decision that the
memorial would be dedicated to the largest group of victims alone: the
Jews. A major reason for Kohl’s decision was what historians call ‘the
European dimension’. Of the six million Jews exterminated, only 165,
000 were German Jews. Whereas, the Nazis wanted to ‘cleanse’ the entire
Europe of all Jews.

When the Wehrmacht
(the Nazi army) started matching all over Europe, they hunted and
killed Jews wherever they went. In Poland, Romania, Russia – all over
Eastern Europe – they came down to Greece, Cretan Island, took the
Jewish people and deported them to the Auschwitz Concentration Camp.
They went on to Italy, France, the Netherlands, up to Norway and
Denmark… Today, only an estimated 10, 000 Jews live in Poland; the
country once had the largest Jewish population in Europe, numbering
several millions.

Why this location?

The location chosen
for the memorial is in the vicinity of embassies, cultural
institutions, businesses and residential premises, the Brandenburg gate
which is the symbol of Berlin, as well as the Tiergaten Park. All these
express the public character of the memorial, passing the message that
they are not hiding the history but facing it.

It is a symbolic site, for it was the centre of the former Nazi government.

Translating the history to where the memorial is located, between the East and West, it is a memorial of a unified Germany.

What should the memorial look like?

In 1994, the
government decided to hold an open artistic competition. Anyone could
take part. There would be a committee made up of five members of the
Citizens’ Initiative, five from the Berlin Senate, and five from the
government. They would choose the winning idea from anonymous entries.
528 ideas were received. The 15-person committee had to choose one. It
was a chaotic process, and there was no headway, even after an
additional two years.

The government then
changed the procedure. It was streamlined to a selection of 25
architects and artists, to be judged by five committee members. The
committee eventually chose two ideas from a total of 19; and Chancellor
Kohl selected the winning entry. The final design was made by Peter
Eisenmann, with the initial input of a sculptor named Serra.

Bundestag involvement

Helmut Kohl could
not actualise the idea for the memorial until the German elections of
1998. A new government subsequently came into power and voices were
raised in opposition to the memorial. The Bundestag had to vote on it.
A six-storey building with research centre and a library were among the
new concepts proposed.

Eventually, it was agreed that the design would stay exactly as
previously conceived, with an underground exhibit on the story of the
holocaust. The Holocaust Memorial opened in 2005; its fifth anniversary
was held last May.

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POEM: The House

POEM: The House

Outside, the roof of the house

points skyward,

it reaches far and near as it presses on,

sea-green dome

green against clear blue skies,

a picture postcard,

its mahogany doors,

whitewashed walls

screen the chambers,

you can’t hear the sergeant at arms

calling the house to order.

I am sitting in the lower room of the house,

a tourist with a camera.

Once it was hallowed,

not this house

I am focusing so intensely on.

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That our movies may get better

That our movies may get better

The nine days’ long
technical capacity building workshop in film production, organised by
the National Council for Arts and Culture (NCAC) in collaboration with
Nollywood Travel Market Limited, ended on December 16, 2010 with a
brief closing ceremony at the Royalton Hotel in Abuja.

Addressing
organisers and participants at the event, M.M. Maidugu, the chief
executive director of the National Council for Arts and Culture,
expressed gratitude at the turnout and success of the workshop.

“Our initial fear
about this workshop was on whether or not it will be possible to
mobilise enough people to partake in it. But what I saw in Lagos,
Enugu, and now Abuja shows that our youth are hungry to learn. So, I
must congratulate the organisers for their ability to mobilise such a
huge number of people within the time available for us to plan and
execute this event,” he said.

The workshop
focused on four major areas namely: scriptwriting, costume and make-up,
editing, and cinematography (which includes light, camera, photography,
and sound engineering) with the aim of engaging practitioners in
refresher courses by way of improving performance and delivery which
will in turn impact on the quality of films turned out by producers and
marketers in Nigeria.

Wilfred Ayeni, a
member of the Actors Guild of Nigeria in Abuja and one of the workshop
participants, expressed concern at what he described as the influx of
mediocrity in the Nigerian movie industry.

