Archive for entertainment

Fun with Nnenna and Friends

Fun with Nnenna and Friends

Since its inception
in 2004, the Super Story television drama series has been a
viewer-favourite, won awards and other recognitions and is currently
under syndication in several African countries. The series are
non-concurrent with each of them based on a different story that is
concluded at the end of the season. The stories, which are didactic in
nature, portray societal ills and deal with issues pertaining to the
family. They also serve as a window onto the African society from a
Nigerian viewpoint.

Amongst the most
outstanding of the series is Nnenna, which aired in the 2008 season
and, unlike the rest of the Super Story drama series, was especially
popular with children. The story was based on a ghost girl, Nnenna, who
had come back from the dead to haunt those who had unjustly killed her
along with her mother and father.

Twenty-two-year old
Yinka Olukunga, in her debut role, starred as Nnenna with seasoned
actors Alex Usifo-Omiagbo and Shan George playing her father and mother
respectively.

“Before I got the
role I was a model. I have appeared in advertising for Visafone, Dudu
Osun and Lux amongst others. I heard about the auditions for the role,
went for it and I got it,” says the bubbly actress with a casual shrug
of her shoulders.

Although a novice
to acting at the time of portraying Nnenna, Olukunga’s sublime
performance belied her lack of experience. Indeed the accolades she got
from viewers that enjoyed the series and particularly the affection
accorded her by children who now view her as a role model, was so
overwhelming that the series producers, Wale Adenuga Productions (WAP),
decided to do something to show their appreciation.

The Nnenna and
Friends Show, a live variety show/children’s party debuted on
Valentine’s Day 2009 starring Olukunga still in character as Nnenna and
appearing alongside her were other popular characters from the WAP
stable, like Papa Ajasco and Co. and the Soul Sisters.

Interacting with kids

“It is fashioned as
an event where kids get to interact and have fun with Nnenna and some
of their other favourite characters,” explained Eno Kennedy, brand
manager for ‘Nnenna and Friends’.

After the first
event, the show was subsequently scheduled to hold five times in a
year: on Valentine’s Day, Easter, Children’s Day, October 1 – and an
end of the year show towards the Christmas holiday and twice on the
same day. Apart from Nnenna and her friends from WAP, the events have
also featured top-notch music artistes and comedians such as MI, Kefee,
Sound Sultan, Princess and a host of others.

“We have seen an
average of three thousand kids at these events and that’s for each
show.” Olukunga ends the statement with an impish grin that is so
charming in its child-like quality that one can immediately see why
kids identify with her.

But she soon reverts to her brand ambassador mode to explain the main focus of the show.

“Apart from
entertaining the kids, the shows also serve as a talent-hunt,” she
says. “There are dance and music competitions and also plays where the
kids get to take part and display their skills.”

“This is actually
the main focus of the brand Nnenna and Friends,” Kennedy chips in. “We
want to encourage kids to discover and explore their creative talents.
Hence, we have [devised] the show as a sort of launch pad for young
creative people.”

The Nnenna and
Friends Show is currently helping to promote a group of talented kids
called the BIS kids. The BIS kids perform at the Nnenna and Friends
Show and have also featured in other non-WAP events.

Fan club

Still, Nnenna and
Friends are hoping to do more by putting some structure to the
talent-hunt through the yet-to-be-launched Nnenna and Friends Fan Club.

“The Fan Club is an
avenue through which Nnenna and WAP hope to invest in the Nigerian
child by encouraging budding talents in the creative arts hence its tag
line, “Celebrating Tomorrow’s Leaders,” explains Kennedy who goes on to
give a brief outline of its planned activities.

“The Club would
host two-week summer camps where children would undergo training from
professionals in the fields of music, dance and acting. Participants
get to go home with certificates and a chance to feature in WAP TV
shows.

“However, the
exceptional ones would be awarded with scholarships for further
training at reputable schools of dramatic arts both within and outside
the country. There would also be organised tours within and outside the
country and an award show were outstanding kids in the entertainment
industry would be recognised.

“In order to
achieve all this, we are willing to partner with corporate bodies and
individual sponsors interested in investing in the dreams of a child,”
she added.

Nnenna and Friends is currently the only non-product brand uniquely
targeted at children and so far, with its charming front-woman has seen
a rapid increase in following and in such a short period.

Click to read more Entertainment news

Football is in the air

Football is in the air

Football is in the
air. South Africa’s hosting of the 2010 World Cup has ensured that the
ball has landed firmly on the continent. Africa is still under the
spell of football-mania! A new book conceived in the run-up to the
World Cup is now out and, predictably it will be very relevant for
long. Titled ‘Africa United: The Road to Twenty Ten’, it is edited by
Stefan Verwer, Marc Broere and Chris de Bode and, it is a joint
initiative of World Press Photo, Free Voice, Africa Media Online and
lokaalmondiaal; Dutch personnel and agencies based in the Netherlands.

It’s all part of
the old legacy of colonisation that these editors and agencies based in
a small European country have comfortably journalistically pigeon-holed
an entire continent of over 50 countries into one homogenous entity.
The sub-aim of the book is “to enable African journalists make
themselves heard at a moment when the whole world is focussing its
attention on Africa.”

The assembled print
features and photographic documentaries in the book were independently
chosen by the media people assembled and ‘trained’ by the World Press
Photo, Free Voice and Africa Media Online, with the ultimate purpose of
“encouraging these media professionals to creatively produce reports
about football in Africa and to help sell their products throughout the
world.”

Eurocentric

Beautiful and
admirable intentions. The results are interesting and in some cases
quite predictable in that knowingly or unknowingly, a few of the
coverage were deliberating slanted towards perceived Eurocentric tastes
in stories and pictures. That a few of the participants were trapped in
the mindset of deliberating producing ‘sensational’ coverage for the
world media market is obvious! After all, ‘sensational and weird’
stories and photographs out of Africa are always guaranteed to sell
well.

Nonetheless, the
end-result is an innovative book that generally seeks to erase old
stereotypes and in place offer fresher, ‘cleaner’ and more modern media
examination of Africa, football and the ‘very special’ 2010 World Cup!

