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‘Matthew Faji was photography’

‘Matthew Faji was photography’

It was his
spontaneous chuckle, which always graduated into a warm smile, that I
always remember of Matthew Faji. That I did not know that Matthew Faji
had died and been buried, is a sad indictment of how well the present
generation of editors of national newspapers know those, particularly
photographers, who have contributed so much to build and strengthen
what is now called ‘the new journalism’ in Nigeria. As one of his many
genuine admirers, Nkanu Egbe, said to me recently, “Matthew Faji’s
death should have been front-page news. He was a national treasure in
print journalism!”

It was a call to
another great friend, ‘younger brother and journalistic supporter’ of
Faji, Wole Olaoye, himself recuperating from an accident, that informed
me that Faji had been buried. And it was indeed sad that Olaoye, who
had made me know Faji and his body of work much better, broke the
terrible news.

I knew Matthew Faji
was ill and down. I had spoken with him; he sounded low in spirit, his
voice was weak and, I had promised to call him again. I had lost touch
with him and had last visited him at Oregun, at his Newswatch office
some years back. 2010 being a very special year for Nigeria, I had been
approached by a Frenchman and Swiss lady who were respectively
collecting photographic images for politics and fashion projects on
Nigeria at 50. I automatically recommended Matthew Faji as one of the
best sources for such archival photographic images on Nigeria. With the
help of Olaoye and Dan Agbese in particular, I was able to get the
phone number of Faji’s son who in turn put me in touch with his father,
Matthew.

In 1995, when Jide
Adeniyi-Jones, Don Barber, and myself were considering ‘veteran’
photographers of professional repute to invite to become protem
president of the Photographers’ Association of Nigeria-PAN – an
umbrella body for photographers from all genres – we decided to
approach Faji, Peter Obe, and Okhai Ojeikere. Faji was friendly in
turning down our offer, but that did not diminish the respect we had
for his huge body of work and immense contributions towards
strengthening the standard and quality of photographic work in print
journalism in Nigeria.

Master photographer

Matthew Faji was a
master photographer. His forte was documentary and news photography,
and his favoured medium was medium format black and white celluloid
film, working mostly with a twin-reflex camera.

I personally
considered him then, and now, as the father of magazine photography in
Nigeria. With the older Peter Obe as the doyen of newspaper photography
in Nigeria, the duo of Obe and Faji can be classified as the fathers of
print journalism photography in Nigeria. They definitely were not the
first, but were unquestionably both amongst the very best and had long
and very impressive careers in terms of magnificent and memorable
visual outputs.

In the 90s, Faji
was making a sort of comeback in that he was encouraged to dig into his
bank of characteristic strong and gripping images and offer them for
publication in the Plume, the in-flight magazine of ADC Airlines. He
had earlier made his name and earned professional respect and accolade
as a photographer with the Nigerian franchise of the original South
African magazine, Drum.

I called Olu
Obafemi, who had joined the Drum group as an Assistant Editor of Trust,
back in 1975. He was unaware that Faji had died, and of course
devastated by the sad news. He recalled that Faji was the Chief
Cameraman of the Drum group when he joined and, to him, “Matthew Faji
was photography!”

“Each time Faji
went out on assignment,” Olu Obafemi continued, “he came back with so
many excellent photographs that all the editors would be full of
admiration and they had difficulty choosing what photographs to use.
His photographs were always full of surprise!”

What were some of
his favourite Faji photographs, I asked Obafemi? “One of the greatest
was at Ikenne, during an interview with Awolowo. Awolowo was talking
and he and the editor had forgotten that Faji was around. Then
suddenly, Awolowo threw a long-range punch demonstrating the kind of
punch he was going to give his political opponent, and Faji captured
the famous Awo punch. This was in 1976-77. The other was during FESTAC
’77. A group of dancers from Southern Africa were performing on stage
and suddenly they made a move and Faji captured a stunning photograph
showing a row of their bare buttocks. My third favourite was a
photograph he took when we were interviewing Major Ademoyega of the
first-coup fame. Faji caught the moment when Ademoyega suddenly pointed
at something.”

Action photographs

What made Faji such
a great photographer? “Faji captured events in details that are
frightening,” Obafemi explained. “He was never in a hurry, and he never
removed his eye from the lens throughout an interview, however long,
and he put the interviewee at rest. Yet, he was ready when the action
happened. He had great action photographs of Ahmadu Bello, Zik, and
Awo. Like the photograph of the bare-bottomed women dancers, there were
16 other photographers there but only Faji got that critical shot!”

How does Obafemi
rank Faji? “In photography, I place Faji on a pedestal a little higher
than Obe. Obe had success. Faji was exceptional. He was full of
surprises we all could not expect, and he had the knack for taking that
moment’s action that always told the story.”

I always believed
that in many ways Matthew Faji was a bit too quiet and self-effacing.
He underplayed his great talent and the value of his masterpieces. Olu
Obafemi in turn believes that Faji “was shy.”

Way back in 1977,
Faji had shown Obafemi over 2,000 of his photographs and they had
decided to do a book from them, but they got no sponsors. They were to
revisit the project many times decades later and again, could not
source sponsors.

Matthew Faji had
gone on to work with the weekly news magazine, Newswatch, where he
contributed immensely with his photographic images and was a source of
inspiration and knowledge for the younger photographers there.