“Nollywood as it is
today is populated by mediocres who are not bothered about professional
ethics and quality of output in what they do but their short term
returns,” he observed. “This workshop, I am sure, will go a long way to
put us in good stead to contribute to the development of our industry,
and by extension, the nation at large,” he added.

Reiterating an
earlier promise for a better and improved edition of the workshop next
year, Chidi Nwokeabia, of Nollywood Travel Market Limited, challenged
other relevant ministries and agencies to emulate the NCAC.

“It is not just
enough for people, including those in the government quarters to
condemn the quality and depth of our work. They should emulate the NCAC
by supporting training efforts like this,” he said.

Maidugu presented
certificates to the over 100 participants at the workshop, while
promising that subsequent editions will ensure that more people
participate.

In addition to the
workshop, three films are expected to be produced by the body, one each
from Lagos, Enugu, and Abuja. Nwokeabia revealed that the decision to
produce the three movies is to provide opportunity for participants to
demonstrate what they have learnt in the course of the workshop, which
had Ernest Obi and Lancelot Imasuen as some of the facilitators.

Nita Biyak George, an Abuja based artist who participated in the workshop, described it as a worthy experience.

“I felt fulfilled being part of this workshop. It is three days that
every serious minded person within the trade will live to treasure. I
am glad to have been part of it and I thank the organisers for giving
me the opportunity,” she said, expressing the hope that the knowledge
impacted in the participants will make them complete artists.

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Glory and BB make the Top Ten

Glory and BB make the Top Ten

Abuja-based Glory Oriakhi and viewer’s favourite, Biodun Bello (BB), have joined Naomi and Ola in the Top Ten on Nigerian Idol.

Glory, a final year
Law student at the University of Abuja, was the first contestant to get
a golden ticket at auditions in the capital city. BB, a 400 level Law
student at Igbinedion University, who is also a dancer and
choreographer, was very excited to make it to the Top Ten. “I missed
classes for Nigerian Idol and I am glad it’s not in vain,” she said.

Both contestants have since returned to their home bases in preparation for the big stage on January 23, 2010.

Last Sunday,
January 2, another group of ten hit the stage to give their all in the
hope of making the big time. They were Jessica, Godson, Graycee, Faith,
Toyosi, Zoe (whose performance was the cause of much excitement to
judge Yinka Davies), Chuxy, Jumoke, George and AJ.

AJ followed her own
tradition by dedicating another song to judge, Jeffery Daniel. She
previously dedicated the song she sang at the auditions in Calabar to
him. “He will be my sweet love today,” she said to co-host Misi Molu
backstage, minutes before performing on Sunday.

Daniel returned the
compliment, telling the contestant, “Cool little AJ, from the day you
sang to me with a guitar in Calabar, you have grown. It’s really good
to see a lot come out from that cute little body of yours.”

“There are still a lot of surprises to come,” said Rotimi Pedro, MD of Optima Media Group, which produces Nigerian Idol.

“We are going to
infuse a lot of excitement into the show and make sure viewers enjoy
and look forward to watching the show while not compromising on the
original format. Our dream is to give Nigerians the best home
entertainment possible, while using the platform to empower talented
music stars who will go on to do Nigeria proud all over the world,” he
added.

The fourth group of ten have arrived the Dream Studio, gearing up for today.

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FICTION: A game of chance

FICTION: A game of chance

Baba had barely
finished speaking when a metallic white Land Rover screeched and
stopped abruptly in front of his pools office. Cakes of potopoto
splattered all over the vehicle gave it a mix of white and brown. The
words, Joint Military Task Force, written in black, were etched on both
sides, on the door. Men, women and children stood in front of their
houses waiting to see what the soldiers inside the vehicle were up to.
What were they going to dramatise next? they wondered.

While the men
wore only shorts, as they chewed pako and spat on the ground, their
distended bellies thrust forward, the women’s wrappers were flung
across their shoulders, leaving a substantial part of their breasts
exposed and only their nipples covered. Children between the ages of
eight and ten, some wearing only hole-ridden shorts and others briefs,
clung to their mothers.

