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Juju music icons,
Ebenezer Obey and King Sunny Ade (KSA), have disclosed that they are
game for the forthcoming ‘One Nite Stand’ featuring them with the same
band on a stage for the first time ever. The show, scheduled for the
New Eko Expo Hall, Eko Hotels, Victoria Island, Lagos from 4pm on
Sunday, November 7 is being packaged by GrandFaaji Concepts Limited.

Obey and Sunny
spoke about the concert at a press conference held at Airport Hotel,
Ikeja, on Tuesday, October 19. Welcoming reporters to the event, chief
executive of GrandFaaji Concepts Limited, Azuka Jebose Molokwu, said
the Juju legends were there “to imprint on our minds the essence of
this concert.”

The show, he
added, “is unlike any other in the history of Nigerian music. Many may
have thought that the so-called rivalry that existed between the two
musicians would never have made this possible. But, as it is evident
here: these are two brothers and friends. And, they are gearing up to
show what two will do, when they are agreed.” The former entertainment
journalist now based in the US noted that “It is also going to be an
evening of soul-gratifying melodies.”

President,
Performing Musicians Association of Nigeria (PMAN), Dele Abiodun,
thanked organisers of the concert for coming up with the idea. Abiodun,
who recalled the duo’s efforts to popularise Juju music, reiterated
that nobody would have believed the two role models would ever perform
together. “Thank you sirs, we are very proud of you and will continue
to be proud of you,” he ended.

We are brothers

Obey expressed
happiness at the opportunity to talk about the show. Baba Commander, as
some of his fans call him, said Abiodun and others saw him and KSA as
role models because God made it so. “What happened is not coincidental;
God brought us together to come into the music scene. We both prayed to
be successful musicians and God answered,” Obey said of their musical
beginnings. The duo, he added, have their strengths but “God brought us
to release messages to the world, to calm people. Both of us were there
and became a source of encouragement to each other.” Continuing on
their early years, Obey said it was a rarity in the history of Nigerian
music for two icons to reign together but that they did until he became
a minister of God nearly 20 years ago.

But he almost
backed out of the show. Though he had agreed with the organisers and
even concurred on KSA’s behalf, elders of his church saw the concert in
a different light. They thought people would perceive it as rekindling
the perceived rivalry between them. Obey said Molokwu explained the
whole concept again but he wasn’t ready to go against the wishes of the
elders. Molokwu eventually contacted Obey’s son, Folarin, who persuaded
the elders.

Obey said the
concert which is keyed into the 50th Independence anniversary, couldn’t
have come at a better time because God has helped them to contribute
their quota to the nation. Though he confessed he wouldn’t have ever
imagined the two of them on the stage, he noted that “With God all
things are possible. We are not enemies as people are thinking. We are
brothers.”

Who is fooling who?

Also dispelling
notions of a rivalry, KSA said even at the height of the so-called
enmity, he used to visit Obey in his house for discussions. “We have
cause to thank God because we are blessed. I am lucky to have him as a
brother who understood, understands and continues to understand,” KSA
said before narrating an incident involving the late celebrity
journalist, Olabisi Ajala.

He disclosed that
Ajala happened on him and Obey in his house and demanded that they open
the door. They had agreed to do so when Ajala’s next comment stopped
them. Ajala said, “You guys are sitting together and we are fighting
for you. You better open the door now or you will find your story in
the Evening Times today.” The journalist was true to his word as he
wrote a story titled ‘Who is fooling who?’ that same evening. Ajala, he
disclosed, always knew whenever Obey came to his house and was always
lying in wait for them.

KSA reiterated
that there was never any rivalry between them even when people assumed
so. He recalled why they had to change the day of their gigs when they
both had their joints on Olonade Street, Yaba, Lagos. KSA said there
was no problem when they started playing on Wednesdays until they
started having crowd trouble at their respective joints. He disclosed
that they amicably resolved the problem by tossing a coin with Obey
settling for Thursdays, even though his fans didn’t like it. That was
not the only measure they devised to manage their feuding fans; KSA
said they both agreed and instructed their managers not to book them
for the same event.

“Both of us are
working together to make this project what you think it will be.
Nigeria is 50 and this is the first time ever that the two of us are
meeting on the stage. We intentionally agreed not to meet together on
the stage but I want to assure you, we are going to have a good show, a
remarkable show. It will be even difficult for you to allow anybody
stand in front of you while you are watching the stage,” KSA promised.

Rare privilege

Veteran producer,
Laolu Akins, who is also involved the show, highlighted its uniqueness.
He said though it has never been attempted before, the organisers will
do “everything possible to ensure people have a wonderful time.” Apart
from Akins, the renowned Eddie Lawani is involved as the stage manager
while US-based broadcaster, Olusesan Ekisola, will anchor the show. All
female singing group, Nefeetiti and singer, Stella Monye, will also
perform as part of the bill. “It is a rare privilege to be playing with
these two giants. The opportunity just fell on my laps and I will be
the help to these two giants,” Monye said at the briefing.

Commenting on the
show, photographer and NEXT columnist, Tam Fiofori described Obey and
KSA as role models and trail blazers. He disclosed that Obey bought
beetle cars for all his band members and succeeded in raising their
social status at a time musicians were disparaged, while KSA was
equally benevolent and innovative.

Tickets for the
show which comes at N10, 000, N25, 000 and N100, 000 are already on
sale at various points across Lagos, emcee, Taiwo Obe, informed the
gathering.