He may have been withdrawn in life, but his creative and powerful
images will forever testify that Matthew Faji was indeed a master, and
one of Nigeria’s greatest photographers. Definitely top ten!

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Being Siji

Being Siji

People love being
appreciated and Siji is no different. Though he isn’t yet a mainstream
musician, he is glad people responded warmly to his recent show at
Jazzhole, Lagos. “It only served to confirm my belief that there is
plenty of room for an alternative music scene here. The love they
(audience) showed was overwhelming, it was a beautiful thing,” he
recalls.

But I couldn’t
resist telling him that hip hop – rather than his, Ade Bantu, Beautiful
Nubia and Nneka’s kind of music – appears to be the rave among youth.
“We are a bit on the fringe because people in the media have yet to
show us any love. The media dictates popular taste. If you guys get on
board, everybody follows,” he replies.

Nonetheless, he has
been busy on the performance circuit; collaborating with other artists,
and using the Internet to reach out to people. He is also on a
promotional tour of West Africa. He has shows coming up in Abuja and
Ghana amongst other places. “I’m reaching out to people and planting
the seed. In the next year or two, I’ll be looking for key concerts all
over the continent. Nigeria turns 50 this year, I have a few shows that
I have lined up to do [mark] that. I have some work with Wunmi in
Ghana, the World Cup in South Africa is about to start, I intend to be
there and do some shows. Guerrilla style promotional tour; have voice,
will travel.”

Traditional artist

He featured a
recital of his oriki (lineage praise poetry) by his father on ‘God
Given’, his debut album. He explains why. “That was his way of giving
me his blessing. Initially, I didn’t get a lot of support as an artist.
I had to be an engineer first before I could be an artist. I studied
mechanical engineering and once I had my degree, I took off my hat and
plunged into music. The oriki track was very popular amongst people in
the Diaspora, especially among the non Yoruba speaking people. The
funny thing is that we are going through a generational change, I can’t
recite my oriki. It’s a beautiful thing that I recorded it on tape so I
can pass it down to my children and children’s children.”

The musician’s dad
also opened his show at Jazzhole with his oriki. “Beautiful thing to
have done and I captured it for posterity. I’m a firm believer in the
fact that if we don’t keep the language of culture intact, overtime, we
will lose it and I see that happening already. I see little kids who
grew up here, who were born here who can’t speak a word of Yoruba and
it saddens me because you have the funny feeling that in a few years,
in a few generations down the line, the culture would have probably
vanished if we are not careful.”

Afro Soul

Though it is easy
to call his music folk music, Siji says it is actually ‘Afro Soul’. “It
is soul music at its core level but it’s heavily influenced by African
rhythm. It took me some time… I only started singing in Yoruba
recently. I was working with a great producer in New York and he
inspired me to start singing in my language. We did the cover song
‘Irinajo’ and that turned out to be a huge hit and really got me
thinking that wow, I need to begin to showcase my ethnicity more than
ever in my songs. It’s been an ongoing quest. I think I’ve found my
groove, I’ve found a comfortable medium within which to showcase my
ability, be it the instrumentation or the lyrics. I think I’ve found a
comfortable balance and I call it Afro Soul.”

Talking drum and
horns, he explains, are vital components of his music because, “When I
write music, the rhythm comes to me first. The talking drum itself is a
very tonal instrument. It’s a deep instrument; you can say a lot of
things with it. It’s been very helpful in anchoring that African rhythm
thing I’ve been trying to infuse my music with. And the horns of
course, you can’t go wrong with horns.”

Music and Engineering

Though he holds a
first degree and masters in Mechanical Engineering, Siji had always
been in love with music. “I found the perfect opportunity to satisfy my
musical curiosity while studying for my Engineering degree. They had a
grand piano in one of the theatres and I was always on it trying to
figure out sound. I taught myself how to play the piano while studying
for my degree, so it was only a matter of time. I guess the seed was
planted early while studying for my mechanical engineering degree.”

He hasn’t been
surviving solely on music, however. “The funny thing is that my
Mechanical Engineering degree has been an asset to me. I consult during
the down times in my music career; I was able to sustain myself by
consulting as an architecture draughtsman. My degree has always been an
asset, it’s never been a liability.”

The bachelor
reveals why his second album is self titled. “It’s a full portrayal of
where I stand as an individual and as an artist. If you noticed, a lot
of my musical pieces are autobiographical in nature, everything I sing
about are felt experiences on the one hand, opinions about life and
things. All my personal experiences I put them into my music. So,
‘Adesiji’ is a full portrayal of where I am today as an artist and an
individual.”

He is happy that
the album is “a great progression from where I was with the first
album. The African thing is at the forefront in my music now.” The
album includes tracks like ‘Morenike’,’ Irinajo’ and ’Enia Dudu’ The
artist who unwinds by cooking, travelling, walking and loves
photography, clarifies that ‘Morenike’ isn’t about a former or present
lover. “It is about the name itself. If I have a daughter, I will name
her Morenike because I‘ve always loved the cadence of that word. I
wrote it from that perspective. I’m not a father yet but I pray to one
day have a baby daughter I will call Morenike.”

