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STUDIO VISIT: Benjamin Ejiohuo

STUDIO VISIT: Benjamin Ejiohuo

Why Art?

Art is personified.
It is the purpose of my existence. My embrace with art began a long way
back; it was simply for the love of art. I intended to study something
else, but my dad advised me otherwise. “Since you are used to doing art
sketches and painting at home, why not go for Art?” That was how it all
started. I finally decided on Art. And I tell you, it has been a
progressive race indeed, the choice was right and for the right person.

Training

I’m a graduate of
Rivers State College of Education, where I acquired an initial (NCE)
certificate in Fine and Applied Arts. I obtained a degree course (B.ED)
from the University of Ibadan, majoring in Painting. I am presently
pursuing a post graduate degree in Fine Arts and Design at the
University of Port Harcourt, Rivers State.

Medium

I use all range of
painting media like pen, water colour, oil, acrylic, pencil, pastel,
cloths, etc. I also use some improvised materials such as wood, metal,
sand, newspaper, glue, and so on.

Influences

I have been
influenced by Chris Afube and Gani Odutokun for their usage and control
of colours. Then Hazel Harrison and Andrew Loomis for their
representation of object.

Inspirations

I would say my
inspiration comes from God Almighty and my environment. My works depict
our political scenes and activities around me.

Best work so far

There is no bad
artwork; all my works are lovely and unique in style, with its
messages. I have discovered that a lot of people don’t pick up or buy
your artwork because of the message you are preaching, but because they
like the colour combination and can imagine it being anywhere, be it
their office or home.

So, my brush
produces what is continually evolving. However, I am fascinated with a
recent painting of mine titled ‘Opi’, defining the combination of
different cultures in Nigeria.

Least satisfying work

I usually paint on top of them. I don’t burn artwork because I will see their uniqueness some day.

Career high point

Yet to come.

Favourite artist living or dead

Gani Odutokun

Ambition

I would want to see myself as a king sitting on top of my game.

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Salif Keita appears at Macufe in South Africa

Salif Keita appears at Macufe in South Africa

South Africa is
gearing up for one of its biggest art events, the Mangaung African
Cultural Festival, popularly known as Macufe. It is a colourful event
that attracts, yearly, tourists from all over the world. In its
thirteenth year, the festival, which opened on October 1, will hold
until October 10. This year’s theme is, ‘Monateng Kaofela (Together in
Fun).

Billed to hold in
Bloemfontein, a town steeped in natural beauty and history, there will
be live performances from popular South African artists based at home
and abroad, including the US-based Jonathan Butler. International
artists expected to grace the show are the American Jazz and R‘n’B
singer, Gerald Albright, and Malian-born World Music star, Salif Keita,
during the 10 days of the event.

There will be
tours to the Excelsior Lion Park, traditional dance, music, food, an
exhibition of traditional African fashion, beads, wood work, comedy
shows, among other highlights. There will also be a special memorial
programme in honour of the late Brenda Fassie, the energetic and
soulful artist whose music stirred many hearts.

Still basking in
the success of the 2010 FIFA World Cup, the organisers of the event,
The Free State Tourism Authority (FSTA), in partnership with South
African Tourism, are introducing unique elements into the festival that
visitors from other parts of Africa can relate with. The Macufe
Festival will play host to tourists from Lesotho, Botswana, Namibia,
Kenya, Nigeria, Mozambique, DRC, Angola, Swaziland, and other parts of
the world.

Phumi Dhlomo,
Regional Director of Africa and Domestic at South African Tourism,
says: “We give a warm welcome to all those who will be visiting Bloem
and attending Macufe. South Africa is a welcoming nation with that
special brand of African hospitality so we truly hope you have a lovely
time.”

For interested visitors, the office hours will attend to enquiries
about accommodation, transportation, and other information from 11h00
to midnight. The contact number is 051 412 7940.

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FIRST CHAPTER: In Dependence

FIRST CHAPTER: In Dependence

One could begin
with the dust, the heat, and the purple bougainvillea. One might even
begin with the smell of rotting mangos, tossed by the side of the road
where flies hummed and green-bellied lizards bobbed their orange heads
while loitering in the sun. But Tayo did not notice these – instead he
walked in silence, oblivious to his surroundings. With a smile on his
face, he thought of the night before, when he had dared to run a hand
beneath the folds of Modupe’s wrapper. Miraculously, without him even
asking, Modupe had loosened the cloth around her waist. Of course they
had kissed many times before, usually in the Lebanese cinema when all
was dark, but that was nothing compared to last night. And while Tayo
was lost in his thoughts, his father, who walked alongside, noticed the
smile and read it as excitement for the forthcoming trip. They had set
off early that morning to visit relatives, as was the tradition when
someone was about to embark on a long journey. They would begin with
Uncle Bola in the hope of finding him sober. By midday, he would almost
certainly be drinking ogogoro and this was not a day to meet Uncle Bola
under the influence.