Responding to
whether they will produce an album together after the show, KSA said it
is under consideration but that they will discuss further with the
organisers in that regard.

Asked to disclose the strengths of each other, Obey described KSA as
a master guitarist and excellent showman; KSA said it is Obey’s
melodious voice and perseverance on stage. The duo gave an insight to
what to expect at the concert when they sang ‘Ara mi e se pelepele’ by
Obey and KSA’s ‘Aimasiko’. “E fi yen le (leave that), e don dey sweet
una. Wait for the concert,” KSA said as photographers jostled to
capture the scene and reporters sang along.

The second edition
of playwright, Ben Tomoloju’s ‘Poetry, Laughter, Arts and You’
(P.L.A.Y) which held at Terra Kulture, Victoria Island, Lagos on
October 15 and 16 had something for everybody. There was music aplenty
for lovers of music while those interested in poetry were not
disappointed.

The opening was a
comprehensively entertaining show that was at once didactic though it
started almost two hours late. It was unadulterated fun all the way
when the show anchored by actor, Ropo Ewenla, eventually kicked off.
Female singing group, Nefretiti, raised the curtain with ‘Ayeraye’ a
song/chant extolling the virtues of the creator.

Paul Abiagam, an
official of Guaranty Trust Bank (GTB), sponsors of the festival
welcomed guests thereafter. He recalled the history of poetry in
Nigeria, its evolution and emergence of first and second generation
poets including Gabriel Okara, Wole Soyinka, J.P. Clark, Odia Ofeimun
and Niyi Osundare. The two generations, Abiagam noted, “defined modern
Nigerian poetry and left an indelible mark on the art, not only in
Nigeria, but worldwide.” The country, he continued, has been unable to
replicate the success of these poets because of decaying
infrastructure, poor state of the economy and falling standard of
education amongst others. “A search for an end to this worrying
situation influenced our decision at Guaranty Trust Bank to create a
unique platform for the rejuvenation of Nigerian poetry,” Abiagam said
of the bank’s involvement.

Abeeb Ayodeji,
better known as Awoko, and Iquo Eke continued saluting God after
Abiagam left the stage. Awoko paid homage to God with a Yoruba ewi
(poem) while Eke did ‘Chosen’ and ‘Rites of Rebirth’ backed by
Nefretiti and the Solar Band. The two groups supported different acts
as the event progressed.

Poetry is instrumental

Award winning poet
and head, Department of English, University of Ibadan, Remi Raji
delivered a lecture titled ‘Poetry and National Rebirth’, the theme of
the festival. “Don’t be scared by the books, I just acquired them,”
Raji who had a bundle of books under his arms as he walked to the
stage, assured the audience. “That’s a lesson to the young, when you
see recharge cards and books, go for the book,” he added before reading
a poem, ‘I rise now’ about learning to laugh again in a land of gloom.

Though he
initially wondered if poetry can birth anything for Nigeria or any
other African nation, Raji reiterated in the lecture that it has been
instrumental in the creation of some epochs. He cited the Harlem
Renaissance and Civil Rights Movement in the US and the Negritude in
the African Diaspora as examples.

“My simple
argument is that a nation cannot be without its culture, and poetry is
the creative quotient of that culture; it is given that national
rebirth is only possible with an awareness, a strong awareness of one’s
culture in interaction with other cultures; poetry is therefore a
strategic performative element of national rebirth,” he said.

The author of
‘Lovesong for My Wasteland’ also highlighted the role of the poet. He
described the bard as “an important contributor to the memorisation and
the re-orientation of a national psyche. S/he cannot exist outside his
or her culture, and s/he is influenced by culture as s/he functions as
an octant icon of his or her culture.

“Nations are
reborn when they calibrate the intelligence of their writers. The
rebirth of nations always almost involves the celebration of creative
writers, because the literary genius is an important material of any
cultural renaissance.”

Rich culture, vibrant art

Nefretiti did a
medley of popular choruses including a number by late Ikale musician,
Comfort Omoge, some Egun songs and others to lighten the atmosphere
after Raji’s lecture. Terfa Ahondo, a foundation member of the National
Troupe of Nigeria, took the performances a notch higher with his Tiv
dance and mastery of the traditional Hausa trumpet. The artist backed
by two others showed the audience he has strong lungs by blowing the
trumpet for more than three minutes without pausing to catch his breath.

The Fadesewa of
Simawa, Oba Gbenga Sonuga who was accompanied by his wife, Peju, noted
that it was a beautiful show. “It has been a pleasant afternoon and I
am glad that I made time to be here,” said the king who also
highlighted the depth of Nigeria’s cultural assets. “The only thing
that Nigeria has to talk about in 50 years is the wealth of its culture
and vibrancy of its art. I thank God that we are rich, I thank God that
we are alive to witness the rebirth of art in Nigeria.”

The king, a former
dancer, however regretted that the Minister of Tourism, Culture and
National Orientation, Abubakar Sadiq Mohammed was not at the festival.
He noted that it would have been a good opportunity to “teach him one
or two things about art. You can’t be minister of culture without
having undergone cultural re-orientation. A minister that is not
appreciative of his culture won’t deliver us. The arts make our life
meaningful.” He prayed that by the time Nigeria celebrates its
centenary, the nation will be flying in the culture sector. “You have
made my day, you have made my 50th anniversary real,” he said in
gratitude to the singers, drummers and other performers.