Yearning for home

He made ‘Yearning
For Home’, his first ever video because “My friend had been telling me
I need to cut a video for my music. When he heard my second album he
said it’s like you have built the Empire State building but you haven’t
put any elevator in it. So, I listened to the record and I felt
‘Yearning For Home’ will be a perfect vehicle with which to tell a
particular story; my wanting to look at my ancestral homeland. It has
awakened my interest in video and one day, I would love to shoot a
movie or documentary. Getting behind the camera to direct my own work
opened the world of film to me.”

The proprietor of
Ivy Records draws inspiration from everyday people and everyday living
and has resolved to use “Nigeria as the backdrop for my next project.”
People he looks up to musically include Marvin Gaye, Miles Davis, Al
Green, John Coltrane, Fela, Haruna Ishola and Fatai Rolling Dollar.

Siji unwinds by cooking, travelling, and walking. He also loves photography.

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Midnight at the Federal Palace casino

Midnight at the Federal Palace casino

Midnight at the
Federal Palace Hotel, and there is a flow of people from the casino out
onto the parking lot, all the way to a white Marquee that looks more
suited for a grand wedding reception. It is draw night at new
state-of-the-art casino in the hotel, and up for grabs are a brand new
car and $3000. Several hundred people have gathered under the
impressive white marquee. Platinum Card holders can occupy the cordoned
off seating area right front of the stage, and they are entitled to
champagne and other drinks, courtesy of the hotel. The people here are
mostly from the expatriate community. Others have to stand from the
middle to the back of the hall.

“I’m going to be
making ten people very happy tonight,” says the honey-voiced emcee as
he introduces Harriet, the young lady who will roll the Tombola to pick
out 10 lucky numbers. “For three months, I’ve been talking of this day.
Finally, we’re here,” continues the Emcee. A Kia Sorrento car has been
given out every last Saturday of the month since February; over
£200,000 has been won in cars and cash since then. Tonight’s car
giveaway, a Kia Mohave, is the biggest so far.

The Comedian, AY,
is introduced and he takes the stage with Niger Delta jokes about
kidnappings of ‘Oyinbos’ and ‘Indians’. More jokes follow about
differences in the attitudes of black and white people in certain
situations. He keeps up the black and white theme throughout. When the
10 lucky numbers are called later, the corresponding tickets are held
by a mix of Lebanese, Indian and Black players. None of these would be
considered ‘Caucasian’ in a Euro-American sense, but AY keeps referring
to the Lebanese and Indians as ‘White’ and they don’t seem to mind,
underscoring what passes for ‘white’ in a largely black society.

Lucky draw

And so the ticket
numbers are called one after another. Among the lucky ticket holders
are: B Oladimeji and Daria Nani. “Where are you from, sir?” AY asks Mr.
Nani, who is taken aback by the question but answers matter-of-factly,
“From Nigeria.” AY follows with, “Where were you born in Nigeria?” The
answer: “St Nicholas Hospital”. Another ticket holder, Mary Benson
(from Ekiti State), has already won $3000 on a previous night. Many who
frequent these draw nights have won varying prizes before, and keep
coming back for more.

Other lucky punters
include: J Kirpalani, N Habeeb, B.K Kuma and at least one other name
that’s drowned out by audience cheers. J.A Akobundun is the youngest
ticket holder (he and Mary Benson later come up in the eighth and ninth
position, sharing the £3000 between them; seven other ticket holders
get £100 worth of chips each to play in the casino, so every one of the
drawn ten, wins something). “Naira or dollars, which do you prefer?”
the emcee asks AY. “Convert the dollars into naira, and I will take
naira,” the comedian jokes in reply.

The only other
female among drawn ticket holders, T. A Adeaga, is also a regular,
according to the emcee, who by now recognises her face from seeing her
all the time in the casino. The most popular ticket holder of the night
is the Sikh-style turbaned Mr. Narula, who is hailed by the crowd. Then
there is M. Barchini, who wins the car. Of the ten envelopes handed to
the ticket holders, only one has a red car key, and it’s Barchini’s.
Everything unfolds in the presence of an Independent Auditor. Nearly
half of those in the marquee leave once the ten tickets are called, not
even waiting for the announcement of the big winner. Ignoring AY’s
entreaties to stay, they exit quickly, hoping for better luck next time.

Creating excitement

As the action
shifts to the gleaming Kia Mohave outside the marquee, we’re told three
new cars have just been delivered. This means a car is guaranteed to be
won every month until July. “The car and cash giveaway is to encourage
participation in the gaming industry and to attract patrons,” says
David Kliegel, General Manager of the Federal Palace Hotel. He adds
that since the gaming industry is new in Nigeria, these car and cash
giveaways create a buzz around the casino at the Federal Palace, which
boasts facilities not available anywhere else in the country. He sets
out the easy steps for eligibility for potential winners, who need not
be regular or longstanding patrons: “All you have to do is get on our
Most Valued Guest (MVP) programme and show up on draw night.”

Aside from the
once-a-month big draw, there are other incentives laid on weekly. Bingo
Roulette is on every Monday and Wednesday; there is Money Order on the
Box on Fridays. “We try to buy the box back from you, and there’s a
mystery prize,” says Mr. Kliegel. Thousands of dollars are up for grabs
in games on Thursdays and Fridays, amongst other attractions of the
casino. Another Customer Participation Game is due to be unveiled in a
few days, he informs, insisting that no other casino in Nigeria has
these many opportunities to win. “We try to give back to our patrons,”
he announces.