There are 25 items
in this attractively-produced 200-odd-page book, printed in Hungary.
The reproduction of the colour photographs is exceptionally good, with
true rich colours.

There are 13 features including the Foreword and Epilogue and 12 photographic documentaries on a diverse range of subjects.

Ghettorisation

The Foreword is
predictable in that the editors offer the naive hope that football and
the 2010 World might magically save Africa from its many problems and
provide “an excellent chance to show people a different Africa.”
Unfortunately, next comes a photo documentary ‘Soccer Worlds’ by
Nigerian Andrew Esiebo, in which he unfortunately seems stuck in
glamorising the ghettorisation of football in Nigeria. Is he
deliberately unaware of the academics and middleclass like Adokiye,
Odegbami, Oliseh, Owolabi (to name a few) who are also a valid face of
football development in Nigeria? He is in the uncomplimentary company
of Nikki Rixon of South Africa whose photo study Ghana’s Future Stars
is a grimy study of a village football academy. One wonders whether
Rixon is unaware of Abedi Pele’s successful academy and club in Ghana,
the Ivory Coast Academy that produced the Toure brothers or the Kwara
State Academy that are all world-standard and now rightly world-famous
as well?

Number 9 jersey

There is a
thematically inspired photo study Number 9 by Thierry Gouegnon which
weaves a visual story of the journey of the number 9 jersey of the
Burkina Faso national team. It traces the jersey from the laundry to
the ironing sequence to the owner/playing receiving it in the team
dressing room, adorning it and wearing it on the field of play during a
crucial Malawi-Burkina Faso 2010 World Cup qualifying match. It is no
surprise that the cover photograph of the book is of the owner of the
number 9 jersey, Dagano; after being interviewed by the press at the
end of the match and, then acknowledging fan support with his famed
jersey held over his head between his hands.

Other creative
photo studies show a re-enactment of the activities of one of Congo’s
early and famous female referees, Marie Agnes Makengi Kapinga /Mother
Malou, The Woman in Black and, a study of the official and social life
of Liberia’s Iron Lady, lawyer and current Chairwoman of the Liberian
Football Association since 2004 and Vice-President of the West African
Football Union, Sombo Izetta Wesley. These are by joseph Moura and
Ahmed Jallanzo respectively.

There are, for me,
four outstanding journalistic contributions. The Dream of Twenty Ten by
Thomas Kwenaite is a rollercoaster journey of the emotional journeys of
South Africans as they missed out on staging 2006 to the nail-biting
anxiety on May 15, 2004 as the nation waited with bated breath for the
announcement of the host for 2010. Tadele Assefa dissects the deep
passion of two of Ethiopia and the world’s greatest-ever long distance
runners and multiple Olympic gold medallists – Gebrselassie and Bekele
– for football and currently Chelsea football club. It also toruches on
their aversion and fear of attending live matches because of
‘suffocating’ crowds. Mark Namanya of Uganda writes about Rwanda
strongman and President Kagame’s total immersion while watching
football, his attention to detail, awareness of tactics and amazing
analysis; including his quip to his national team, “I won’t blame you
for losing. I blame you for losing having not tried.”

Jay Jay or juju

Nanama Keita of
Gambia confesses his unbound admiration for Nigeria’s Jay Jay Okocha.
“Okocha caresses the ball with effortless ease and leaves you wondering
whether he has a spiritual pact with the round leather object,” he
writes and then tells about how his long dream of meeting Jay Jay
finally materialised in Abuja in 2009.

Espera G.
Donouvossi of Benin Republic examines juju in African football as the
The Ultimate Challenge for African magicians. There are other brilliant
essays on Drogba’s healing powers through football for war-torn Ivory
Coast, how the dreaded dictator Idi Amin used a visit by Pele to win
favour and calm the Ugandan nation, how the death of members of
Zambian’s national team in an air crash put a ‘curse’ on national
football and the all-important reality of football migration from
Africa to Europe and beyond.

Esiebo redeems himself with beautiful portraits in a study of
Pool/Football betting in Ibadan. And Adolphus Opara’s photo study of
the impact of Mallam Wunti’s small but very productive
football-manufacturing factory in Bauchi rightly deserves the title
‘The People’s Hero’. For sure, the journalists and photographers who
have contributed to this book are in many ways Africa’s media heroes!

Click to read more Entertainment news

Irobi, Adinoyi-Ojo and Yerima make NLNG shortlist

Irobi, Adinoyi-Ojo and Yerima make NLNG shortlist

Three
writers have been shortlisted for this year’s edition of The Nigeria
Prize for Literature while the winner of The Nigeria Prize for Science
has emerged.

Former managing
director of Daily Times of Nigeria, Onukaba Adinoyi-Ojo (‘The Killing
Swamp), the late Esiaba Irobi (‘Cemetery Road’) and scholar, Ahmed
Yerima (‘Little Drops…’), made the final list.

Addressing
journalists on Wednesday at Ocean View Restaurant, Victoria Island,
Lagos, chair, panel of judges of the prize, Dapo Adelugba, disclosed
that an initial 93 entries were received. He said 21 of the works
didn’t meet the eligibility criteria and because of this, only 72 were
assessed.

The professor of
Theatre Arts disclosed that the jury comprising Mary Kolawole, John
Ilah, Kalu Uka and Tanimu Abubakar, also professors, used five main
criteria to judge the works. They are relevance and originality;
compliance with the highest standards of literary and dramatic
production; dramaturgy; setting and linguistic appeal; and stageability.

Earlier, chair of
the Literature Committee, Theo Vincent, noted that the Literature Prize
has developed its own dynamism and momentum. He also spoke on changes
made in the administration of the prize after no winner emerged for the
last edition. Disclosing the identity of the judges and opening up the
prize to all Nigerians irrespective of where they are domiciled were
some of the changes announced by the committee which Vincent heads.

Close scrutiny

Mr Vincent also
thanked the media for its interest in the prize. “We assure you we do
value the close scrutiny of what we are doing,” he said.

Similarly,
Akaehomen Ibhadode, a professor of Mechanical Engineering at the
University of Benin, has been announced winner of the 2010 Nigeria
Prize for Science.