Poetry and jazz

Vocalist, Titi
Ogunsola accompanied by the Solar Band opened the ‘cocktail of poetry
and jazz’ session with a commendable rendition of Louis Armstrong’s
‘What a Wonderful World.’ Playwright and poet, Ozi Okoli also
registered his presence with, ‘Through the Silent Night’ and ‘The
Spilling Darkness’.

Tomoloju, visioner
of the project, read J.P. Clark’s ‘The Casualties’ and dedicated it to
Chinua Achebe. He paid tributes to the late maestro, Steve Rhodes and
other elders of the Nigerian stage and literature in a song titled ‘Oro
Agba’. Ewenla did Pius Okigbo’s ‘Condolences’ while Segun Dada brought
Odia Ofeimun’s ‘Lagoon’ to life. Nefretiti softly sang ‘Eko Akete’ in
the background while Dada danced as if he was paddling a canoe.

Ganiyat Ogundele
performed Niyi Osundare’s ‘Out in the Night-Sleepwalking’ in another of
the day’s best performances. Attired in a bathrobe and holding a cover
cloth, she slept on the floor until a mosquito bite woke her to perform
the poem like a real sleepwalker. Up and coming act, Oyinkansola drew
applause for her fast paced number, ‘Yokolu yokolu’ about a greedy
fellow who got his just deserts. The audience sang the chorus loudly
along with the guitar strumming singer who reminded all of Asa.

Wazobia FM’s duo
of Steve Onu, popularly known as Yaw and Lolo Motunde spiced the show
with some jokes before Ebika Anthony took the gathering – including
students of two secondary schools, the Lagos State University (LASU)
and Adeniran College of Education, Ijanikin – to the Niger Delta with
an Izon (Ijaw) poem on hunger. ACE (Awoko, Cornerstone and Eda Oto)
continued with the performance ridden festival by doing Wole Soyinka’s
‘I Love this Lagos’ accompanied by the Solar Band and Oyin Ogungbade on
the sax. A LASU collective paid tribute to poet, Eddie Aderinokun who
clocked 70 earlier in the year by performing his ‘Ode to an Artist
without Compare’. Jumoke Verissimo closed the cocktail of poetry and
jazz session with a poem, ‘Gold Plated Anniversary’ accompanied by Eda
Oto on the guitar.

Verissimo and Onyeka Nwelue, author of ‘Abyssinian Boy’ later spoke
on the theme of the festival, ‘Poetry and National Rebirth’ at a youth
forum that ended the first day of the fiesta. Ebika Anthony, national
public relations officer (south), Association of Nigerian Authors also
gave a keynote address on the theme at the session attended by actress,
Joke Silva.

Lagbaja: Gig by the masked musician – Motherlan’, Opebi, Ikeja, Lagos. Tickets: N2,000. Time: 10pm. October 29.

Jude Dibia: Author reads at Infusion – JB’s Grill, Maitama Amusement Park, Abuja. 6.30pm. October 28.

Kunle Filani: Solo exhibition by the artist – Quintessence, Falomo Shopping Centre, Ikoyi, Lagos. Ends November 13.

Lagos Photo Picnic: Including performance by the Crown Troupe of Africa – Muri Okunola
Park, Victoria Island, Lagos. 2pm. October 24.

Lagos Photo Opening Event: Netherlands Embassy, Walter Carrrington, Victoria Island, Lagos. 7pm. October 29.

Lagos Photo
Exhibition: Festival of images by 28 photographers- Eko Hotel, Muri
Okunola Park, Professor Ayodele Awojobi Park and MKO Abiola Gardens,
Lagos. Ends November 9.

Tarzan & V-Monologues: The Ultimate Face-Off 2 – Terra Kulture, Tiamiyu Savage, Victoria Island, Lagos. 3pm. October 24.

Movie Premiere: Muyiwa Ademola’s ‘Iyo Aiye’- Silverbird Cinemas, Victoria Island, Lagos, October 31.

Spirit Worlds: Julien Sinzogan’s exhibition on slavery and the ‘Transmigration of
African Souls’- October Gallery, 24 Old Gloucester Street, London WCIN
3AL. Ends November 6.

Abuja Writers’
Forum: With poet, Kabura Zakama – Pen and Pages Bookstore, White House
Plaza, Plot 79 Adetokunbo Ademola Crescent, Wuse 2, Abuja. 4pm. October
30.

Abuja Film Festival: 7th annual event – Silverbird Cinemas, Abuja. October 26 to 29.

Andrew Dosunmu
Exhibition: Photography on ‘Music, A symbol of Nigeria’s Independence’
– The Palms Shopping Centre, Lekki, Lagos. Ends November 30.

ANA Convention: 29th annual meeting of Nigerian writers – Babafunke Ajasin Auditorium,
Igbatoro Road, Akure, Ondo State. October 28 to 31.

Celebrity Reads
Africa: Readings and discussions on books – Terra Kulture, Plot 1376,
Tiamiyu Savage, Victoria I, Lagos. 3–6pm. October 30.

Night Out With The Arts: SPAN dance finale – Eko Hotel & Suites, Victoria Island, Lagos. 7pm, October 29.

National/Cultural Historical Exhibitions: 50 years of Nigerian Art- Velodrome, National Stadium, Abuja. Ends October 31.

Please send details of art events 10 days in advance by SMS 907034086014) or email: culture@234next.com.