“We believe we are
the only licensed casino in the country. We abide by all the
regulations governing the casino and gaming industries. We guarantee we
can pay all of our jackpots should they come up, and we create
excitement in the process,” he says.

In the excitement
of the casino-branded Kia Mohave’s keys being presented by Kliegel to
Barchini, it slowly dawns on journalists that the lucky winner speaks
no English. His cousin is finally persuaded to help translate a few
words. “I’m very happy and content and thank the Federal Palace and its
management and staff,” Barchini says in translation. To the question,
“What does he do for a living?” – the cousin replies simply, “He works
for a living.”

But never mind about that. Barchini promises to “come back again and again,” hoping to win.

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All set for International Museum Day

All set for International Museum Day

The National
Museum, Onikan, Lagos, will come alive this week with activities
marking International Museum Day. The museum will be joining similar
organisations all over the world in celebrating the day, a major
international event marked annually.

This year’s
celebrations at the National Museum will begin on Friday May 14 with
the Miss Museum Beauty Pageant, which is expected to draw young and old
to the grounds of the museum in Onikan for the glamorous contest. An
Open Day will follow on Monday May 17, with a focus on the theme,
‘Ability in Disability: celebrating the special people’. The events
will culminate in a Public Awareness/Road Show scheduled for Tuesday,
May 18 – International Museum Day proper.

Curator at the
National Museum, Ronke Ashaye, said of the plans, “Thousands of
local/international tourists, stakeholders, government agencies,
corporate organisations, media practitioners and visitors are expected
to throng the museum to savour the joy of this celebration.”

International Museum Day was created by the International Council
of Museums in 1977 to encourage awareness in the role of museums in the
development of society. A theme is chosen each year by the Advisory
Committee, and the 2010 commemoration is anchored on the theme, ‘Museum
For Social Harmony’, underlining the need for museums to be an
effective tool for positive change and social development.

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Lena Horne is dead

Lena Horne is dead

Actress and Jazz singer, Lena Horne is dead. The entertainer,
who was known for her signature song “Stormy Weather” died at the age of 92 at
Presbyterian Hospital in New York on Sunday, May 9. She will be remembered for overcoming
racism to become Hollywood’s first black leading lady.

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Friends celebrate Toyin Akinosho at 50

Friends celebrate Toyin Akinosho at 50

A series of
programmes are in place to mark the 50th birthday of Toyin Akinosho,
secretary-general of the art advocacy group, the Committee For Relevant
Art (CORA). Scheduled to commence today May 12, the events include an
Arthouse Forum, a ‘Night of Dramatic Exploits,’ reading sessions and a
variety night.

Organising the
event is a committee of friends called ‘Friends of Toyin Akinosho’
amongst whom are Jahman Anikulapo and Deji Toye.

‘Art Advocacy and
Art Journalism – Developments in the last two decades’ is the topic of
The Arthouse Forum, which holds on May 12 at Terra Kulture. G.G. Darah,
a renowned professor of English, will deliver the Keynote Speech.

According to Deji
Toye of ‘Friends of Toyin Akinosho,’ “We believe a jubilee celebration
of Akinosho is a proper occasion to discuss the state of Nigerian art
through two of its pillars of sustenance in the last two decades. This
period has been one of transformation on a global level. As the last
decade of one century and the first of another, it has witnessed
transformation in the mode and manner of communication on a scale and
pace not witnessed before. In Nigeria, it was also a period of flux –
near death of the publishing industry and, on the sunny side, the
emergence of a Nigerian unique motion picture model which has gone
ahead to influence the rest of Africa and attracted the attention of
the world. Besides, the implication of political instability is that
there has not been any consistent policy on culture and how it can be
harvested for national development.”

He further pointed
out, in a statement announcing the programme, that, “Two key factors
which have however sustained the centrality of Art and Culture in the
public space have been the growth of Art Journalism into full desks in
the print media with daily runs and proliferation of advocacy efforts –
from trade guilds to practitioner associations, patrons’ foundations
and ordinary citizens’ initiatives.”

The Night of
Dramatic Exploits will include a play-reading session and a production
of ‘Po,’ a two-man cast play under the direction of Ropo Ewenla.
Up-and-coming playwrights have the chance to send in entries from which
a winning play will be selected and read at the play-reading session.
The drama night takes place at the National Theatre.

On Thursday, May
27, an interview session is scheduled for Jazzhole in Ikoyi with talk
show host Funmi Iyanda and scholar Sola Olorunyomi as proposed
interviewers. This session will include readings of book excerpts.
According to the tentative programme of events, “before the session or
as interludes, book excerpts will be read in commemoration of
Akinosho’s incurable insistence that no event should be complete
without reading of excerpts.”

The variety night
is the last of scheduled events and holds at the National Theatre on
Sunday, May 30. Expected at the ‘Night of Reminiscences and
Performances’ are filmmaker Tunde Kelani, veteran actor Femi Jarrett,
writer Akin Adesokan, art historian and critic Chika Okeke-Agulu,
veteran theatre practitioner Ben Tomoloju, and the poet Uzor Maxim
Uzoatu.