Suddenly, five
heavily built men in mufti, wielding AK-47 rifles, jumped out of the
van and rushed into the pools office. One of them kicked the black
results board with white stripes, that rested on a rusty, brown pole in
front of the plastered but unpainted bungalow. The board fell down, and
the man looked at it and hissed. “Eight draws! This Kora people self!”
he drawled and stepped in, his boots thudding the floor.

“Where are they!
Where are they!” the soldiers bellowed in unison; as they rushed into
the first room, in which were only a table and a bench. They entered
the second room, which had two tables, two benches and a wire-netted
counter behind which Baba always sat to attend to customers. On the
counter was a paper on which Baba wrote his weekly offering to his
customers. That, he believed, would guarantee their constant patronage;
even though he had never for once gotten all of them right. The
inscription, written in bold, black ink, read:

Bankers Of The Week

XXX 1 XXX

XXX 4 XXX

XXX 8 XXX

“Stand up and hands up!”one of the men commanded. “If you move, I move you!”

“What have we
done?” Ogedengbe asked, perplexed. A bottle of ogogoro, his coupons, a
Bic biro and papers on which he had solved some calculations, were on
the shaky table in front of him. Ogedengbe never tucked in his shirts
and always kept bushy beards. A scrawny man who taught mathematics at
Emore Grammar school, he had a head for figures. Ogedengbe believed
mathematical calculations were the only way to forecast draws, the only
way to fortune. “Draws are fixed!”he always said with bloated
confidence.

“Are you asking us
what you’ve done? What gave you that boldness, that temerity?” the man,
who had spoken earlier, shouted and slapped Ogedengbe. “Nonsense!” He
said and hissed. “You criminal! Don’t you know that we are uniformed
men? Next time you will learn never to challenge uniformed men again!”
His broad, round face was contorted, as though he had a permanent
frown. His belly burged out, forming an oblong shape like the stomach
of a pregnant woman on the verge of delivery.

“Ahhhhhhhhhh! You
slapped me? You slapped me?” Ogedengbe screamed, covering his face with
his palms. “You slapped me? Officer, you slapped me? The Chief Justice
of the federation must hear this! Justice Kutigi must hear this!” He
raised up his face and stretched his lean neck, thrusting it forward
like an agitated duck. The mathematics teacher suddenly remembered the
school where he taught, where hordes of students waited patiently for
him in the classroom while he spent the whole day in Baba’s pools
office. If my salary was good enough, I wouldn’t be here receiving a
slap from this man, he thought. He remembered the bills lecturers at
the University of Ibadan always posted on their office doors: My boss
is a comedian. The wages he pays are jokes and the wages my boss pays
me can’t take me home, they read. He wanted to retaliate but the sight
of AK-47 rifles discouraged him.

Many in Ogedengbe’s
school believed he was out of his mind. Whenever he was teaching he
always revealed his examination questions to students. “On that day
Alpha Beta must come!” he would say. Because he was always in Baba’s
pools office forecasting draws by solving mathematical calculations, he
regularly missed his classes; as a result, he often had arguments with
Mr Mgbunwe, the school principal. Mr Mgbunwe once withheld Ogedengbe’s
salary for a particular month because of what he regarded as the
mathematics teacher’s “nonchalant attitude to work.” Ogedengbe, on his
part, refused to release the examination results of his students until
the salary was paid. He always wrote on the blackboard, backing it, and
erased whatever he had written with his bare hands. The mathematics
teacher had dreams, but felt the only way to actualise them was to take
the opposite stance. He was fond of saying he would turn the foundation
of scientific knowledge upside down, just like the way Karl Marx did
Georg Wilhelm Friedrich Hegel’s philosophy. He believed that someday he
would prove that the earth was not spherical but flat, that the sun
revolved round the earth, that the weight of a body was not equal to
the force acting on it, that the more things changed, the more they
remained the same.

“Foolish man!
You’ll know what you’ve done by the time you get to the station.
Foolish man. That’s how all of you go about kidnapping innocent
citizens, planting bombs everywhere, bursting oil pipelines and seizing
flow stations. All of you are criminals and saboteurs,” the officer
said; and a hush fell like a withered leaf. The commander stared at the
three civilians one after the other, as though waiting for their
reaction.