Full artists’ line-up, venues and dates:

November 5 -Sofitel Moorhouse Hotel:

Karen Patterson

Chinaza

Morrie Louden

Randy Weston

November 5 – Federal Palace Hotel:

Mike Aremu

Morrie Louden

Simone

Somi

Randy Weston

November 7 – German Consulate (Sunday jazz breakfast):

Karen Patterson

Chinaza

Nneka

November 7 – Muri Okunola Park:

Bez

Ayetoro

Nneka

Somi

Simone

Femi Kuti

After a packed week
of events including debates, lectures, book readings and gigs featuring
a wide range of musicians who identify with the Fela Anikulapo-Kuti
legacy, this year’s Felabration came to a close with a bang at the New
Afrika Shrine in Ikeja, Lagos, on Sunday, October 17.

There were
unbelievable scenes outside the New Afrika Shrine on the night, with
hundreds of people milling about on the street, hoping to get in or
just soaking up the atmosphere. And what an atmosphere it was. It was
night time, yet a bustling ‘market’ was in place, with rows of traders
selling liquor in small bottles and sachets. Food and stick-meat were
also on sale. Hardly surprising, for the grand finale of the
celebration of a man known for his use of marijuana, it was an
igbo-drenched night, as music boomed out from the Shrine.

Cars had to
negotiate a tight passage through the largely male crowd and the
‘market’ that had claimed most of the road. Those seeking to enter, had
formed a long queue. Security was tight, and crowd control measures and
stoppers that allow entrance only one-at-a-time, prevented any kind of
stampede. “From one chicken point to another,” remarked one punter, as
we waited to clear the final hurdle into the inner compound that
surrounds the concert ‘main bowl’ that is the Shrine.

The last tribute

Inside, the venue
was an impressive, well fitted one, and it seemed a shame that more
concerts do not currently hold there. At the height of the Felabration
finale, the Shrine’s ‘The Last Tribute’, commemorative images streamed
on large screens above the stage on both sides, paid homage to Fela,
showing photographs from his life, including shots of his mother,
Funmilayo Ransome-Kuti. Alternating with Fela were images of Dagrin,
whose untimely death from a motor accident earlier this year served to
take his fame through the stratosphere. Like Fela, Dagrin is bigger in
death. The tribute was also a well judged emotive factor with many in
the crowd, the generation that adores Dagrin.

Comedian Omobaba
pepped up the audience with jokes while introducing new acts onto the
stage. The batik-clad Gangbe Brass Band came on with an array of
instruments, including a stand-out tuba, borne by its player. “My
English is not so good,” said the jovial bandleader, who nonetheless
found another common ground with many in the audience, greeting them in
Yoruba, which is also spoken in Benin. The group played several numbers
in Yoruba and French, before bringing out a real crowd-pleaser, Fela’s
son, Femi Kuti. He had been on the bill, but no one expected him to
take the stage so early in the programme. Clad in a Fela T-shirt under
unbuttoned orange batik shirt and matching trousers, Femi launched into
a blistering performance on his saxophone, bringing the audience to its
feet. He wore neon-yellow plastic ‘clown’ glass-less eye-wear,
underscoring the ‘fun’ factor of Felabration (his sister, Yeni, would
later be seen in the crowd with similar ‘glasses’ in orange).

Femi carried on
blaring the sax for several minutes and the crowd whooped in
excitement. Stage smoke billowed onto the stage and photographers
crouched to the left and right of Femi to catch the best shots, adding
to the spectacle. That Femi came on so early, confirmed the agreement
of all that the headliner of the night was a man that would not make an
appearance for a while: D’Banj.

After Femi and the
Gangbe Brass Band came a succession of multi-genre acts. Mallam Spicy,
his stage show accompanied by two female dancers who jiggled
frenetically to the Dancehall star’s ‘Free Cure’. Solid Star, sporting
a Mohawk, followed close behind. Then came Tunde and Wunmi Obe, better
known as TWO, who performed an exuberant set with their band. Dressed
in white and black, the clean-cut duo got great reactions from the
crowd as they rendered ‘old school’ hits before performing their own
material, including ‘Fine Bara’ and ‘Mo Gbo, Mo Ya’. A juju band began
and ended their set by singing humorous lines from Saint Janet’s
notorious album, ‘Olope Plus’. In-between, the band played Yoruba dance
music in praise of the Egbas, the Yoruba sub-group of the
Ransome-Kutis.

Mo’Hits Crew

It was a well
behaved crowd, and there was evidence of swift action by staff to eject
troublemakers. Anticipation reached fever pitch with Omobaba’s
announcement of Wande Coal, Don Jazzy and D’Banj onto the stage. D’Banj
didn’t show, but a number of Mo’Hits Crew stars stormed the stage,
including D’Prince (‘Who am I?’ he asked, and the crowd chorused: ‘Omo
Oba’). The set was mostly dominated by Coal who performed his highly
popular hits.

The audience was
going to have to wait a bit longer for D’Banj, but no one seemed to
mind. All the high energy of Wande Coal and others slowly dawned as
mime acts to the detached observer – no instruments played, no backing
band. Was this to be the extent of musicianship on displayed at the
climax of this show? Surely D’Banj would have to do more than this? It
was not long to wonder, for just as the Mo’Hits bravura started to grow
a bit thin, the real deal came.

Superstar

To behold the
spectacle of D’Banj’s arrival onstage, was quite something. Watching
from the raised VIP balcony, the eyes swept over the two thousand
strong audience as D’Banj emerged, clad in white, his tight trousers
reminiscent of the style favoured by Fela. There were unbelievable
scenes as, with Fela’s signature two-fisted Black Power salute, the
singer soaked up the adulation of his fans, as heraldic music wailed a
crescendo. This was the most important performer of the final night of
Felabration, the star attraction, and everyone knew it.