NANTAP Lagos, Guild of Nigerian Dancers, Ijo Dee, Crown Troupe of Africa, Laffomania and Dagomba are all scheduled to perform.

Toyin Akinosho, cultural ‘landscapist’ and Arts patron will be 50 on May 17.

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Telling his grandmother’s stories

Telling his grandmother’s stories

As a young boy, he
was terrified of dance classes because he was the only boy in a class
of over 90 girls. Years after overcoming his fear and marking time on
Wall Street and in journalism, Ronald Brown has stayed true to Dance,
his first calling. This year, his company ‘Evidence, A Dance Company’
celebrated 25 years on stage.

The award-winning
dancer/choreographer and his troupe were in Lagos in March to perform
and teach dance classes as part of a trip facilitated by the Public
Affairs Section of the United States Consulate General. The spiritual
Brown spoke about the story behind the troupe and what influences his
craft.

In the beginning…

As a twelve year
old, he was on his way to an audition with his pregnant mother when a
mild drama occurred. “When we got to the door of our apartment, she
went into labour and I was like, ‘Oh forget it, I’m going to be a
writer now.” He focused on journalism and got a scholarship to study at
university, graduating a year early from high school. “I thought I had
a bargaining chip,” he said.

His mother ordered
him to “Get a job.” He would spend the following years in the
cheque-processing department of JP Morgan Guaranty Trust. During this
time, he managed to attend “like five classes, got this scholarship at
this school, and danced all day.”

And still, he
thought he would be a writer. He joined a circle of writers where the
convener constantly asked the audience, “Are you doing your work?”
After conferring with a mentor, who asked him, “Who’s going to tell
your grandmother’s stories?,” Brown realised his calling was in Dance
and established his company.

“In the circle of
writers, they say you have to leave evidence that you were there. That
was what their work was about, ‘Identity’. I said okay, Evidence.
Evidence, A dance Company,” he said.

No regrets, no apologies

Brown formed the company in 1985 as a 19-year-old. He admits to no regrets so far.

“I’d be a writer if
I wasn’t a dancer and if things were rough, my joke with the company is
I could open a health foods store or sell oranges on the street. And
because of these dancers, a friend of mine says, ‘you won’t give up
because what would they do? Who would have them, where would they do
this kind of work?’

“Again, it’s
because of the kind of work we do and the initial idea to make the
pieces. When I make a piece like ‘Order My Steps’, I’ve got to
understand my purpose and not that I’m trying to give up. How do I make
a piece called ‘Grace’, saying God has given me another chance, and I
want to give up? It doesn’t make sense,” he said.

The
dancer-choreographer infuses modern dance with traditional Latin,
Caribbean, and African dances. “You have to look at me as a man of
African descent. My great grandfather came from Liberia. Western dance
is abstract, I can’t do that,” he said.

He gives no
apologies for anyone who might question the relevance of
African-American dance. “I understand that (the pioneers) were fighting
against that, but I don’t have to do that. I don’t have to apologise
for it. I can say this is me, this is my history too.”

Creative protest

He shakes off any
political intonation this might carry. “If you’ve heard anyone say that
they are a black man, it feels like a political statement. Because
everyone wants you to be colourless, they want you to be American, to
talk American. But when I show up they want to treat me like, ‘Oh, you
grew up in BedStuy (short for Bedford-Stuyvesant), what’s that like?’

“So, how do you want me to be on this fine line? That is how they encourage you to be weak.”

He brooks no debate
over his dance pieces being slave stories or not. “When I talk about
struggle, it’s a slave story? No, my work is about liberation. All of a
sudden, that’s a political statement, but for me, it’s life. Billie
Haliday is singing ‘Strange Fruit’, a song about lynching. In the 40s
or 50s, a woman is choreographing a dance to it. That’s a political
statement, but I would call it creative protest. The liberation I’m
talking about is in the dance because I feel like dance is one place
where the spirit is free.”

According to Brown,
the existence of abstract dance can be blamed on separating “your life
from the political dynamics of what is going on. When I go to the
theatre, I want you to share something with me.” “Evidence,” he said,
“should be a reflection of the audience, a reflection of the human
condition, a sense of tradition and history, and an individual will to
represent our families, our ancestors, and our teachers. The dance
company is a collective to do that same thing.”

The Nigerian experience

“It’s important for
me, anywhere I live and work to meet the young people and the elders
and the folks in between. My work is also about teaching and learning
from people,” Brown said about his trip to Nigeria.

Not a few of those
who encountered Evidence in Nigeria expected the group to do some break
dancing or tap dancing. But the Company was living up to no
preconception. “That’s amazing for me because they thought I was going
to bring them Brooklyn.” The troupe as well did not get away without
some shocks. In a class where the group was teaching the rhythm of Ogun
and Elegba, one member of the class asked Brown why he was teaching
them what they already knew. His approach to the dance steps, however
won him some fans.

“What I think my
work is specifically is to show the spiritual connection between the
dances. So, dances from Cuba and Senegal, for instance, are similar
rhythmically, but the difference is where the downbeat is.

“I like to play
around with rhythms. Orisha from Brazil and Orisha from Cuba are
different, but I like to show them side by side and the way I
choreograph is try to choreograph the image and the story.”

Making the right moves

The audience gets a
feel of this spiritual connection and liberation at Evidence’s
performances. This might explain why his dancers are always seemingly
airborne.