Mr Ibhadode won the
award for his work entitled ‘Development of New Methods for Precision
Die Design.” Chair of the Science Committee, Oye Ibidapo-Obe, read the
report of the jury comprising Anya O Anya, Awele Maduemezia, Gabriel
Ogunmola, Grace Olaniyan-Taylor and Lateef Salako.

The judges noted
that Mr Ibhadode has made significant contributions to the field of
cold forging. They added that he developed a mathematical model for the
design of forging die based on die expansion methods, an optimal
procedure for the selection of the most effective die design.

“In an
industrialising economy like Nigeria, the products of the precision die
process are particularly important in the development of small and
medium scale enterprises on which the economy depends for its
accelerated growth. He has applied the methods not only for the steel
industry but also for the development of aluminium products,” the
judges said of Ibhadode’s work.

Jonathan Nok won
the science prize last year while nobody won the literature prize. Both
prizes are sponsored by the Nigerian LNG Limited. The winner of the
Literature Prize will be announced at the NLNG Grand Award Night on
October 9.

Click to read more Entertainment news

Empowering Delta women through creativity

Empowering Delta women through creativity

A skills
acquisition programme with the aim of empowering women begins today at
the Didi Museum Delta in Ogbe-Obi, Delta State. Organised in
conjunction with Ijedi Women Association, the programme ends with a
lecture and exhibition at the same venue on August 13. The exhibition
will showcase works produced by participants over the three days of the
training.

In a press briefing
held on August 4, owner and Manager of Didi Museums, Elizabeth Jibunoh,
explained the vision behind the training programme and exhibition.
According to her, it derives from two needs: the need to help provide a
means of living for the indigent women of Delta state; and the need to
revive the Akwa Ocha (white cloth) – a handmade fabric, which in her
words “had begun to be seen as relics of history.”

Reviving Akwa Ocha

Fabric, she said,
is one produce that will always find a market, “To cover what God has
given us is something so primary to every man, woman and child.” And
hand-woven cloth is considered particularly valuable: “Hand woven cloth
is one of the most expensive fabrics you can get. Mechanised fabric is
two a penny.” She also enumerated the uniqueness of the fabric, “No two
people can weave the Akwa Ocha the same way, it bears the signature of
the weaver; and therefore, no two fabrics are the same.”

Modeling the
fabric, Jibunoh explained that it is expensive ceremonial material that
costs about 40,000 naira. As a result of her interest in the continued
existence of the fabric, she went into its production five years ago;
and found interestingly, that her weavers were able to complete, in
just four days, an attire that had usually taken local weavers a time
span of four months to produce.

With this
realisation, Jibunoh saw an avenue to empower and enrich the female
youth and adult; and provide them with an opportunity to rise above
their status and become self sustaining individuals. “I took this
traditional thing back to the youth as a way of helping them realise
that it is not only oil money or the sales of recharge cards that can
cater for them financially.”

Underscoring her
concern for her people, she illustrated the handicap organisations like
hers have to address. “There are teenage mothers everywhere in Delta,
birthing babies from age 12 and walking aimlessly about; by the time
they are 25 years, they are spent. This dismal situation is what I am
hoping to redress with this initiative,” said Mrs Jibunoh.

For the girl child

With the programme,
Jibunoh hopes to educate the girl child to empower herself. She
advised, “Let us make sure that our girls are educationally empowered
but remain in the rural setting.” She reminisced that “The best part of
my life has been spent in my village. Every Nigerian tells me their
villages are the best villages. If our villages are the best places,
what then are we doing here (Lagos)?”

She revealed that
it was this sentiment that convinced her to relocate Didi Museum
activities from Lagos where it had been for 30 years, to Delta State.
“If anyone is good, they have to start from home.”

She plans to employ
the Delta branch of her museum as a tool for establishing tourism and
improving the situation of its indigenes. And this, she identified as
the reason for the training programme, which she described as “our
first annual outing.”

55 participants
have been registered for introductory courses in fabric making, tie and
dye, bead making, sculpting, painting and computer training, among
other skills.

The first day will
incorporate registration of delegates and participants, and courtesy
visits to traditional rulers in Delta, immediately followed by the
training classes that will run until the third day when activities will
culminate in a lecture to be delivered by Dan Usifo, and an exhibition
and possibly sales of the items exhibited.

The training will
be undertaken on a competitive basis, as there will be awards and
prizes for top placed participants. The revenue from sales, Jibunoh
said, will go into funding other training projects, as the NGO has few
institutional sponsors yet. Despite the financial constraints though,
training is free for participants, “In a place where people are
financially challenged, it will be crazy to ask them to bring even five
naira. But we are soliciting support, and as a non-governmental agency,
that is the only way to go about it.”

Are efforts being
made to popularise the Akwa-Ocha Fabric, like its south-western
counterpart, the Aso-oke? Yes, she said, “I have held exhibitions at
the Didi Museum several times to sell the fabrics, and have often been
commissioned to provide the fabric for occasions such as weddings and
traditional ceremonies. Also, fabric such as the Akwa Ocha, the Akwete
and the Aso-oke are very similar; once you understand the art of
weaving, you can weave any of the fabrics, so weavers are not limited
to producing any one fabric.”

Concluding the press conference, Mrs Jibunoh decried the
government’s lack of support for developmental courses and the need for
private individuals to take up the initiative, “The government has the
responsibility to empower the rural areas and direct people back to
those places; but since we know that the government cannot help us, we
are doing it individually. And I’ll tell you what I am doing: I am
empowering people through creativity.”

Click to read more Entertainment news

Film Festival calls for entries

Film Festival calls for entries

Submission of
entries for the first Africa International Film Festival (AFRIFF),
themed ‘Africa Unites’ will close on Friday, August 13, 2010.

A statement from
organisers of the festival holding in Port Harcourt, Rivers State, from
December 1 to 5, said filmmakers interested in the available
categories; feature, short, documentary and animation, should follow
the guidelines on its website, www.africafilmfest.com.

Works to be
submitted, however, must have been produced after January 1, 2009 while
preference will be given to works yet to be screened in Africa or
outside the continent.