Much earlier in the
evening, posters of D’Banj had been distributed free through the crowd.
Then, minutes before his arrival onstage, he signalled a departure from
his Mo’Hits contemporaries’ performance mode, as his band took up
positions behind musical instruments onstage. After several minutes of
star-worship, D’Banj playfully lifted his ubiquitous shades to take a
playful peek at his adoring fans. Then the band struck up the beat, to
which he sang live.

To watch him was to
observe a star at the height of his powers. With D’Banj’s incredible
stage presence, there were echoes of Elvis Presley at the crest of his
fame. When someone brought D’Banj a face towel – white to match the
outfit, of course – one thought a James Brown cape-drama was in the
offing. D’Banj just needed to wipe the sweat off his face now and then,
and the towel also became part of the showmanship, flicked from time to
time as traditional dancers do with their handkerchiefs. He didn’t have
to do much; wowing the crowd effortlessly. There were no sexy dancers,
no gimmicks; and Wande Coal deferred to a bigger star, singing backing
vocals for D’Banj. There were Fela touches here and there in the
movement, as D’Banj sang his own hits and played the crowd, who lapped
up everything he said or did. “I said it before; I’ll say it again,” he
half-sang, about God-knows-what. He can say it anytime he wants: a star
is born.

There was some talk recently about D’Banj possibly playing Fela in
the hit Broadway musical, and it seemed he came onstage determined to
settle the argument. Anyone resistant to the idea of D’Banj as Fela,
would have had a rethink, seeing his reign at the Shrine. By now it was
1.30am – thousands were inside, many more outside. We decided to leave
in the middle of D’Banj’s set, regrettably, to avoid the crush of the
crowd at the end. As we exited the New Afrika Shrine, D’Banj said over
the loudspeakers, “We all know why we’re here.” Then from the street,
we heard as he launched into Fela’s songs proper, a fitting conclusion
to the evening.

The inaugural Lagos
Jazz Series, an extravaganza created to bolster the prospects of the
music genre in the city, kicks off next month. Organisers say the event
is an opportunity for jazz connoisseurs and buffs alike to enjoy first
rate concerts by international performers without having to leave
Nigeria. It is billed as the ultimate lifestyle event right in the
heart of Lagos, where previously Jazz enthusiasts had to travel to New
York, Paris, London and Cape Town to see live performances.

Events in the
series will be held at choice Lagos locations. “Jazz enthusiasts will
have the opportunity of listening to the best of Jazz music in the
garden, on the creek and on the waterfront,” says a press release by
the organisers. LJS begins in the Japanese Garden of the Sofitel
Morehouse Hotel, Ikoyi, on November 5. Other venues are The Federal
Palace Hotel waterfront and the Muri Okunola Park, which is fast
becoming an open-air arts venue in Lagos.

Major Jazz artists
from Europe, America and the African continent will take centre stage
during the first LJS. Among these are: Randy Weston, Karen Petterson,
Simone (daughter of Nina Simone); Nneka, Morrie Lode, Mike Aremu, Bez,
Aiyetoro and Femi Kuti. More performers are expected to be added to the
playbill.

The event’s
founder, Oti Bazunu, said, “The Lagos Jazz series is a singular
experience. We’re inviting some of our favourite Jazz musicians from
all over the world to come and play for us, in intimate and exciting
venues. Since they’re coming, we might as well put on a bit of a show
and invite all our favourite people to attend… The show is coming
together and it’s going to be wonderful.”

Bazunu acknowledged the support of the Lagos State government (which
sanctioned the use of Muri Okunola Park), Lufthansa Airlines, Sofitel
Morehouse and other groups in ensuring the success of the events.

The official
Nigerian coat of arms; two golden horses on their hind legs in a field
of flowers perching circus-style with their front legs on either side
of a shield with a red eagle atop, denotes inspirational symbols of
nationhood. A prominent Y on the shield stands for the bifurcation of
the Rivers Niger and Benue. The horses, I presume, stand for strength
and, the eagle according to dictionary definition is ‘a large bird of
prey, of great powers of flight and vision; a military standard.’ One
can cynically insinuate that the last part of the eagle’s description
has been the ‘magnet’ that has always drawn our military to seize power
and control; unfortunately woefully, the vision of Nigeria whilst
preying with impunity on its great wealth!

Unlike our bland
green white and green national flag and, our first national anthem
composed by a British woman, the Nigerian coat of arms has not been too
controversial. It has been a successful seal of unity as it serves as
the official coat of arms and symbol of authority for the federal
government as well as all the other 36 States and Federal Capital
Territory.

It is instructive
that Nigeria’s foremost official/ceremonial parade grounds, the Tafawa
Balewa Square-TBS, Lagos, named after Nigeria’s first Prime Minister,
is decorated along its peripheries by huge sculptures of horses and
eagles. When General Olusegun Obasanjo handed over to President Shehu
Shagari at the TBS in 1979 the ceremony featured horsemen of the
Nigerian Army bearing flags and colours. The Abuja equivalent of TBS is
named Eagle Square (incredibly without a single monument of an Eagle)
and, again at the Eagle Square Abuja in 1999 when General Abdulsalam
handed over to a now-civilian President Obasanjo, horses (white) were
an integral part of the ceremonies.

That the national
teams of Nigeria’s most popular sport, football, are named Super
Eagles, Flying Eagles and Golden Eaglets completes Nigeria’s total
commitment to this special bird; the King of the Skies! Whether
Nigeria, in 50 years of nationhood, has achieved the sterling qualities
of both the horse and eagle, is at best very doubtful. All the same,
they remain very valid symbols Nigeria should aspire to faithfully
emulate.