“An old man should
be contemplating his mortality, rather than dreaming of women,” Tayo’s
father said, alluding to his brother’s raunchy tales, which Tayo knew
his father secretly enjoyed.

Uncle B liked to
joke that he was still young enough to make babies and thank the Lord
God Almighty. And he did make babies – dozens of them. As for thanking
God – well, that was simply a manner of speaking. Uncle Bola believed
only in beautiful women – not Allah, Christ nor Ogun. In turn, women
loved him, in spite of what he lacked by way of height, teeth and
schooling. Tayo had long since concluded that Uncle Bola held the
secret to a woman’s heart, which was why he looked forward to this
visit. But on this particular morning, Uncle Bola did not seem himself.
Upon seeing them, he became quite weepy, so weepy in fact that he
forgot about his atheism and offered prayers to Allah, Ogun and Jesus
on behalf of his favourite nephew. With tears still in his eyes, Uncle
Bola gave Tayo his best aso ebi as a going-away present, and then
insisted that they stay longer to take amala and stew with him.

“Here is some money
for the ladies when you arrive,” Uncle Bola whispered, stuffing the
newly-minted pound notes into Tayo’s shirt pocket before waving a final
goodbye. Tayo had hoped to stay even longer, enjoying the company of
his sentimental uncle, but there were many more relatives to be visited
and several more lunches to eat. Everyone insisted on feeding them and
then, just when Tayo thought it was all over, they returned home to
find more relatives gathered to wish him well. Several of Father’s
friends were sprawled across the courtyard drinking beer and palm wine
while the children chased each other in the dirt path by the side of
the house. The women sat in one corner, roasting corn on an open fire,
with sleeping babies on their backs.

“Tayo! Tayo!” the
older children chanted as he made his way through the throng, stopping
to pick up the youngest. Tayo expected his father to usher people away,
but after the day’s copious consumption of palm wine, he had apparently
forgotten time, preferring instead to continue boasting about his
eldest son.

“Na special scholarship dey don make for de boy?” somebody asked.

“Oh yes.” Tayo’s father beamed.

In fact, the
scholarship was not created just for Tayo, but because he was the first
Nigerian to win it (such things having been reserved, in the past, for
whites), Tayo’s father decided that he might as well claim it solely
for his son. Tayo closed his eyes while his father boasted, and thought
ahead to the day after next, imagining how he would move swiftly
through the crowds at Lagos Port to the ship and sail over the seas to
England.

“And then to Balliol College, Oxford,” Tayo whispered, thinking how grand it sounded.

At dawn the
following day, the entire Ajayi family said prayers before gathering
around Father’s silver Morris Minor, washed and polished by brothers
Remi and Tunde so that it glistened like a fresh river fish. Everybody
was dressed in his or her Sunday best, ready for the photographs, and
only when the photographer ran out of film did five of them clamber
into the car. Father sounded the horn and all the doors slammed shut.
The key turned and turned again, but the motor wouldn’t start, so
everyone stumbled out again to push. Even Father helped, with one foot
pumping the pedals and the other pushing back against the ground. They
rolled it down the path, out of the compound and onto the road, until
the engine jerked into action. Then, hurriedly, they all piled back in.
The children followed the car down the dirt road, running and waving,
not caring about the dust being blown into their faces, but jogging
along until they could no longer keep up. Sister Bisi ran the fastest,
thumping decisively on the car boot before they sped away, out of
Ibadan and onto the main road that would take them to Uncle Kayode’s
place in Lagos. In the car, Mama and Baba sat in the front, and Tayo
and his two aunts in the back. Father forbade talking in the car,
claiming that it distracted him, and for once Tayo was happy with this
edict, knowing that otherwise his aunts would lecture him on how to
behave in England. It didn’t matter that his aunts had never travelled
outside Nigeria: it was their right and duty to instruct. Tayo closed
his eyes and thought again about his sweetheart and their final
goodbye. He remembered the poem he had composed for the occasion and
the lines that did not quite rhyme. Thankfully, in the end, there had
been no need for sonnets.

By the time they
arrived at Uncle Kayode’s house, the car was caked in dust and its
weary passengers covered in sweat and grime, but all would soon be
forgotten. Uncle Kayode had a luxurious home. He was a big man in
Lagos, recently returned from abroad as a senior army officer. Maids
cooked for him, and large fans hung from the ceilings, whirling at high
speed to keep the house cool. Tayo had never seen anything like it
before.