Apart from film
screenings, AFRIFF will also feature technical training sessions,
business session and networking sessions, and launch of a film and
equipment market.

Local and
international filmmakers, celebrities and others interested in the art
and business of filmmaking will participate in the five-day festival.

The maiden edition
of the festival is already receiving international coverage to draw
global participants. Amongst others, there was a special focus on
AFRIFF in the Cannes Film Festival daily edition of the Hollywood
Reporter in May.

“We want the film
industry in Africa to compete favourably with its global peers and so
we are activating a comprehensive communications strategy with a global
outlook that will achieve sensitisation across the world,” disclosed
Celine Loader, communications consultant for the festival.

The Rivers State Government, host of the ION International Film Festival held last year, is also hosting AFRIFF.

Click to read more Entertainment news

FICTION:Vehicles of the President

FICTION:Vehicles of the President

Each time the President’s motorcade passed on the M1 right next
to our village, we used to line up along the road, arms stretched, hoping
against hope, that the god who sat inside the biggest, shiniest black car with
the words “Mercedes-Benz” emblazoned at the tip of its bonnet might drop some
manna in the form of kwacha notes. At the same time, we would shout: “A Ngwazi!
Conqueror of Conquerors!” We got nothing for our troubles. Occasionally, we
would be lucky to see a mighty hand waving behind the darkest window-glasses I
had ever seen – so tinted that now I think it was our own imagination waving
back at us.

The siren would blare, clearing the way for the President. Mada
and I used to argue:

“The convoy has twenty-nine cars and sixteen motor-cycles,” I
would say.

“No, Chiko, I have counted thirty cars and fifteen motorcycles.”

“You always get the numbers wrong!”

“I am always right. Like the President.”

My father would sometimes hear us. “Shut up, Chiko!” he’d bark.
“Do not mention the Ngwazi’s name in vain.”

My father was one of the President’s fervent supporters. He had
a collarless shirt, sky-blue in colour, one hundred percent cotton, with many
faces of the President printed on it. Under each colourful portrait were the
words “Peace, Prosperity and Progress.” The shirt opened in a V below the neck.
It had no buttons. It was slightly oversized, but it was his most treasured
possession.

Whenever my mother washed his clothes, father never forgot to
give one instruction: “Don’t mix the shirt with the other clothes. The face of
the President might get stained.” He had other shirts, but “the shirt” was only
one.

My father belonged to the President’s political party, to a wing
called “Young Democrats.” To be frank, youth had nothing to do with the wing.
Though father could not remember the year of his birth, Eda, my sister, first
born, was married, had eight children, and one of the children was also already
married and had a child of her own. In spite of being the youngest in a family
of eleven, “born yesterday” as father would put it, I was able to tell that my
father could not be young.

One day the President held a rally at Bwanali. We all went
there, the whole village, young and old, even the sick, except the man we all
called Chidakwa, the Drunkard, though he no longer took alcohol due to medical
reasons. He earned his name in those days when he used to drink like a thirsty
fish, after which he would stand in the middle of the village in the quiet of
the night and shout: “The President says our lives are changing. The only life
that is changing is his. Who has forgotten that he owned only one second-hand
car, a Datsun, bought from Dubai, the time he took over the presidency?” Nobody
risked picking an argument with the drunken Kachingwe because he never stopped
talking until victory. Sometimes he would go on long after the other person had
shut up. Perhaps, I thought, Chidakwa hasn’t come to the rally to avoid picking
an argument with the President. Days before the rally, the radio had spoken of
a man who’d just been arrested. His crime was that he’d criticized the
President for appointing to high government positions only people from his
tribe. This must have scared Chidakwa.

All the villages in the surrounding areas went to Bwanali. My
father, together with Mada’s, wearing their blue shirts, left us in the crowd
to go and carry the posters of the President, to lift them above their heads
while singing praise songs as the President arrived at the venue of the Party.
The crowd was so huge. Mada and I did not see the president. We did not see the
dances of the women. We could hear the gudum-gudum-gudum-gudum of the drums and
the beautiful singing of the women. But the tall adults blocked our view, so we
were not able to see the actual dance. Nevertheless, Mada and I still had
talking points upon returning home:

“The most beautiful dance was by the women from Ntcheu Town,”
he’d say.

“But you didn’t see them! How were you able to tell the
difference?”

“The beauty of their songs, hey! A good dance comes from a good
song.”

“By your standards, the women from Kasungu were far better
then.”

“Ah, those ones! I didn’t like their songs. Salima women were
far much better.”

The arguments would go on and on, until all the towns whose
women had come to dance for the President were analyzed. In the end, we agreed
to disagree and returned home, tired and hungry, because there was no lunch
provided at the President’s rally, though the invitation that came through the
megaphone on a car moving slowly along the M1 had said we were all expected at
the venue before twelve noon, thereby giving us legitimate expectation that if
the rally were to go beyond lunch-hour, the President might give us lunch. The
President came late, the dances went on forever, and the speech, oh, the
speech! He went on and on about how he had changed our lives. He spoke about
strange things, like how ‘inflation’ had gone down and how the ‘GDP’ had gone
up, to which the gathering cheered loudly. Malawi was now a rich nation, he’d
said. We were all rich, rich, did we understand? It seemed the adults
understood what he meant, for they clapped hands and ululated, calling him “A
Ngwazi! A Ngwazi!” Some women sang as part of the applause: “The Conqueror of
Conquerors is the Government.” Only to have the President contradict them in
his next line: “You the people are the Government. You are the ones to make or
to break this Government. You are rich. To be rich, you start with the mind.
Once you tell your mind that you’re poor, you’ll remain poor forever.”

I went back home scratching the back of my head. I did not quite
get the President, though the adults seemed to have understood him very well.
If we were rich, why was it that we rarely ate meat in the home? If we were not
poor, why did we walk on bare, heavily cracked feet?

Father had come back with what substituted the shirt as his most
treasured possession: the latest portrait of the President. In this, the
President had grown fatter than in the other one, which meant he ate well. He
had grown a beard, a small beard, a goatee to be exact. His hair was much
darker in the latest portrait. It was no longer gray. He was ageing in reverse.
He still wore the black jacket, red necktie and white shirt. The spectacles
were the same, they still covered a sizeable fraction of his face. He was not
smiling.