Celebrations for
Nigeria @ 50 threw up so many possibilities to create lasting and
outstanding national monuments to commemorate half-a-century of
nationhood. Predictably, there were many celebratory creative events;
music, drama, art and photography exhibitions, symposia, workshops and
dinners all culminating in a grand parade at Eagle Square on Friday,
October 1, 2010.

Without doubt, one
of the most outstanding creative statements to celebrate Nigeria at 50
was appropriately made by one of Nigeria’s leading monumental sculptors
Tony Akinbola in Calabar, a city that is arguably regarded as the first
capital of Nigeria. Akinbola achieved a first when he sold the idea of
sculpting the Nigerian coat of arms for the first time; to Governor
Liyel Imoke of Cross River State. He was commissioned in early August
and completed the history-making 3-D sculpture in time for its official
unveiling by Governor Imoke on October 1, 2010.

According to
Akinbola who already has the Calabar Calabar and Monolith monumental
sculptures at two major Calabar roundabouts to his fame, his 3-D
sculpture of the Nigerian coat of arms is a combination of historical
and cultural realities. “I felt that to celebrate Nigeria at fifty we
needed to revisit where the whole idea of making Nigeria into one
entity began and, decided to use Art as a platform for rebranding
Nigeria and as a pedestal for reconstructing our Nigerian symbols. I am
interested in the idea of standardising and, monumental art is a strong
tool for making statements and elevating the psyche of the people.”

Akinbola points to
China, North Korea and Russia as good examples of using monumental art
for historical and cultural branding. “When America celebrated its 100
years of Independence the French government gave America the Statute of
Liberty and when France itself celebrated its 100 years of the French
Revolution it built the Eiffel Tower in Paris,” he points out. For him,
“rebranding means standardisation and making things more
representative.” Rebranding, he also believes, “should start with our
flag and coat of arms.”

The Calabar 3-D
Coat of Arms is strategically located. It stands ten feet in height at
the roundabout in front of the old Residency (once the headquarters of
the Royal Niger Company) now the National Museum and, near the
Presidential Guest House and leading to the Governor’s Residence.

The sculpture is
made of fibreglass and weather-protective materials and the artist
assures that it will be in good shape for a long time. “It will need
minimal maintenance every three or four years. We will partinate it to
re-embellish it.” He is now working on his fourth major sculpture, the
Cross River Brand Logo Monument in 3-D.

Akinbola strongly
believes that his 3-D Coat of Arms is a positive statement about
consistency and detail. “It is done in realism to capture all the
essence of the symbols; the stallion and eagle in particular. It is a
statement about rebranding in detail. Every entrance to a major
government building should be standardised with a 3-D Coat of Arms at
the national and State levels. We must emphasise a standard green in
our national flag and have a standard length for the pole on which to
fly the flag. Sometimes you see white stallions and a red eagle on the
coat of arms. Again we need to standardise so our national symbols are
the same in Abuja and the States.”

Abuja remains a
sore point for Tony Akinbola for its glaring lack of monuments. “We
should revisit the issue of monuments in Abuja,” he emphasises. “As you
approach the Abuja City Centre there should be monuments representing
each state in alphabetical order from Abia to Zamfara, to capture the
people’s aspirations and culture. We must be proud that we are the most
unique country in the world with as many as 250 nationalities.”

He is also at a loss as to why, as the world’s most populous Black
nation, we do not have Cultural Centres abroad. Meanwhile he suggests
that a Visual Touring Exhibition of 50 Art works to visually represent
every year of our independence should be put together as a global
exhibition. “1973 was All-Africa Games that gave birth to Surulere;
1977 was FESTAC that resulted in Festac Town and these are landmarks
and brand marks. It is very interesting how Lagos State has cleverly
rebranded the horses at TBS by placing Eyo masquerades under them and
all over Lagos. This is the beauty and power of Art in rebranding!”

South Africa is a
country of songs, and those who can belt out great tunes are adored by
millions. We saw a demonstration of this during the Divas Concert at
the Performing Arts Centre for the Free State (PACOFS) in Bloemfontein,
South Africa, on October 8.

PACOFS is a massive, luxuriously fitted and
well maintained art infrastructure that sparked off debate among
Nigerian journalists present about the dearth of similar venues in our
country. Within the complex, the Sand du Plessis Theatre was packed the
people of all ages, a large percentage of whom were in their 20s, the
kind of demographic that would only turn up for a gig in Nigeria if the
programme is chock-full of hip-hop acts. Yet, here were young people
going wild for real musicians, and singing along at the top of their
voices to old favourites like ‘Paradise Road’, ‘Leave Me Alone’ and
‘Too Late For Mama’. The privileging of songs was hardly surprising,
perhaps, for the nation that gave us Miriam Makeba, Yvonne Chaka Chaka
and Brenda Fassie.

A rising stars of
South African music, is the Afro-Soul singer, Lira. A headliner for the
Divas Concert, she also featured in the Main Jazz programme of the
annual Mangaung African Cultural Festival (MACUFE), held on October 9
inthe Loch Logan Rose Garden. Making our way to the open-air jazz
festival, the size and beauty of the venue, incorporating a scenic
lake, told their own story of the sheer scale of the musical jamboree.
A thick, queue of people waiting to get in, seemed never ending, and
recalled scenes of great British summer festivals like Glastonbury.
Concert-goers had brought their own coolers of food and drinks; many
also brought their own deck chairs to sit in the crowd space that
stretched on and on in from the stage. At Mr Price, a popular store
chain in South Africa, the fastest selling items are these chairs, as
they are in constant demand for the Braais that bring people in
Madiba’s country together over roasted meat and drinks. The chairs also
come in handy for festivals like MACUFE; and the coolers, we would
later discover, doubled as seats too.