So what’s his
creative process? “I just have the idea of the piece. I want to make a
piece about brotherhood, like unconditional love between men; like my
two-year-old nephew or my 85-year-old grandfather and how they love me.
I look for the music that’s going to help me dance that out, and I just
build it and try to cut out the excess.” Not surprisingly, late
activist and choreographer, Alvin Ailey, is one of Brown’s greatest
influences. While still in primary school, he made his first dance
piece in a chair after a school trip where he’d watched Ailey perform.

He got to do some
work for the Alvin Ailey American Dance Theater in 1991, and in 2005,
he made ‘Ife/My Heart’ with the company. His first dance piece ever
featured in the second part of this routine. Brown continues to
collaborate with the Ailey Company and also counts legendary
African-American dancer, Katharine Dunham, amongst his influences.

Brown, who is a recipient of a Guggenheim Fellowship, has also
choreographed for the Cinque Folkloric Dance Theater and Jeune Ballet
d’Afrique Noire.

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Esiaba Irobi, the intellectual terrorist

Esiaba Irobi, the intellectual terrorist

I don’t really feel
qualified to write about Esiaba Irobi. I have not met anyone quite
qualified enough to write about Esiaba Irobi, The Minstrel. He
represented something different to everyone he met. To many, he was the
consummate artist and academic. To others, he was a benchmark for hard
work and diligence. There were some who saw him as a spirit of anarchy.
He was also a rude man who wrote many sexually-explicit poems with
insane titles, my favourite being ‘A Short History of my Penis.’

I will attempt to
write about the Esiaba Irobi I know. A good man. A laughter factory. A
prophetic writer. A man who started out as my teacher, then became my
friend, and ended up as my brother.

When I heard that
Esiaba passed away via several messages, I stopped functioning.
Everyone, all at once asking if I could confirm it, friends like Molara
Wood and Toyin Adepoju, among others, wanted to be sure before calling
the news by its name. I promised to find out from Esiaba’s wife, Uloaku.

The phone call to
Berlin was the most frightening call I have ever made, and in the
spirit of The Minstrel, I was optimistic that Uloaku would chuckle and
tell me there had been a big mistake. It turned out to be wishful
thinking. Esiaba was gone. At first I was very strong. I even tapped
into my strong belief in reincarnation and shrugged, “Well, Esiaba, it
has been a tough journey for you. Go on, sir, reset your life and start
over.” Then I added, as we Igbo say when a person is going to our
ancestors, “Esiaba, son of Irobi, your world, seven worlds, you will
live your earthly life again. In your next life, you will not fall ill
in mid life, you will marry young, and raise your family in joy and
good health. Go in peace, my brother.”

It was really going
well until I told my wife that Esiaba had died. Amaka had also grown
close to Esiaba. When he called our home, they would laugh on the phone
as he performed poetry and songs down the line on international phone
calls. My wife broke down on me and cried. That’s when they gushed; my
first tears for Esiaba. Yes, I am a poet too, and I am not afraid to
have a good cry if it will stop my chest from exploding.

Nsukka

Esiaba Irobi was my
lecturer in the Department of Dramatic Arts, University of Nigeria,
Nsukka, from 1987 to 1989, when he left for the United Kingdom. Esiaba
was more than a lecturer to me; he was an inspiration. Every course he
taught me – Theatre History, Improvisation, Basic Acting Skills, and
Introduction to Playwriting – opened my mind to the possibilities of
the theatre.

Esiaba was not just
a theorist, he showed us how to do what he taught. His performances
were mesmerising, his energy was overwhelming. As an actor, he
transformed even the lamest word in a play into a living entity
inhabited by a spirit of dance. I had the privilege of understudying
Esiaba as Elesin in Wole Soyinka’s ‘Death and The King’s Horseman’, a
role he carried with commensurate pomp and passion, under the
out-of-this-world direction of Eni Jones Umuko. Esiaba connected,
raised and sustained the ritual impetus of that play, helped along with
the magnificence of Nwugo Uzoigwe’s Iyaloja. The air in the Arts
Theatre at Nsukka was so taut through the performances that it could
have strangled people.

The plays

As a playwright,
Esiaba wrote some of the angriest, action-packed, issue plays that
packed theatres full every night. ‘Nwokedi,’ ‘The Fronded Circle,’ and
‘Hangmen Also Die’ changed the theatre tradition at Nsukka forever.
Those of us who dared pick up our pens to write plays were under the
heavy influence of Esiaba Irobi. I had small parts in ‘Nwokedi’ as a
politician and member of the Ekumeku, but in ‘Hangmen Also Die’, I
played the role of Chief Isokipiri Erekosima, who embezzled three
million naira compensation meant for ordinary citizens for the
destruction of their livelihoods by oil spillage. Erekosima spent half
a million of that money on his coronation alone, as the Amatemeso of
Izon State, and some on expensive lifestyles and education for his
children abroad – because the standards of education in Nigeria had
fallen. He was to meet his ancestors when the unemployed
graduates-turned-criminals kidnapped, tried, condemned, and hung him
from a tree. ‘Hangmen Also Die’ was produced in 1989, directed by
Esiaba Irobi himself. Even back then, he foresaw the current crisis
that has ravaged Nigeria’s Niger Delta region.