“Don’t hang it there!” Father cautioned my mother. “Chiko might
reach for it and break it. Bring it to me.” I didn’t understand why father
suspected I might be mischievous, considering I had left the earlier portrait
alone over the years.

He put the President beyond everybody’s reach, high up there,
towering above all of us. I noticed that it was hung above the lovely portrait
of Jesus Christ on the Cross.

There were times father’s obsession with politics troubled my
mother greatly. In the evening, I could hear them arguing in their room:

“No, Ganizani, this is becoming too much!” that was mother. “How
can you go about attending each and every political rally? Yesterday, you were
at the Speaker of Parliament’s, today you’ve just returned from the Vice
President’s. Hardly before your buttocks have warmed the stool, you are up again,
off to the Minister Without Portfolio’s tomorrow. When shall you have the time
to join me in tilling the maize garden?”

“You have to understand, Esinati, that my role as a Young
Democrat is critical for the party in the on-coming general elections. All this
will end after the general elections. But for now, I have to remain visible in
the party. Maybe the big men might notice me and give me some position. We
could then move from the village to the city, to a big house with running water
and electricity. Don’t you admire such life?”

“Cut out that nonsense! You know very well you’re not of the
Ngulu tribe. You’re wasting your time. All positions go to the President’s
people. When the rainy season is over, the ruling party will not give you even
a single bag of maize flour. Only then shall you realize how much time you have
wasted.”

“Don’t talk like that, Esinati. Don’t let the Opposition’s
propaganda get the better of you. The President is a fair and impartial man who
appoints people to positions based on merit. There is no nepotism in his
appointments.”

“I don’t want us to start mentioning examples. In fact, I don’t
want us to talk politics at all. I want you to come with me to the garden after
the third cockcrow tomorrow. We shall till the field the whole day, the whole
week and the whole month. You will only resume with your rallies after I am
satisfied that we are not facing the danger of starvation.”

Father was silent.

But, come the following morning, he found a way of sneaking out
of the house, to the Member of Parliament’s rally, leaving mother sulking.

It took a whole week of mother’s refusal to talk to father
before he relented. By that time, we were well behind everybody else in
preparing our gardens before the arrival of the rains. Still, when the
dignitary was big enough, such as the Provincial Governor or a Cabinet
Minister, father had a way of persuading mother to allow him to attend the
rally. “This one is the last,” he would always say. He could travel to such
distant places as Mponela and Madisi to play cheerleader for the party. He
spent the little money he had on transport and lunch, but that never seemed to
bother him at all.

“Can’t you be like Mada’s father?” I heard mother say once. “He
does not overdo these things. He is a ruling party supporter, yes, but he is
not a fanatic.”

“If Mada’s father is your idea of the best husband one can have,
why don’t you marry him?” Father responded angrily.

“Be reasonable, Ganizani. I didn’t say I wanted him for a
husband. But he puts family welfare before party support. He prepares his maize
field before devoting himself to party work. Unfortunately, you do otherwise.
This is not good for us as a family.”

It was father’s turn to give mother the silent treatment for a
whole week.

The President’s announced trip to Kasungu unlocked father’s
lips. “Wash the shirt,” he said. “Tomorrow we will stand along the road to
cheer His Excellency.”

We lined up along the M1. The President was coming from Kasungu
town, where he’d gone to officially launch the campaign for another term in
office. There was nothing these days my father spoke about, except the
President’s talking points. Sometimes he’d get them all wrong. He’d say, for
instance, that the inflation was going up and the GDP was going down. Since it
appeared nobody really knew what these things were, nobody cared, so I stopped
correcting him after a couple of attempts.

Father was standing across the road, talking to Mada’s father
and other “Young Democrats.” They carried portraits of the President in their
hands. They wore blue shirts. Mada and I sat on the other side, with other boys
and girls of the village, none of whom was old enough to be called “Young
Democrats.” On the same side as us was Chidakwa, the Drunkard. He wore a torn,
fading yellow cotton shirt – the uniform of the opposition – with a heavily
patched, black pair of trousers. “I want my shirt to make a statement to the
President,” I heard him mumble.

“The Ngwazi will win,” father was saying. “He’ll trounce his
opponents with a big margin.”

“That will happen only because in our country, the President
always wins,” Chidakwa answered back from our side.

I could clearly see a deep frown on my father’s face. “Are you
suggesting the President will steal this election?”

“No, but I am only saying the truth.”

“Listen, Chidakwa. The work of the President’s hands will speak
for him. The voters are not stupid. They all see what a great man he is. He has
a vision for our country.”

Chidakwa, visibly annoyed, said: “Show me his one significant
achievement from the day he took power, apart from changing the colours of our
flag.”

“Can’t you see for yourself? Open your eyes, Chidakwa. Inflation
is up, GDP is down and our lives have changed . . .”

“What is GDP?”

“Don’t be deliberately blind to the President’s achievements,
Chidakwa. You people in the opposition want to oppose literally everything!”

“But what is GDP?” Chidakwa insisted.

At that precise moment, the siren wailed to signal the approach
of the President’s motorcade. The wail drowned the voices. Father lifted his
poster higher, chanting, “A Ngwazi womwewo, kuti wa, wa, wa!” Mada’s father and
the rest joined in. “Go! Go! Go! Our one and only Conqueror of Conquerors!”
Chidakwa stood silent and pensive. He only yelled once: “Traitor! Nepotist!
Corrupt fat cat!” as the President’s car – always in the middle of the
motorcade – drew closer. Very few people paid attention to what Chidakwa had
said. We were all focused on the cars.

“I am on the twentieth car!” I shouted to Mada. “Let’s get the
arithmetic right this time!”

“Yes,” he answered. “Twenty-three, twenty-four, twenty-five . .
.”

“There are thirty vehicles indeed,” I conceded.

“I told you so,” Mada said in triumph.

“Did the President wave?”

“I was too busy counting to notice.”