Again, one
wondered: can a mammoth crowd of this size come out in Nigeria for
anything other than a Gospel concert? A stadium-sized audience was
already enjoying the performances as we looked around. There are a
number of hospitality packages that bring people across South Africa to
Bloemfontein for MACUFE. We had come on the Premier Classe train from
Johannesburg to Bloemfontein, which entitled us to VIP tickets to the
Main Jazz Festival. A short walk across a bridge over the lake, led
from the main festival grounds to the VIP Village, where, in the large,
air-conditioned Premier Classe tent, we could watch the performances on
a large screen. Over a continuous flow of food and drinks, we watched
Lira on the screen; and considered whether the lilac-toned separates
she wore were too casual for this high profile gig.

Jonathan Butler

MACUFE is a truly
international festival, and of particular interest this year was the
scheduled appearance of ‘Africa’s Golden Voice’, the great Malian
singer, Salif Keita. This edition also promised the return home of
South Africa’s son for whom America has been home for many decades,
Jonathan Butler. The beginning of his set got several of us to venture
out of the Village for the immediate festival experience side-stage,
alongside the crowds. Playing in the same set was American Jazz
saxophonist, Gerald Albright. Introducing one track, Albright said, “I
borrowed it from a friend who’s no longer with us but left a great
legacy of music. He travelled the world by one name, and it’s Luther.”
The crowd roared and many rose for ‘So Amazing’ – and sang Luther
Vandross’ lyrics to Albright’s instrumental rendition. Things got
better with the next track, ‘My My My’, originally sung by Johnny Gill.
“You know the words to it, let me hear you sing it” – encouraged the
jazzman, and the crowd obliged.

With a fine head of
short, grey hair, Jonathan Butler is a far cry from the youthful singer
with the flat-topped haircut who scored an international hit with
‘Lies’ over two decades ago. The guitar remains a constant feature, and
the gospel-infused soulfulness of his voice has lost none of its power.
“It’s good to be back home. So many memories here, this town,” he told
the audience. The following day, October 10, was Butler’s 49th
birthday, so he sang them a medley including ‘Take Good Care of Me’,
because – by his explanation – he wanted them to remember what old age
may cause him to forget. The singer-songwriter’s backing vocalist was
his daughter, Jody, who partnered him on a duet onstage, ‘Be Here With
You’.

“Jody Butler’s not
bad, wha’you think?” he asked the audience. The emotional high of the
concert thus far, came when Jody asked the MACUFE thousands to help
sing ‘Happy Birthday’ to her dad.

Tsepo Tshola

Expectations were
high for Salif Keita’s appearance, but there were memorable
performances meanwhile, including one by Ringo Madlingozi. After
another short dash for refreshments and discussions in the Village, and
we were back side-stage for a rousing performance by the much loved
Tsepo Tshola, a kind of ‘musical father of the nation’. A great moment
it was on ‘Ho Lokile’, when it seemed the whole country was singing in
unison with Tshola.

As an ecstatic
dancer nearby explained, the song’s title means ‘We Are Fine’. She also
gave some insight into the appeal of the man responsible for many
“beautiful, traditional” songs: “He is like the father of Soul in South
Africa. Every single South African knows who Tsepo Tshola is.” It is
also a public image shaped by suffering and human fallibility. “He used
to be a drug addict. While he was singing all these beautiful,
traditional songs, he was hooked on cocaine. Then he came out and said,
‘I’m hooked on cocaine. I’m going into rehab.” The admission further
endeared Tshola to South Africans, especially as it was seen as a show
of solidarity with Hugh Masekela and the late Brenda Fassie, who had
fought public battles with addiction.

Salif Keita

We relaxed in the
Village during other performances, while we awaited Salif Keita. When
as if by magic he appeared on the screens close to midnight, a whole
band of us headed across the bridge to be closer to the famed ‘soaring
voice’. But it was not to be. Crowd concerns had led security men to
shut the gates between the VIP Village and the concert. We could not
get through. On many screens around the Loch Logan Rose Garden, Salif
Keita played on. Like Moses and the promised land; so near and yet so
far. Downtrodden, we headed back to the Village, where in what seemed
like the town square, scores of fans gathered to watch the performance
on a giant screen. Keita wore a slim-fitting white shirt and trousers
with matching cap. His two backing vocalists, complete with elegant
headscarves, were the best presented back-up singers all day. The beat
over which Keita’s voice rang out, was a mellifluous blend in which
traditional Malian instruments, chief among them the Kora, stood out.

Many were soon
getting jiggy with it as the magic of Keita’s sound spread through the
gathering. How must it have been in the concert across the lake? One
could only wonder. It was poignant that, among a group of trendy young
women who danced energetically to Keita music nearby, was an albino,
like the musician himself. Keita’s latest album, ‘La Difference’ calls
for compassion on the plight of albinos, who are killed in many parts
of Africa for ritual purposes.