“OK boys! Search all of them thoroughly and leave nothing. Do you hear me?’

“Yeees siir!” the
soldiers answered and, immediately, turned towards Baba, Ogedengbe and
Obidi. They frisked their clothes, and searched their pockets inside
out. One of the soldiers brought out a brown, defaced metal detector
from his trousers’ pocket and ran it all over their bodies, including
their eyes, ears and buttocks as though they hid explosives there.

“Make sure you scan them very well o. These bloody civilians are capable of anything o,” the commander said.

“Yeees Siir!” The
soldiers continued their search with furious intensity. They looked
under the tables, benches and inside the counter to see if anyone was
hiding there.

“Are you sure there is nobody in the ceiling?” the leader asked.

One of the soldiers
squatted suddenly, while the one who was holding the metal detector sat
on his shoulders and was raised up. The two soldiers moved sluggishly
around the two rooms, as the one holding the scanner ran it over the
unpainted ceiling.

“Make sure you scan
the ceiling thoroughly,” the leader said again hoarsely and glanced
around the room. He touched the unpainted ash-coloured walls and felt
the hardness. With both hands he raised his trousers up to the lower
part of his pot belly and sniffed, taking two deep breaths, as though
he could perceive the smell of ammunitions. “Make sure you scan
thoroughly.”

The soldier,
satisfied that no ammunitions lurked in the ceiling, asked the other to
squat. As the latter was bending down, a loud boom! erupted out of his
anus. “Sorry Sir!” he squirmed. This is not one of those bombs. It’s
just a natural gas!” But the leader pretended as though he didn’t hear
any sound, as though his junior didn’t talk to him. And the former
disembarked; both of them heaving breathlessly. And immediately the
soldier wielding the metal detector ran it all over the men’s bodies
again.

“What have we
done?” Baba asked, speaking through his nose. A man of few words, Baba
was hard of hearing and often had to be spoken to repeatedly to hear
what others were saying. And he was fond of speaking louder than
others. His hair stretched out like Kenneth Kaunda’s; and a
centre-parting ran through it.

“What have we done, eh? What have we done that you are beating us like criminals? Don’t you know these are my customers?”

“Are you asking me?
Are you asking me?” the leader asked. “Don’t you have respect for
uniformed men? You will know what you have done when you get to the
station.”

“Are we going to
camp?” Baba asked, perplexed, as he stole a glance at last season’s
record he was using to forecast draws just before the military men
barged into the office. Though Baba believed draws were fixed, he
didn’t believe they were derived from calculations. Rather, he relied
on working out systems from past records. The older the system, the
more he believed in its reliability. To him the secrets of unlocking
systems were derived from keys. “This system is many many yeaaars”! he
always said, with glee, whenever he discovered a new method of
unravelling draws.

“Oya, start moving to the van! One… Two…Three!” the leader commanded.

“Please let me lock up my office,” Baba said and reached for a bunch of keys on the table in front of him.

“Which office? Do
you think you have any right to lock up your office? Do you think we
came here to have fun. There is no sweetness here. You want me to allow
you to lock up your office, as you said, so that you could take up your
ammunitions and fire us? My brother, there is no sweetness here,” the
leader retorted and pushed Baba to the door connecting the two rooms.

“I am just a
businessman!” Obidi pleaded hoarsely. “I’m supposed to travel to Lagos
today to collect my container at Apapa Wharf!” Obidi’s massive frame
belied his young age. The youngest of the three, he was in his forties;
yet was bigger than Baba and Ogedengbe put together. His face was round
and large like a mask, his nostrils those of a gorilla and ears a
chimpanzee’s; and no neck connected his head and shoulders. Obidi
believed neither in systems nor calculations but in forecasting papers.
“Bookmakers like Willy Ehi Obinyan have made forecasting draws easy.
Then why rack your brains?” he always asked his colleagues. His
favourite forecasting papers were Pools Telegraph, Shoot Pointers and
Harold King Pools Guide.