Father began to cross the road. “Chidakwa,” he said, “I am
coming to you to conclude the debate we had . . .”

He was in the middle of the road when the President’s
thirty-first car – a Hummer – appeared from nowhere at great speed. Father
screamed, tried to jump off the road but it was too late. He was hit. We saw
him fly to one side of the road, his portrait to the other. I was the first to
dash to where he lay. He bled through the mouth and the nose. “Abambo!” I
shouted, crying. “Father!”

There was no response.

I looked up. The car did not stop. I stared sadly as it
disappeared round the corner.

“He is still breathing,” Mada’s father said. “Let’s rush him to
Kamuzu Central Hospital.” The crowd was now surrounding us. Mada’s father’s
hand pressed on my father’s chest several times. He stood up and stepped aside.
He said: “A car, quick. We’re running out of time!” He emphasized ‘time’ by
tapping his right forefinger on the left wrist where a watch, if he had one,
would have been.

“There is no car,” someone said in the crowd.

“Is my husband alright? Is he fine? O God!” Mother said, pushing
her way into the crowd. She was crying. She leaned beside my father, opposite
me, shaking him by the shoulder while calling his name: “Ganizani! Ganizani!”

“Let’s rush him to the hospital, I said!” Mada’s father barked
the orders. “His heart is still beating. He will be fine.”

“But there is no car,” Chidakwa spoke.

“Get the ox-cart! The ox-cart please!”

There were four of us: father, mother, Mada’s father and I.
Mother and I cried all the way to the Kamuzu Central Hospital. Mada’s father
kept reassuring us: “Don’t worry. He’ll be fine.” The oxen were so slow. Mother
kept praying: “Oh, God, Ganizani must not die. Ganizani must not die! Please,
Jesus Christ!”

It took forever to reach the hospital. By the time we arrived,
the blanket on which father lay was heavily soaked in blood. The ox-cart was
slowly driven to the entrance written “Emergency Cases Only.” Men in white
rushed to us.

“Accident?” one of them asked.

Mada’s father nodded and explained quickly.

We clambered out as they jumped in to lift my father. They put
him on a stretcher. They began to run down a corridor. We all ran behind them.

“Intensive Care Unit” flashed ahead. The men disappeared in
there. Mother followed. A burly man, “Pasimalo Security” labeled on his shirt,
blocked Mada’s father and I. “Only one guardian per time in the ICU,” he said.
“Besides, minors are not allowed.” He shut the door in our faces.

I stood in the corridor with Mada’s father, waiting.

It was the amplified, inconsolable wail from my mother as the
door to the ICU opened that revealed all was not well. A nurse holding her by
the hand led her out of the ICU. A man hovered behind them.

“Are you guardians of Ganizani Desmond?” the man spoke.

“Yes.”

“I am Dr Sam Dolo. I just wanted to brief you that you brought
the deceased a little too late to the hospital. He died on arrival due to
excessive bleeding. If only you had rushed . . .”

I did not hear the rest because my ears were blocked by my own
sobbing.

We buried my father on the day the President threw a lavish
party to celebrate his seventy-seventh birthday, according to what we heard on
the radio. The whole village contributed to buy two bamboo mats that served as
a coffin for my father’s body. Mada’s father, representing the ruling party,
spoke warmly about how the President and the Party were deeply, deeply saddened
by the loss of such a great supporter. They sincerely hoped that Ganizani
Desmond’s soul would rest in eternal peace.

In the evening, Mada’s father led a team of the ruling party
supporters to our house to offer their condolences. They also brought something
wrapped in a blue cloth. “It’s the same old one,” Mada’s father said. “It
survived the accident.” Mother unwrapped it. True, the President’s portrait had
come out unscathed. Mother thanked them as they said their goodbyes and left.
She hung the portrait in the place father used to hang it.

The following day, when mother was away to the village well, I
grabbed the stool, reached for the portrait and brought it down, to the place
where the painting of Jesus Christ on the Cross was. I put Jesus above the
President.

Still I was not contented. On the third day, I took the
President and buried him in the garbage dump behind our house. I passed urine
right on top of the mound under which the President lay. From that day onwards,
I never lined up along the M1 again, no matter how hard Mada tried to persuade
me.

Stanley Kenani is a
Malawian writer currently based in Geneva

Click to read more Entertainment news

Angelic trio of Gospel singers

Angelic trio of Gospel singers

The gospel music group D’ Angelic 3 comprises three sisters. Olomachi is nine, Kelechi is six and Amarachukwu is 11.

Raised in a family
where they were taught the goodness of God, the trio could not think of
anything else than to use their talent for God. The lead singer,
Olomachi, recalls beginning to sing at three.

“When I started singing, my mummy would listen and take notes, until now when I put down the songs myself.”

When she realised
she wouldn’t be able to sing all the songs herself, Olomachi involved
her sisters. Olomachi attributes her inspiration to God. “I love Him so
much that I want other children to love Him also and I want them to
hear of His goodness,” she states.

However, music goes
beyond relaxation for the little girl. “I remember listening to myself
sing for the very first time when we recorded our song. I felt like I
was on top of the world, it felt good – especially during the Under-17
World Cup when I met the President, who was then the Vice-President”.

Explaining how the
group got their name, she said, “Our dad suggested the name to us and
we liked it.” That day, we were preparing to go for a program and we
needed a name to use. During rehearsal, my dad just said ‘now, let’s
welcome the Angelic 3′ – and that was it.”

The supportive
parents, naturally, have influenced the trio. “It’s really funny
because I remember that they would always tell us not to [drink] cold
water so we don’t lose our voice. And that as you lay your bed, so you
would lie on it.”

Aside from music,
the trio of school pupils (Olomachi is in Basic 5, Kelechi in Basic 2
and Amarachukwu is in JSS 1) also model. While Amarachukwu and Kelechi
see music as a hobby and would like to be a lawyer and banker
respectively, Olomachi wants to continue singing.

“I love music, gospel music that whenever I hear people sing. I feel happy because I know soon the battle line would be drawn.”

Kelechi also loves
to sing. “I want to know God’s word more and I know many people do not
know the word; and I want [them] to know.”