When the irresistible, ‘Africa’ from Keita’s 1995 album, ‘Folon’
came on, there were jubilatory scenes in the MACUFE village, as most
danced with abandon, singing to Africa. Not just concert attendees or
VIPs but waitresses and bouncers, danced and sang along. The track
ended, only for Salif Keita and band to strike it up again, perhaps at
the behest of the crowd across the lake. Cue even more joyous dancing.

The musician’s 45-minute set came to an end and he exited the stage
with his band. But they must have been calling for more and Keita,
astonishingly, came back out and sang ‘Africa’ for a third and last
time. The disappointment of earlier was nearly forgotten as we left the
venue. We could not see Salif Keita up close as we had wished, but a
memorable experience was had all the same.

This year’s international convention of
the Association of Nigerian Authors (ANA), the 29th of its kind, will
take place in Akure, Ondo State, between October 28 and 31.
Registration of attendees will commence from the date of arrival at
Owena Motels, Akure. This year’s keynote address on the theme ‘Myth,
Fantasy and Indigenous Theatre’ will be given by Kalu Uka; while other
guest speakers will include Nigeria LNG Managing Director Chima
Ibeneche, who will speak on the topic, ‘Ideas Have Consequences’. Poet
and Playwright John Pepper Clark-Bekederemo will be the special guest
of honour at the event, which will have writers from home and abroad in
attendance.

Shortlisted writers

The press release sent by the national
general secretary of the association, Hyacinth Obunseh, contains the
shortlists for this year’s ANA prizes; with the exclusion of the
categories for children’s literature and journalist of the year which
will be announced in due course, and the ANA/Chevron Prose Prize on
Environmental issues which has no entry shortlisted for it.

The N100,000 ANA/NDDC Flora Nwapa Prize
for Women’s Writing has on its shortlist ‘The Colour of My Tears’ by
Jacqueline U. Agweh; ‘The Knots of Karma’ by Ngozi Onyioha-Orji; and
‘The Waiting Place and Other Stories’ by Halima Sekula. ‘The Bear Hug’
by Godwin Noah, ‘The Blood Sample’ by Yemi Adebiyi and ‘The Midnight
Angel’ by Jesse Unoh are contenders for the ANA/Jacaranda Prize for
Prose, which carries a N50,000 prize money.

‘Against The Odds’, ‘Shadows of the
River Nun’ and ‘The Village Tradesman’ – the fictions of writers Ben
Igwe, Million John and Adamu Kyuka Usman respectively – are contending
for the ANA/NDDC Ken Saro-Wiwa Prize for Prose and the N100,000 cash
award that goes with it. The N100,000 ANA/NDDC Gabriel Okara Prize for
Poetry has on its shortlist Gbenga Ajileye for ‘Droplets’; past ANA
President Olu Obafemi for ‘Illuminations’ and Seyi Hodonu for ‘Songs
from my Mother’s Heart’.

Drama

‘Long Walk to a Dream’ by Theatre
Practitioner Arnold Udoka, ‘Quagmire’ by Fidelis U. Okoro and
‘Termites’ by Chris Anyokwu are on the shortlist for the N100,000
ANA/NDDC J.P.Clark Prize for Drama. The ANA/Cadbury Prize for Poetry,
with a $2,000 cash award for its eventual winner, has on its shortlist
‘Endless Seasons’ by Faith Brown; ‘Streams’ by Bose Ayeni-Tsevende; and
‘That Other Country’ by Hyginius Ekwuazi, who won the prize in 2008 and
was last year’s runner-up. However, the ANA/James Ene Henshaw Prize for
Playwriting with a N150,000 prize money has so far only one entry which
merits being shortlisted and which will be announced in the course of
the convention.

The Judges for this year’s competition are Chidi T.Maduka of the
University of Port Harcourt, Maria Ajima of Benue State University,
Makurdi, Obododinma Oha of the University of Ibadan, Joseph A. Ushie of
the University of Uyo and Victor S. Dugga of the University of Jos.

The Rivers State government has signed an exclusive
partnership with organisers of the first African International Film
Festival (AFRIFF), holding in Port Harcourt from December 1 to 5. The
partnership will showcase the creativity and diversity of Africa
through the film medium, while highlighting the arts, culture and
tourism potentials of the state. The move is the latest in the state
governor, Chibuike Amaechi’s bid to make the state a place of reckoning
in the culture sector. The ION Film Festival held in Port Harcourt last
year; and the Garden City Literary Festival is now an annual event on
the state’s culture calendar.

Representing Mr Amaechi at the partnership signing
event, which took place in Port Harcourt on October 12, was the state
commissioner for culture and tourism, Marcus Nle Ejii. Mr Ejii shed
more light on the partnership, saying that the initiative forms part of
the state government’s vision to promote arts and culture as a key
component of an economic development agenda. He added that Rivers State
is the perfect venue for hosting the Africa International Film
Festival, which will also help towards achieving the state’s
developmental objectives for the youth.

Chioma Ude, founder and Chief Executive Officer of
AFRIFF, also expressed her delight at the partnership. “We’re thrilled
to have Rivers State as the host for this important festival because it
sends a clear message about their vision to be an African centre of
excellence for arts and culture,” she said.

Ude promised that the project will be leveraged to
positively impact young Nigerian talent in the film-making industry. As
part of activities leading up to the festival, AFRIFF has started
Screen Writing Labs in Universities across the country to support
aspiring screen writers in the techniques of developing visual stories
that can be made into world standard productions. The first
Screenwriting training held in Jos in September 2010.

The inaugural edition of AFRIFF will host local and international
film-makers, celebrities, actors, directors, film buyers, distributors,
visual artists, film students, amateurs and film lovers.