In 2003, I interviewed him; and to the question ‘Who is Esiaba Irobi?’ he replied,

“He is from the
Republic of Biafra and has lived all his life in exile in Nigeria, the
United Kingdom, and the USA. Everything he wrote in ‘Hangmen Also Die’
has come to pass, including the hanging of the boys, the killing of the
chiefs, the execution of Ken Saro-Wiwa in a prison in Port Harcourt.
The recent revolt by riverine women against foreign oil companies in
Nigeria reminds us strongly of Tamara in the play and also resonates
with the reason for the iconoclastic philosophy of The Suicide Squad.

“‘Hangmen Also
Die’ is the most prophetic of all of Esiaba works. It is a picture of
the future. Our future as a country: Area Boys. Bakassi. Armed Robbery.
Anarchy! The worst is yet to come. Nigeria will break apart like a loaf
of bread in water, it will capsize like a leaking canoe on the River
Niger!”

The poetry

I first encountered
the power of Esiaba’s poetry at the Anthill, Nsukka, run back in the
day by Gbubemi Amas, Big George, and co. He would sing his words and on
occasions, break into powerful choruses and dance. He would break sweat
performing a poem, and would ensure the poem was etched on the minds of
members of the audience.

Following the
publication of his seminal poetry collection, ‘Why I Don’t Like Philip
Larkin,’ it was my honour to host him in London on April 1, 2006. Other
poets that read on the same night were Toni Kan, Obemata, and Molara
Wood, their readings punctuated with mine. It was all very good, but
when Esiaba, the masquerade of the night, stepped up to the stage, he
turned the night on its head, with songs, with calls and responses, and
with his lyrical pieces rendered with penetrating, seering conviction.
Esiaba wrote about some of his characters as people who used words
“like a loaded pistol”, but it was he, The Minstrel, a powerful
wordsmith, who used words like a loaded pistol. When mixed together and
shaken, his words would produce the effect of an atomic bomb, powerful
enough to eradicate Nigeria’s terminal diseases, which populate the
country’s past, ruling, or aspiring leadership.

Celebrating Esiaba

In 2009, Esiaba got
married to the lovely Uloaku, who joined him in America in the summer.
They moved together to Berlin, where he took up position as a
Distinguished Research Fellow, Freie University, Berlin, Germany
2009-2010 in the “Interweaving Performance Cultures” programme at the
University’s International Research Centre.

The painful thing
about Esiaba’s life is that he was a man who had a habit of being happy
always, no matter his situation. He worked very hard at his craft, and
tried as much as he could to enjoy his life. Every time I was on the
phone with Esiaba, or sat across the table for a bite or a drink, he
had no idea how to be in somebody’s company and not have a funny story
to tell, a poem to read, a song to sing, or a political or
philosophical idea to banter over. I was quite aware that he was
well-respected in literary and academic circles, and had won some
awards here and there, but it always surprised me that somehow, Esiaba
had never really been publicly celebrated for all his achievements and
vision.

Therefore, I asked
myself: should we wait for Esiaba to win at least one of the two Nobel
Prizes for Literature he used to tell us he would win, before we
celebrate him? Or should be celebrate him anyway? I chose the latter,
and in the planning of the first Sentinel Literature Festival –
December 1 to 4, 2009 – we set aside the final day as ‘Esiaba Irobi
Day.’ The plan was simple: on that day, admirers and some of his former
students would read their favourite Esiaba poems, then there would be a
musical interval, and then the man himself would incinerate the place
with a 60-minute performance.

I have never seen
anyone as excited about an event as Esiaba was about the ‘Esiaba Irobi
Day’ at our festival. I am sure he won’t mind my sharing some of his
thoughts for the evening: “My sisters who live in London and my
beautiful and lovely wife will cook/provide the food… I suggest very
strongly that you change the picture of mine you have chosen. I will
send another more exciting photograph which you can use to create a
one-page advert in colour. You can then send it as an attachment –
INDIVIDUALLY – to everybody who is interested in poetry in the UK…We
can also target some Ngwa people who are not literary sensibilities,
but who will be coming for the food and the wine and the
photograph-taking and to see their rambunctious brother performing in
London with a band called The Republic of Biafra!… A lot of Igbo people
– if you can find a listserv containing their names-will also want to
come…

“I also suggest
that you push the event through Toyin Adepoju’s facebook. And the Wole
Soyinka Society… Jackie Mackay knows a lot of people in the literary
milieu of London. You should try and befriend her. She can help to
swell the AUDIENCE on December 4, 2009. We should also think of special
invitations to people like Peter Badejo, Osy Okagbue, Yvonne Brewster,
Nigerian actors/ theatre directors, etc. The idea of Special
Invitations and a kind of DISTINGUISHED high table and brief speeches
about the poet will… make them come as well as bring other people… I
am planning to have food – Igbo cuisine on December 4. In addition, we
can also have some wine, bread, cheese and charge a sensible gate fee
for this huge event. I am planning to put on a really powerful show
complete with my band: The Republic of Biafra. My son, Nnamdi, will
play his saxophone in the band.”