Though raised by a
father who beats the drum and a mother who sings, the girls have other
role models. The sisters confided that Gospel singer Buchi and Chinyere
Odoma have inspired them over time.

Though they might
not have fully registered their names on public consciousness with
their music, they have captured people’s hearts in other endeavours.
Kelechi featured in an MTN Nigeria’ advert and also won the Mini
Charming Princess competition. After being crowned Little Charming
Princess, Amarachukwu was nominated to represent Nigeria at the last
Little Miss World London but couldn’t go because she was denied a visa.
She has been nominated again for the same event, now holding in Turkey.
Olomaachi sang the national anthem during the under-17 World Cup last
year in Abuja.

Meanwhile, they are pressing on with their musical ambitions. Their
debut album, ‘Confessing Jesus’, was launched on August 7 in Lagos. “In
our album, we are trying to thank God for our lives and also that we
should always put our trust in God because there’s nothing impossible
with Him,” Olomachi says.

Click to read more Entertainment news

STUDIO VISIT: Joe Nsek

STUDIO VISIT: Joe Nsek

Why art

For as long as I can remember, I have had art around me. I think
I owe it to my mum and dad. Dad bought art works each time he travelled and mum
has always been good with her hands. I grew up with all these beautiful
paintings, sculptures and figurines and I’ve always wondered how they are made
and how structures are formed.

I actually thought I would be an architectural engineer. I made
a lot of cardboard structures, but I fell in love with art more. Back then, I
had no idea that there was any monetary benefit to it, even up to when I gained
admission into Auchi Polytechnic.

Training

I received my basic training at Auchi Polytechnic where I
obtained an OND and HND in 1996 and 1999 respectively. I specialised in
Painting. Most people call it ‘Auchi Art School’ because of its popularity and
probably because it is also responsible for graduating most of the notable
names you hear in art, in the country today.

Medium

Any artist would naturally start with a pencil, graduate to
crayons then delve into water and poster colours, then build up to acrylics and
oils. All these mediums help to build the painter’s ability to manipulate and
master colour. I make use of mostly oil paint but I occasionally use other
mediums, not necessarily pigments.

Influences

My early influences in art were the things I saw around me. I
was exposed to renaissance paintings early in life, so I picked up interest in
that kind of art. I later got to see African arts in paintings and sculpture,
which I also found appealing. So, as renaissance art reflects the Western
culture and environment, and African art has its own depth, I decided to blend
both.

Inspiration

I get most of my inspiration from nature and history. The
natural selection of things has a way of exciting one’s senses. Sometimes, you
won’t see them unless you look from a certain angle or perspective. But believe
me, there’s always something of interest in even the most unlikely of places.

Best work

I would not say I have a best work, as I love all the works I
produce. But if you ask which work makes me smile each time I remember it, I
would say ‘Sax Tunes’. It’s a piece I painted in 2004.

Least satisfying work

“If an art work drags you on and on without a head or a tail,
give it an early death.” I’ve always had this at the back of my mind. I have
not really given any art work the satisfaction of being my least satisfying
work although there is no bad art work as far as I am concerned. I believe all
art is appealing. It just depends on the audience.

Career highpoint

None applicable.

Favourite artist living
or dead

There are very many people out there doing great things in art.
I bump into them very often. But my early favourites would be Leonardo Da
Vinci, Pablo Picasso, Nsikak Essien and Abraham Uyobvisere.

Ambitions

My ambition would be to create art that will appeal to as many
people as it possibly can- not only in my immediate environment but the world
over. Being an artist sometimes isn’t just enough. To be remembered as having
changed the way people think with respect to one another or provoked a certain
degree of thought and emotion in the world would be great.

Click to read more Entertainment news

Eight writers and a book party

Eight writers and a book party

The literati met with some of the writers whose works have been
nominated for this year’s Nigeria Prize for Literature at Eko Hotel, Lagos, on
Sunday, August 1. The Committee for Relevant Art (CORA) facilitated the forum
where Onukaba Adinoyi-Ojo, Zaynabu Jallo, Ziky Kofoworola, Emmy Idegu, Irene
Salami-Agunloye, Uduak Akpabio, Akinwumi Isola and Uwem Udoko featured. Ahmed
Yerima and Phillip Begho didn’t attend, while a minute-silence was observed in
honour of the late Esiaba Irobi.

The writers offered interesting insights into their works at the
event which also featured performances by chair, Lagos State chapter of the
Association of Nigerian Authors, Dagga Tolar; and the American cast of
‘Preemptive’ and ‘Seven’, staged in Nigerian cities as part of the ‘African
Lives’ project.

The occasion became lively during the discussion session
moderated by actor and poet, Wale Obadeyi. The eight writers had earlier read
from their works while Secretary General of CORA, Toyin Akinosho, had explained
the purpose of the forum.

“One of the reasons why we are doing this is to increase the
opportunities for people to know about the literature produced in the country.
But as any piece of literature is derived from a slice of history, or personal
experience, this event offers us glimpses of ourselves,” Akinosho had stated.

Some insights

Speaking about his ‘The Killing Swamp’, a fictional account of
the last moments of the late Ken Saro-Wiwa, Adinoyi-Ojo, disclosed that he met
the environmental activist only once and didn’t hear from him again until he
read news of his death in the papers.

Jallo said that contrary to the moderator’s position, her
‘Onions Make Us Cry’ is not a feminist play lashing out at men. “It just talks
about domestic violence; violence at all levels; from the home to national and
global level.”

Idegu, a lecturer at Ahmadu Bello University, Zaria, is a
contrarian who chose to write his ‘Ata Igala the Great’ from the Igala
worldview because he doesn’t believe the Yoruba worldview portrayed by Wole
Soyinka is representative of Nigeria and Africa. He said the Igala believe in
the world of the living, the dead and the space of God.

Her ‘Idia, the Warrior Queen of Benin’, Salami- Agunloye
explained, is “not an historical play though it uses historical materials.” The
African Drama and Women Studies teacher at the University of Jos added that
it’s a feminist play that uses the feminist perspective to show how women are
perceived in Benin kingdom.