“When you arrive in
England, my son,” Uncle Kayode was saying, “you must make sure to
contact the British Council and don’t forget to write to cousin Tunde
and cousin Jumoke.”

Tayo listened
carefully, hoping not to forget any valuable advice, but by the time he
went to bed he couldn’t remember half of what he had been told. Annoyed
with himself, he tossed restlessly on his mattress. For weeks he had
been looking forward to travelling away from home – to having his
freedom – but now he thought only of what he would miss and how
frightening it would be to travel alone. He took Modupe’s photograph
from his bag, quietly, so as not to wake his uncle, and kissed it.
Reassured by her smile and remembering the events of Friday night, he
rolled over and eventually fell asleep.

The next day, Tayo
stood at the port, holding his bag tightly. He dared not ask his uncle
another question (he had asked so many already), but he still wasn’t
clear about what to do when he disembarked. What if the arrival halls
in England were just as chaotic as the confusion he was seeing now,
with everyone shouting and gesticulating and no-one bothering to queue?
Exasperated by the late-afternoon heat, men took off their cloth caps
and flicked away beads of perspiration. Then, as the folds of their
agbadas kept slipping off their shoulders, they hitched them back,
raising their arms like swimmers. Meanwhile, women herded children and
straightened little dresses, trousers, and shirts, while hastily
tightening their own wrappers and head ties, continually unravelled by
heat and bustle. Tayo, like everyone else, had been standing in this
crowd for hours. He smiled, but not as broadly as the day before. His
parents, uncle, aunties, and several Lagos-based relatives were with
him, as well as Headmaster Faircliff and some teachers from school:
Mrs. Burton (Latin), Mr. Clark (Maths), and Mr. Blackburn (British
Empire History), but none of his brothers or sisters had come and he
missed them, especially Bisi.

Tayo shook his head
wistfully, staring at the Aureol, which towered high above them like a
vast white giant with hundreds of porthole eyes. You will be missed, he
told himself, recalling the rumour started by friends that a particular
Lagos girls’ school – the one whose pupils occasionally visited his old
school – was in mourning over his departure. He glanced around for
these girls, but all he saw were family, easy to recognise in the
matching clothes worn specially for his send-off. The men’s agbadas
were the same aubergine purple as the women’s short sleeve bubas and
ankle-length wrappers. Tayo’s mother had chosen the material, fine
Dutch waxed cotton, embroidered in gold thread at the neck and sleeves.
Tayo had wanted to wear his agbada like the rest of the family, but
Father insisted on western attire, claiming it more appropriate for an
Oxford-bound man. So instead of loose, flowing robes, Tayo wore grey
flannel trousers, white shirt, school tie, and a bottle green blazer
that stuck to his skin like boiled okra. His agbada was neatly packed
away in the trunk with extra clothes, the Koran, the Bible,
half-a-dozen records, and several large tins of cooked meat with dried
okra, egusi seed and elubo.

“Jeun daada o, omo
mi. F’oju si iwe re o, de ma jeki awon obinrin ko si e lori. (Eat well,
my son. Pay attention to your studies, and don’t be distracted by
women),” Mama whispered, tugging at his shirt sleeve.

“Yes, Ma,” he
nodded, turning to face her as she adjusted his collar – it needed no
tweaking but that was her way. He hugged her tightly so that her head
tie brushed against his chin, and the weight of stone and coral
necklaces clinked against his blazer buttons. It took him back to his
childhood days, when he was afraid of thunder and lightning and would
rush to his mother’s arms to bury himself in the reassuring scent of
her rose perfume, tinged with the smell of firewood and starched
cotton. He squeezed her again before his father called him away.

“So long, my son,” Baba spoke in English, which was his custom when in the presence of expatriates.

Tayo held out his
hand and was surprised when his father pulled him into the voluminous
folds of his agbada and held him there for some time. Baba then started
sniffling and fiddling with his handkerchief behind Tayo’s neck, which
compelled Tayo to cough and break Father’s hold so that they stood for
some moments, disentangled but silent, each searching for something to
say.

“Now, Tayo,” Headmaster Faircliff interrupted. “You’re off to be a Balliol man.”

“Yes sir.” Tayo nodded.

“You ought to be jolly proud of yourself, Tayo, and soon you’ll return to lead your country and make our school proud.”

He grasped Tayo’s
hand and threw a friendly slap across his shoulder. Tayo nodded again,
feeling strangely irritated by the man whom he normally admired and
felt indebted to for the scholarship.

“Right then, off you go,” Mr. Faircliff ordered, releasing Tayo, and pointing to the gangway.