“If you are a
businessman, as you claim, what are you doing here? Doesn’t Henry O the
leader of your group claim he is a businessman?”

“Who’s Henry O. I don’t know any Henry O,” Obidi said.

“I didn’t come here
to bandy words with you. You don’t even have respect for uniformed men.
If you are not afraid of me, are you not afraid of my uniform… and my
gun? OK boys, take these men to the van!” The leader carried the
Aromatic Schnapps bottle containing the ogogoro mixed with some barks
and helped himself to it. “Hmmm!” he winced, smacking his lips, his
forehead furrowed. “This is hot!” he said. “What is the name of this
paraga? Pepper soup? Manpower? Iba? Jedi?” He turned the bottle around
and tried to ascertain what was inside; but the brownish liquid he had
just drunk looked greenish and syrupy inside.

“I hope this
paraga will cure my backache, malaria, jedi jedi and lethargy. And I
hope it will give me power to fire my woman tonight,” he said and burst
into laughter.

Power? Ogedengbe thought, and grimaced.

“Oya let’s go, boys!” the leader commanded.

But no sooner had
he dropped the bottle than the other soldiers took turns to help
themselves to the ogogoro. “Oya, let’s go! But we want power, too.
Medicine is not meant for only one person. It must go round. Oya, let’s
go!” the last to take a shot repeated.

The three civilians were herded to the waiting van, their hands still raised up.

It was already past
midday. The onlookers, who had been standing in front of their houses,
riveted their attention on the vehicle; as the three men entered the
back, followed by four soldiers; while the commander, still smacking
his lips, sat at the passenger’s seat. Immediately the four soldiers
entered the van, they pointed their guns aimlessly outside. The driver
speedily reversed the vehicle, the tyres making creaking sounds, and
leaving deep marks on the road. The van zoomed past the onlookers, some
of whom raised their hands up in wild jubilation. “Up JTF!” “Up Just
Terrify Them,” “Up JTF!” they hailed. But the soldiers, still pointing
their guns outside, looked at them menacingly.

The drive from
Irri Road to Isoko District Council Road, where the station was
located, was quiet but rough. The driver, a lanky man with three bold
and deeply etched tribal marks that extended from the two ends of his
mouth to his neck revved the van intermittently, bumping on potholes
that dotted the road. He was wore a white perforated t-shirt that had
turned brown from excessive perspiration and lack of a wash. When the
driver negotiated the bend connecting Irri Road and Emore Road, passing
by the old Post Office and Odhomo Bookshop, Ogedengbe sighted some
students of Emore Grammar School in their white and blue uniform. He
stretched out his long neck to see whether the students could identify
him and, perhaps, report his plight to the principal, but the vehicle
zoomed past them. His mind was racing, too. They ought to be in their
classrooms, he thought. And suddenly, he realised that he had left his
jotter and biro on the table.

Why were the
soldiers taking them to the station? For execution? What crime did they
commit? Did they have any moral justification to arrest them? Though
Ogedengbe wasn’t sure of their fate, he believed one should always be
ready for the unexpected; for life was a game of chance; and out of the
unexpected always came life-changing events.