Udoko, a political scientist, disclosed that ‘Broken Pots’ was
motivated by Nigeria’s socio-political challenges. He noted that though Nigeria
is a blessed country, our actions “have contributed to the problems we have in Nigeria.”

Head, Performing Arts Department, University of Ilorin,
Kofoworola said his ‘Queen Ghasengeh’ is “experimental even from its title.”
Reacting to Akinosho’s earlier description of events in the play as a family
affair that snowballs into war between two hitherto friendly kingdoms,
Kofoworola said, “It’s not a purely family affair. It’s a universal affair in
content, concept and context.” He added that the work “is not a campaign for
womanhood but a realisation of the fact that women are our mothers.”

Isola, whose ‘Belly Bellows’ centres around the goddess, Oya,
said he tries to show that women are not the weaker vessels people believe they
are. He held that though Yorubas believe women are weak and that though this
might be true going by their physique, it is not true. “At each period of
history, you have women who really bring out the nature of women.” Oya whom the
play centres on, he added, fought for women empowerment. “Women are stronger
than men. We should be bringing up our daughters to feel they are strong and
intelligent like boys,” Isola reiterated.

Drama and history

The talking point of the evening, however, was how historical
materials should be used in fiction. Salami-Agunloye noted that writing fiction
is not necessarily easier than writing true historical accounts. She added that
it depends on the issue being written about.

“You have to be careful the way you interprete history,” Idegu
noted while citing the late Ola Rotimi’s ‘Ovonramwen Nogbaisi’ and Ahmed
Yerima’s ‘The Trial of Oba Ovonramwen’ as examples of works which interpreted
history differently. While the Binis rejected Rotimi’s play which was more
historically correct by saying the Oba bowed for a portrait of the Queen, they
gladly welcomed that of Yerima which downplayed the point to celebrate their
Centenary. “You have to know the dividing line between falsification and
interpretation,” he reiterated.

Isola, who disclosed that the Efunsetan family of Ibadan didn’t
like the way he portrayed their matriarch in his play, noted that, “drama is
not history. It’s a way of interpreting history. Using history in drama is not
very comfortable. If the family is still living, they can challenge you for
trying to blackmail their parents. You have to be careful. It’s only children
of very wicked people that don’t complain.”

Weighing in, Adinoyi-Ojo said he decided on writing about Wiwa,
“because it’s a familiar history. The challenge for me was the process that led
to that end; to be able to hold the audience spellbound until it reaches that
predictable end. It’s been a painful experience. I met this guy, I fell in love
with him despite the fact that he was bloody arrogant. It’s a play that
questions the situation in the Niger Delta that turned Wiwa and the Ogonis into
victims.”

The evening ended with the writers stating their expectations about the
Prize.

Click to read more Entertainment news

‘Our hopes, our fears’

‘Our hopes, our fears’

The eight writers at the CORA book party speak on their
expectations

Onukaba Adinoyi-Ojo

I hope to win and I want to thank the NLNG for instituting the
prize. I have no doubt that it will go a long way in promoting the development
of our literature in this country and I hope that other institutions will
follow suit.

Zaynabu Jallo

Winning a prize isn’t what should determine your writing. It’s
great to be nominated, it’s good if the prizes do come but it shouldn’t be
influenced by the winning of prize at the end of the day.

Ziky Kofoworola

I was really impressed by the panel of judges who are made up of
those who taught me. People know that the panel of judges are men of timber and
calibre. They are not just local champions, they are international
personalities who are highly reputable and to that extent, whatever verdict
come out of these credible personalities should be acceptable because there is
a lot of wisdom in the choice of the panel. I want to also encourage young
playwrights, it’s not winning, it’s the chance, the opportunity to contribute
to future generations, contribute to humanity. That is what matters.

Emmy Unuja Idegu

The stage we have reached now, I’m not a great football fan but
it’s like two top teams playing 90 minutes and there is no winner. 30 extra
minute no winner. We are now onto penalty shoot out and in penalty shoot out,
the best of players have missed their kicks. As for winning, it’s what the
outside world will call luck but for me it’s entirely the grace of God. So
whoever wins, kudos. Of course, I’m expecting my play to come out tops but the
level we have reached it’s on acceptability and I’m personally encouraged. When
I get back to the class and I’m teaching my students playwriting and I tell
them I’m coming from a function like this, it’s some level of credence. It
means what our lecturer has been telling us, there is some acceptability beyond
the class.

Irene Salami-Agunloye

I’ve enjoyed myself and I feel privileged to be amongst these
eminent personalities. I know that the jury will have a tough time having
listened to everybody here because all our presentations seem to be very good.
Particularly, I’m very happy seeing that my student is also sitting here with
us. For me as a teacher, that’s very good. It means that I have taught well. I
happened to have taught Zaynabu Jallo as an undergraduate so I’m very happy.
For me it’s double joy. I actually expect that my play will come first. But
it’s not all about money, sincerely. I heard about the monetary aspect of the
prize only yesterday and it’s not really about what you will get out of it
financially but the exposure and things attached to it.

Uduak Akpabio

Before a writer puts pen to paper, there is usually one major
expectation; that the general public should read the work otherwise there is no
point in writing. So, for all of us here, NLNG and CORA have really given us
the platform to present these works to the larger public, to make it known, to
make it accessible to people and that is priceless. By the time you go to the
younger generation and you tell them there is something to be gained by
writing, write down your experiences, write down your creativity so that other
people can benefit from it in future and they say: ‘the problem’ Aunty’ is that
writers are poor people’ and you say no, it’s not all about money. And even if
it’s about money, look at NLNG. Someone wrote and could win a prize like this.

Akinwumi Isola

I have the greatest faith in and also greatest respect for the
panel that will judge the play. I assure you whatever decision that they make
is acceptable.

Uwem Udoko

I see my presence here today a very rare opportunity. I want to
thank the NLNG and CORA for taking this initiative and to advise all of us that
we have to be passionate about things happening around us because it’s the
passion that we have as writers that made us to put pen to paper to try to
address the ills in our society. I believe that at the end of it all, whether I
win or not, as long as the problem I try to address in my work is being
addressed, I count myself as a winner.

Click to read more Entertainment news