Tayo turned to
leave, holding tightly to the large canvas bag that hung from his
shoulder. Mama had assured him that in it was all that he needed for
the voyage – a few changes of clothes, a bar of Palmolive soap, a tin
of kola nuts, some dried meats, a map of England, chewing sticks, and
Uncle Kayode’s old winter coat.

“Write to me as soon as you arrive,” Father called.

“Yes sir.” Tayo
glanced back at his father before making his way slowly up the steps.
He waited for his father to shout one last instruction, but it never
came.

Excerpt taken from ‘In Dependence’ by Sarah Ladipo Manyika, published by Cassava Republic Press.

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What not to promise the Iroko

What not to promise the Iroko

The play, Oluronbi
is making its second annual appearance on the Nigerian theatre scene.
An initiative of AbOriginal Productions, this year’s staging of
Oluronbi is being sponsored by the Lagos Sate government as part of
activities to mark Nigeria’s 50th independence anniversary.

Produced by Ikhane
Akhigbe and written by Tunde Aladese, the musical play features
Iretiola Doyle, Seun Kentebe, Lala Akindoju and Uzoma Osimkpa, among a
purported 70-member cast.

The opening
production of the play, which was staged at MUSON Centre in Lagos on
September 25, revealed that quite a lot of cast change had been made
since the last edition, which had featured popular music personalities
like Omawunmi, Waje, Yinka Davies, Dr Frabs and Timi Dakolo.

Adapted from a
Yoruba folk song, Oluronbi depicts the travails of a woman who, in
desperation for an offspring, beseeches the town’s diety, Iroko. She
makes a promise to Iroko, and as is the way of the spirits, there comes
a time when they come collecting.

What is admirable
about the production is that it takes a plot that is sketchy at best,
and gives it vibrancy. It incorporates an interplay of issues like
polygamy, infertility, social class, inter-tribal marriage, as well as
the richness of the Nigerian cultures to create a delightful
performance for the audience.

Wooing Abike

What the play might
have lacked in a complex plot, it made up for with stage choreography
and dance. Perhaps the most entertaining scene of the play occurs when
men come from far and wide to woo Abike; and each with his ethnic
biases and behaviours makes no secret of the reason for his interest in
the heiress.

The play employs a
healthy dose of humour and music, but it was rather disconcerting to
have a character break into a line of song amidst a dialogue.

The most emotional
scenes of the play are provided by Osimkpa in her rendition of
Oluronbi, who says to her husband when she reveals the mystery of
Abike’s birth, “You used to joke that she was a gift from the gods, I
never laughed.”

Oluronbi goes to the Iroko

Towards the end,
the play employs a flashback, which provides a background for audience
members who may not have been familiar with the folk song. Oluronbi is
betrothed to her husband, “in a time when women were peace treaties,”
and she is subsequently subjected to a life of bitter rivalry with the
three other wives of the husband. The senior wives, in their frequent
‘See me see trouble’ musical refrain, snigger at Oluronbi’s
infertility: “Everyday it’s a different brew, a different herb, a
different soup. The market women sell the leaves to her. They collect
the money with one hand and cover their laughter with the other.”

In a beautifully
executed dance choreography depicting a sexual scene with her husband,
we are acquainted with Oluronbi’s efforts to conceive. Finally, unable
to bear the shame any longer, she goes to seek out Iroko. She is
advised by bystanders, “You must not go to Iroko (and haggle) like a
market woman – let me first offer chicken. You must state what you will
give.”

When finally
attended by the Iroko, Oluronbi asks for a son but Iroko is “out of
sons at the moment”, so she settles for a girl child, whom she
promises, will be returned as soon as she is able to shed the shame of
infertility by sporting a pregnancy.

Iroko bides her
time until the child, Abike, is of marriageable age; only then does she
send her emissary to claim Abike. Oluronbi again visits Iroko, and in a
deluge of recriminations, asks, “How could you bear to let her go?”
Iroko in her turn asks Oluronbi, “How could you promise to give her
back?” The inevitable, however, must happen, as according to Iroko,
“mothers are given charge over spirits, souls and bodies only for a
period of time.”

The musical aspects
of the play save for the performance of the three senior wives, was
less remarkable than anticipated. All characters, except Oluronbi, were
also rather flat; and would have benefited from some character
development. The production also had other problems which may be put
down to the challenges posed by an initial production – the lighting
was rather erratic, as it went off sometimes during a scene, and
transitions between scenes became lengthier as the play progressed.

One might also
wonder why it was a masculine voice that spoke to Oluronbi as Iroko
when she made her request for a child; when Iroko is embodied in a
female form. The explanation made later by Iroko, that “My voice has
always been rather masculine” does not adequately repair the
disconnection.