“My business is
suffering terribly!” Obidi said and hissed. The three civilians, who
were sitting on one side, beside a soldier, looked at one another.
Obidi, frowning, thought Ogedengbe and Baba would talk with him. They
didn’t, because they were enmeshed in their thoughts. Baba observed
that this was the only time they did not argue over whose method of
forecasting draws was more reliable. Ogedengbe always claimed that the
secret of unearthing draws lay in numbers; Baba believed that draws
were hidden in records, and that you could only get them by studying
weekly fixtures and arriving at the keys. Obidi was of the view that
those two methods were too tedious. “Why waste your time when you can
easily get the ready-made draws from papers? Anyway, I don’t have time
for such rigorous exercises. My business will suffer!” he always said
during those arguments. Yet, Ogedengbe believed that his colleagues
were both living in the past. “Mine is more reliable and modern because
it is tedious. And when you solve a mathematical problem, you arrive at
a definite answer,” he often submitted. But Baba never believed that
because something is difficult, that made it authentic. “Pools betting,
like life, is as simple as ABC. You don’t need to rack your brain to
achieve results. When you look at the weekly fixtures, there are some
matches that are natural draws. These are what they call local derbies.
If Manchester United is playing with Manchester City, for instance,
that is a natural draw,” Baba would say. At such moments, Baba would
hold his frameless glasses close to his eyes with his hands and look
above them, Ogedengbe would bang the table repeatedly, while Obidi
would rummage through the papers hurriedly in search of draws. In spite
of the hot arguments, and their differences, the three friends believed
that draws were fixed. They also nursed a secret dream of hitting the
gold mine someday and becoming instant celebrities. The legends about
how some pool stakers had hit the jackpot and became fabulously rich
always went round the pools offices in Oleh. One of the greats was
Patrick Osakwe, a staker who became wealthy, and later became a pools
promoter and owner of Flash Pools Limited in Benin City. Osakwe was so
rich that he later studied Political Science at the University of
Benin, graduating with a first class honours degree. He, a three-time
senator also had a degree in Law; and was always in the news,
commenting on national issues. Another former staker who became a
celebrity was Willy Ehi Obinyan. Obinyan later became a successful
bookmaker. The mansion he built with proceeds he got from the pools,
was located near the popular Ojodu-Berger bus stop in Lagos.

As the vehicle
moved, the driver continued revving, taking twists and turns; and
zooming past men, women and children riding bicycles, as they twisted
their waist up, down, up, down on their way to farms that rusty oil
pipelines transversed. Immediately he negotiated the bend linking Emore
Road and I. D. C. Road, Ogedengbe stole a glance at the building
housing the Delta State Library, hoping he could see the librarian or
any of the staff. But they were all inside the long bungalow that
tailed inwards. The library, whose walls were already peeling off like
human skin in the Harmattan, had a deceptive appearance. It looked
small from the outside. But anyone who entered inside, would see that
the adult section, which led to the children’s, was a long stretch
bordered by polished book shelves on one side and tables on the other.
Ogedengbe could count the number of times he had visited the library.
But each time he went there, he always read the Encyclopedia
Britannica; a habit which Obi, one of the staff, never liked. When
Ogedengbe got to the library one Monday morning, he went straight to
the first shelf, which contained reference books, and picked one of the
encyclopedia. And as soon as he sat down to read, Obi walked over and
asked him to leave. Ogedengbe remonstrated and a heated argument, which
attracted other reader’s attention ensued. Asked why he ordered the
Mathematics teacher to leave, Obi, a lanky man who never tucked in his
shirt, said Ogedengbe was fond of reading ‘big books,’ Yet, Ogedengbe
did not leave until he finished reading. While he was leaving the
library, Ogedengbe walked up to Obi, who was sitting behind the counter
at the entrance and said, “I can bring down this building and build it
up in three days.”

Immediately they
arrived at the Police barracks, which was opposite the Isoko South
Local Government Secretariat, the soldiers jumped out of the vehicle
and, aiming their rifles at the three civilians, commanded them to
alight one after the other. “Oya, move straight to the station!” One of
the soldiers shouted. The three civilians moved quietly, followed by
the four soldiers; while their leader, his pot belly pulling him
forward, was at the rear.

“Where are you taking us to?” Ogedengbe asked, boiling with indignation.

“Will you shut up your dirty mouth before I waste you here?” a soldier shouted back.

“What have we done? I can’t take this any longer. Justice Kutigi must hear this!”

“If you like, you
can wait for Justice Kutigi. Is he your uncle? Before that Justice
Kutigi will come and rescue you, you are already a dead man. Foolish
man!”

“Did they say they were taking us to the station? I thought they said they were taking us to camp,” Baba said loudly.

“Which camp?” Obidi
spoke loudly so that Baba could hear. “It doesn’t matter where they are
taking us to. What I am concerned about is that they should release us
quickly so that I can go and face my business. My business is
suffering.”

“Your business?” Ogedengbe asked, stealing a glance at Obidi. “We might not come out of this place alive!”

‘A Game of Chance’ continues next Sunday in The Lagos Review.

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