Doyle and Akindoju
were less remarkable in this play than in other stage plays that they
had featured in – not for their inability to deliver their roles but
because they had been put to too little use. It is also doubtful that
the play fulfilled its producer’s promise of a 70-member cast as only
about 50 made the curtain call.

Choreography, dance, costumes and props were the best features of
this staging, and were probably the most advanced ever employed in a
Nigerian theatre performance. The directors: Awoba Bob Manuel, Bimbo
Manuel and Olarotimi Fakunle must also be given kudos, for the
ambitious and unique employment of the large cast of the play.

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Writers workshop in Ibadan

Writers workshop in Ibadan

The Nigerian
Academy of Letters (NAL) has called for entries for a creative writing
workshop holding in Ibadan, Oyo State, from November 8 to 12, 2010.

The workshop, being
organised in collaboration with the Nigeria LNG Limited, will focus on
poetry, prose fiction, short stories, and drama.

It will be recalled
that Chima Ibeneche, managing director of the NLNG, had, after no
winner emerged at the 2009 award ceremony for the Nigeria Prize for
Literature, awarded the $50,000 prize money as grant to NAL to “develop
literature in the country.”

The forthcoming
workshop, to be facilitated by established writers and publishers, is
in fulfilment of Ibeneche’s charge. The workshop may also be intended
to silence critics who had criticised the NLNG 2009 cash windfall,
questioning what NAL had ever done for Nigerian literature till that
point.

A release statement
from Dan Izevbaye, fellow and past president of NAL, said participants
are to submit samples of their works to the Secretary, Creative Writing
Empowerment Grant planning committee, NAL Secretariat, Faculty of Arts,
University of Ibadan, Oyo State, no later than September 30.

Intending
participants, he added, “must have a flair for writing and must have
been published in a creative outlet or must have unpublished samples of
creative materials.” A comprehensive curriculum vitae including mobile
phone numbers should be included in each application.

Writers interested
in poetry are expected to include three samples of their works in their
entry, while those interested in prose fiction are to submit a
composition of no more than 5,000 words with their application.

“If meant to be a
full length novel, then the writer should indicate, as clearly as
possible, the extent and development of the plot,” said Izevbaye.

Three pages of
text, typed double-spaced, should be included in the entry of writers
interested in short stories, while a short dramatic sketch of not more
than three pages is compulsory for those applying for drama.

Successful applicants, Izevbaye disclosed, will be entitled to a
roundtrip transport allowance to and from workshop venue; hotel
accommodation for the duration of the workshop; lunch and spending
money for the duration of the workshop.

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Nigeria gets her own Emmy Awards

Nigeria gets her own Emmy Awards

Broadcasting
stations interested in the forthcoming Television and Radio Festival
and Awards, have up till tomorrow, Thursday, September 30, to submit
their entries.

The awards ,
jointly packaged by the Broadcasting Organisation of Nigeria (BON) and
International Network for Television and Radio Advancement (INTARA),
holds in Delta State from December 1 to 4.

Submission of
entries closed officially on September 15, but organisers extended it
by a further period of two weeks, which ends tomorrow.

Coordinator of the
festival and awards, Albert Ephraim, disclosed that the Delta State
government is hosting the event with support from the Federal Ministry
of Information and Communications, and International Energy Insurance
Plc. Other supporters are Consolidated Estates Building Society Ltd.
and May and Baker Plc.

“We are extremely
proud of our stepping up to the plate to create the first International
Television and Radio Festival in Nigeria. We are also happy about the
partnership with BON and other major industry stakeholders to
inaugurate Nigeria’s first Radio Awards and Television Awards,” said
Ephraim, of the festival and awards.

“This is indeed the birth of our own Emmy Awards, and we look
forward to major corporate support for their success. We expect the
Radio and Television Awards to be an integral pillar of our push for
excellence in television and radio programmes. We trust that it would
undoubtedly be the most respected and credible Radio and Television
Awards event in the Nigeria,” Ephraim said.

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Ife art wows the United States

Ife art wows the United States

After successful
showings in Spain and Britain, the touring exhibition, ‘Dynasty and
Divinity: Ife Art in Ancient Nigeria’, has berthed in the US.

Co-organised by the
Museum for African Art in New York and the Fundación Marcelino Botín in
Santander, Spain, in collaboration with Nigeria’s National Commission
for Museums and Monuments, the exhibition debuted in 2009.

The about 100
copper, terracotta, and stone sculptures that form the exhibition were
first showcased at the Fundación Marcelino Botín, Santander, Spain, in
2009, before they moved on to a celebrated exhibition at the British
Museum, London, in March of this year.

‘Dynasty and
Divinity’ opened at its first US venue, the Museum of Fine Arts (MFA)
Houston, on September 19, and will be on display there till January 9,
2011. Its opening at the MFA coincided with the opening of the newly
reinstalled African art galleries in the institution.

“This is the first
exhibition of Ife art to reach the United States, and Houston is proud
to be the venue for its debut,” said Peter C. Marzio, director of MFAH.

Rarely seen outside
Nigeria, the exhibition, comprising sculptures made between the ninth
and 15th centuries in Ile Ife, present day Osun State, has received
wide acclaim in the West. The London Times declared it a
“once-in-a-lifetime, revolutionary event”, while The Guardian (UK)
noted that it stands “with the Terracotta Army, the Parthenon or the
mask of Tutankhamen as treasures of the human spirit.”

Regarded as the
ancestral home of the Yoruba of South West Nigeria, Ife flourished as a
powerful city-state from the 12th to 15th centuries. Artists in the
city developed a refined and naturalistic sculptural tradition in
stone, terracotta, brass, and copper alloy, a feat that has confounded
art connoisseurs since the Ife excavations that unearthed the treasures.

A number of works
in the exhibition were excavated in the 1910s and 1930s in different
sites in the town. Archaeologists had a field day at the Ore Grove,
where stone monoliths, human and animal figures were excavated, and the
Iwinrin Grove, associated with terracotta heads and fragments from
life-size figures. The only known complete king figure and an exquisite
terra cotta head were found at Ita Yemoo, while a terra cotta elephant
and a hippopotamus’ head adorned with beaded regalia came from
Lafogido, a royal burial site.

Objects on display
include regal portrait heads of rulers, figurative terra cotta
sculptures, and life-size copper-alloy heads.

Related Story

‘Dynasty and Divinity: Ife Art in Ancient Nigeria’ will also be at
the Virginia Museum of Fine Arts, the Indianapolis Museum of Art, and
the Museum for African Art, New York, before it ends its tour of the US.

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Ojeikere’s images at Centre for Contemporary Art

Ojeikere’s images at Centre for Contemporary Art

A retrospective of the work of
octogenarian photographer, J.D. Okhai Ojeikere, opens on Independence
Day, October 1, at the Centre for Contemporary Art (CCA), Lagos.

Titled ‘Sartorial Moments and the
Nearness of Yesterday’, the exhibition features “a selection of images
that interact with notions of modernity and nationalism through
fashion,” according to the CCA.

The photographer, who celebrated his
80th birthday in June, is famous for his documentation of Nigerian
hairstyles of the 60s and 70s. However, ‘Sartorial Moments’, organised
by the artistic director of the CCA, Bisi Silva, in conjunction with
Foto Ojeikere, is intended to remind the public that, like the
celebrated Malick Sidibe of Mali, Ojeikere also recorded the fashions
of the independence era through his camera lens. Photographs on display
will feature a variety of Nigerian and Western dressing styles, with
the ubiquitous hairstyles and head-ties.

The CCA says the exhibition, which will
celebrate the various periods of Nigeria’s cultural history, is being
used to mark the country’s Golden Jubilee. In addition, it will also
celebrate 60 years of “innovative photographic practice” for the master
photographer, affectionately known as ‘Pa Ojeikere’.

Ojeikere began his photographic career
in Abakaliki, Ebonyi State, in 1950, with a camera that he got for two
pounds sterling. He now has over 5000 photographs in his archives; and
his artistic images of hairstyles like ‘Onilegogoro’, have acquired an
iconic status. Writing recently in NEXT on Sunday, art critic, Tam
Fiofori, noted that, “To say that Okhai Ojeikere is a master
documentary photographer is an understatement. He is a true pioneer in
this genre of photography who undertook self-sponsored documentary
projects with an eye and vision on the future and permanent relevance.”

Ojeikere’s work has been exhibited
internationally, especially in countries including France, Japan,
Switzerland, Spain, and Belgium. His sons, Amaize (of Depth of Field
fame) and Iria, are also photographers.

‘Sartorial moments and the Nearness of Yesterday’ opens at the
Centre for Contemporary Art, 9, McEwen Street, Sabo, Yaba, Lagos,
tomorrow (October 1) at 5pm. The exhibition is on display until October
14.

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Artists share ideas on growth

Artists share ideas on growth

The two days of the
Convention on Art and Development (CONADEV) held on September 20 and 21
in Lagos, witnessed a total of 32 papers being presented on the general
theme, ‘Engaging Art as a Tool for Sustainable Development’.
Participants like Tony Okpe, an art professor at Ahmadu Bello
University (ABU) and consultant of the National Gallery of Art (NGA)
gave a well rounded talk on the relationship between art installations
and performance art. Peace Afuwai, a masters’ degree student at ABU,
talked about how artists could protect their works from unauthorised
reproduction.

Speakers who came
from as far flung as Maiduguri, to higher institutions of learning in
Benin, Port Harcourt, Cross River, Yaba College of Technology and the
Federal College of Education (Technical), both in Lagos, made
presentations on topics that covered art history.

Some of the topics
include: issues on development; art criticism; roles of art in social
integration and empowerment of Nigerian youths; sustenance and the
survival of Nigerian artists; art design and technology in development;
art in advertising; 3D animation. Others included: learning from the
techniques used by masters like Bruce Onobrakpeya; art in fashion; and
culture and tourism. All the presentations are scheduled to be put
together in a journal.

Though there was a
programme for the sessions for each day, protocol had to be thrown out
of the window as some presenters where not available or not ready. So,
the organisers worked with those who were present and ready. The
presenters’ works then went under the microscope, with each makeshift
session having a chairman who was assisted by rapporteurs. The event
also had Farafina and AB Art World sell books and other art materials
from stands outside the venue.

Communiqué

On the second day
after all the presentations were taken, a communiqué which summarised
the conclusions drawn by the conference was read out by Tony Okonofua.

“After 50 years of
professional art and design practice in relation to sustainable
development, art is yet to be integrated into governance and society,”
he noted.

From this
observation, the following conclusions were reached. Firstly,
government and NGO’s should encourage research through the appropriate
bodies in art design and cultural development.

Secondly, that the
government should publicise research findings and encourage their
utilisation; thirdly, that the government should implement an art
endowment fund.

Exhibition

The CONADEV
exhibition opened on September 20 (after a modestly attended preview
event on the previous day) and the participants where wowed by a
cultural group before feasting on the display of about 40 works in the
Harmattan Gallery.

“The conference
organisers have done quite a great job, but at times you can discover
that the unexpected can be there. So, for the plans, the logistics and
organisation have improved. There were a few hitches, but I think it
was a smart move by the organisers in remedying the situation,”
observed art historian and philosopher, Frank Ugiomoh, who gave the
lead presentation.

Some observations

Ugiomoh said that artists should embrace more reading, as he was not impressed with some of the presentations made.

“I believe we have
a need to start a workshop for artists to learn critical writing as it
affects the presentation of art,” Mr. Ugiomoh said.

He argued that if
one creates a work and cannot present, it won’t make any sense. Kehinde
Adepegba, artist and art historian who also presented a paper on art
criticism, expressed his enthusiasm at how the convention had allowed
the exchange of ideas.

“The convention is
a place for idea exchange and a platform for moving Nigeria forward. If
the government can look into the eventual communiqué it will really
help,” he said.

Samuel Chukwuka, a
student of art history from the University of Port Harcourt, said he
enjoyed everything the conference had to offer but felt the organisers
should be more stringent in selecting papers to be presented. In
summing up he said, “I have something to take back with me and show
others what I have learnt here.”

Ahmed Tijani Mohammed, an artist and fashion designer based in Ghana, also shared his thoughts about the convention.

“I was inspired by
the way the senior artists are involved in everything that has happened
here today. I am also inspired by how the older artists motivate the
younger ones. I am taking back a lot of things. If I were to pack it as
luggage, I would need extra luggage.

“One thing I learnt
is copyright and how to protect my works,” he said. He also hoped that
future CONADEV exhibitions will feature new media arts like
installations. “I see a bright future, the next convention will be far
better than this one,” he concluded.

Peace Afuwai, who
came from Zaria and presented a paper, said she had learnt that a lot
of people did not still see the necessity to patent their works. She
felt that people did not recognise people that teach art, but believed
that the convention would help change that. She expressed the hope that
organisers would also hold an Annual General Meeting after the
convention to solidify CONADEV’s resolutions.

In closing, the Local Organising Committee chair, Oliver Enwonwu,
brought the first international convention to a close by saying, “It
has been two very intense days of intellectual stimulation, debate and
presentations. It is a successful convention and a sign that the SNA is
moving forward. It is a confirmation that the visual arts in this
country are moving on to greater heights.”

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His own Chimurenga

His own Chimurenga

‘The woman I am missing now is a beautiful woman

An older woman aged in beauty…

A beauty digging in… making a last stand around the

eyes where her smile is still disarming’

Thus begins ‘A
Fine Madness’, by the soldier and poet, Mashingaidze Gomo. Sometimes it
takes a soldier to engage the (mainly) European myth of the cleanliness
of the conscience of a gun. Gomo set about his self assigned task in
this volume with remarkable zeal. He has written an unusual book, an
important book, the kind of book that gets itself noticed because it is
feisty and from the heart. The book is classified as Fiction/Black
Interest by the publisher. It has been severally dubbed prose poetry,
narrative collage and even narrative stream-of-consciousness by others.

The author himself
is not overly particular about generic correlation or generic
expectations. He is writing, as soldiers are wont to write, urgently,
sweepingly and sternly of what his world consists of as a man in the
midst of the substance and transience of war. In this, he is a
pragmatic convert of Harry Garuba, the poet and scholar, who declared
that literature, like land, has to be positively possessed in order not
to be lost. Of course Garuba’s thesis is a nuanced statement of
critical literary jurisprudence but it is charming to find pragmatics
throw their element into its calculus. Gomo is bold. His energy is
infectious and his style is admirable for one making a debut.

Echoes of Senghor

If you have not
heard of Gomo before, don’t worry. His work in this volume is dense, it
will remind you of Leopold Sedar Senghor, Okot p’Bitek, Amilcar Cabral,
the Serbo-Croat poet Vasco Popa (in translation) and even Dambudzo
Marechera. His writing is intimate with violence and the tools of death
but the heart of this soldier-writer is set on love and the rituals of
life: ‘At first there was a single shot/A lone shot whose echo lasted
longer than was necessary…’ ‘And the Alouettes beat on/Two birds of
war, on the trail of a tireless horizon…’

At various
interludes in A Fine Madness, the soldier-writer sifts through the
rubble of African post-colonial history to see what can be salvaged of
the mighty ruins of the continent so effectively pulverised by foreign
treasure-seekers and their internal collaborators. It is interesting
that he does not rely on the Geiger counter for locating mineral
deposits, he relies instead on instinct for locating those trueborn
Africans who will retrieve first the soul of the continent and then the
possessions of which the people have been robbed. His search is
uncompromising, his ambit is wide. He embraces those the society
condemn as prostitute but who possess a quality of soul far purer than
the phallic conscience of the rapists and thieves who have turned these
poor souls into mean beggarly elements. Gomo insists on African
expansiveness of spirit. Africa has never been outdone in giving, will
never be outdone in giving. It is an immortal largeness of spirit which
colonialism can maim but never kill.

Historical bogeymen

But Gomo is too
often bogged down by the bogeymen of history and wonky philosophy. For
instance, he writes: ‘African history must be made by hard old men who
can/withstand colonialist arrogance and demonisation if/Posterity
requires it of them.’

It is one thing to
liberate oneself of the gravitational pull of generic demands but quite
another to argue with a gerontological bias regarding a whole
continent. It is possible that, coming from Zimbabwe and coming into
adulthood in the flush of the liberation struggles, Gomo’s trust in the
virtue of old men has suffered exaggeration. A safer route for all is
the collective wisdom of the people, young and old, male and female. As
Soyinka once observed, there may yet be wisdom in infant gums which
will defeat the set notions of age.

When Gomo sticks
to his main muse, Tinyarei, who is, in reality, mother Africa – he is
capable of presenting the paradoxes of contemporary Africa in the most
illuminating light: a people as willing to enjoy the fruits of the
labour of liberation fighters even as they pillory the liberation
fighters, willing to use modern technology to devastating effect in war
without any willingness to foster qualities of mind to move into their
own organic technologies of peace. Indeed, as the poet explores the
luminous moments in his tour of duty in the Congo, the reader is
brought to a consciousness of how, in essence, all Africa is so
effectively represented in that fratricidal conflict.

Ilyushin’s flight

You do not have to
live through the humid horrors of war in the Democratic Republic of
Congo to identify with the human tragedy unfolding in the region. Read
Gomo’s book. The destruction wrought by ubiquitous small arms and the
occasional helicopter gunship, the fraying of the moral fabric of a
people, turning women into courtesans and men into murderers, the
erasure of vital history and knowledge in a region that once produced
astronomers and poets in numbers. Mashingaidze’s material is strong
meat. The product of eyes that have seen death, nostrils that have
endured its rank stench.

The poetic
personae is not self-righteous. He admits freely to liaisons with all
kinds of elements, male and female, in the theatre of war. He is a
soldier. He has done what soldiers do. A Fine Madness ends on a note
inspired by flight. He ties the aeronautics of an Ilyushin’s flight to
the moral technique African’s must adopt in order to be free. Indeed,
Gomo insists on freedom as a non-negotiable precondition for the
realisation of the African dream. Freedom and a certain faith in the
fighting spirit of Africans, ancestors and the unborn. It is enough to
move one to tears.

This book is a necessary read. In it you will find enough to love
and quarrel with. It will provoke you to contemplate the African
conundrum afresh even as it surprises you with those echoes of the
village chanteuse which a large number of us have lost or never even
heard.

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