Published and forthcoming works

Esiaba also copied
an e-mail he wrote to Jacqueline Mackay to me, and there, I thought we
were about to celebrate Esiaba, only for me to learn he was dedicating
the show to Ms Mackay. In this e-mail, he wrote, “I will not be
“reading” but actually “performing” in the African oral tradition…
excerpts from the following published and forthcoming collections:
Frozen Music (1985), Handgrenades (1986), Infloresence (1987), Tenants
of the Desert (1988), What is Tender about Ted Hughes? (1989), Is This
a God I Smash? (1990), Tell Me I am Lying! (1991), The Kingdom of the
Mad (1997), Why I Don’t Like Philip Larkin (2004), A Calendar of Love
(forthcoming), A Short History of my Penis (forthcoming), ZEZE and
other LOVE poems (forthcoming), The Tree that Weeps (forthcoming)… It
will be a great day and I will make it clear to everybody – before I
begin my performance – that this event is specially staged for a great
woman who has a lot of love for everything African, including our
literature, arts, cuisine, and young men with dysfunctional penises!”

He had it all
planned in his head, but due to some unforeseen problems with his
travel documents, he could not attend the festival and we had to cancel
day 4.

In March 2010, I
was delighted when Esiaba wrote me a heartwarming e-mail in which he
said his health was on the mend, and he and his wife now had 5-year
multiple visas in and out of Britain. Then the masterstroke: he
informed me that his wedding ceremony had been fixed for the middle of
June and that he would very much like me to organise a poetry event to
serve as his bachelor’s eve party. Like the festival show, Esiaba had
big plans for his wedding poetry event, and after our last exchange on
Wednesday, April 28, I started making plans to realise his big show in
London, only this time, he did not just pull out due to problems, he
actually did a Michael Jackson on me.

The Sentinel Poetry
Movement is a part of what has defined my life since 2002, and one
thing I have said at every opportunity, is that Esiaba Irobi was the
one that suggested that I grow the idea from the small exercise on my
website. I am happy that in his lifetime, Sentinel published Esiaba’s
own poetry, and essays; and essays on Irobi’s works by others such as
Pius Adesanmi and Afam Akeh. I am also proud that although the big
event never happened, there was at least that evening in 2006 when he
sang and danced as part of a Sentinel Live Event.

Eulogies

On hearing of his
death, many have said wonderful things about Esiaba. The poet, Remi
Raji, describes him as “one of the finest, but rarely sung writers.”
The truth is that we all wait for the West to adopt and celebrate our
best. Esiaba was never going to be a darling of the western world. Our
people are singing him now that he is dead. I, however, deeply
appreciate some comments on my Facebook page from people I knew were
genuine Esiaba friends. Osita Okagbue writes, “With Esiaba, some
laughter has left; a joy for life and people has gone! I’ll miss your
laughter, our friend, colleague, and my academic nephew.” Gbubemi Amas
says, “This is very sad news for anyone who loves life.” And among
other tributes, Abdul Mahmud, who writes as Obemata, remembers him this
way; “Esiaba was such an engaging poet; memories of his performance at
the maiden Sentinel Poetry Live years ago in London are as abiding as
the fraternal love and respect he showed to some of us who interacted
with him that night”. That was Esiaba, a respecter of kindred spirits.
A lover of life.

I am as devastated
by Esiaba Irobi’s passing as many of my colleagues, and Esiaba’s
students are, but nothing we feel today can compare with what Uloaku,
his wife of less than one year must feel, or what his Saxophone-playing
son, Nnamdi, must feel. I also hope that Uloaku is well in the know
about his unpublished works, and will work tirelessly to make sure they
see the light of day. These include such books as ‘How to make love to
a Negro all Night and Survive it’, ‘A White Man’s Guide to Black
Woman’, ‘Theorizing African Cinema: Ontology, Teleology, Semiology and
Narratology’ (Routledge, London), ‘Before They Danced in Chains:
African Metalanguages in African-American Performance Aesthetics’, and
his novel, too long in the making:‘The Intellectual Terrorist.’

Nnorom Azuonye is the Founder/Editor of ‘Sentinel Literary Quarterly’, and publisher of ‘Sentinel Nigeria’ magazines.

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What’s ON

What’s ON

Toyin Akinosho @
50:
Celebrating the culture activist at Arthouse Forum -Terra Kulture,
Tiamiyu Savage, Victoria Island, Lagos. 4pm. May 12.

Book presentation: ‘Dear Baby Ramatu’ and ‘Mandela’s Bones and Other Poems’ by Sam
Omatseye – Nigerian Institute of International Affairs (NIIA), Kofo
Abayomi, VI, Lagos. 10am. May 12.

Legacy Museum: Presentation of the Jaekel House Restoration, Mini Museum & Nigeria
in Transition Photographic Exhibition – 17 Federal Road, Railway
Compound, Ebuta Metta, Lagos. 10am. May 13.

Benin1897.com: Touring exhibition by Peju Layiwola – Main Auditorium Gallery, University of Lagos, Lagos. Till May 30.

Kingdom of Ife: Sculptures from the ancient city – The British Museum, Great Russell Street, London, WC1B. Till June 6.

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FICTION: Excerpt from ‘One Man, One Wife’

FICTION: Excerpt from ‘One Man, One Wife’

The village
Christians gathered after the Sunday evening service under the big Odan
tree in the village square. An open-air service once in four weeks was
a regular feature of the Church’s campaign against heathenism. The Lord
Jesus was taken out to the hundreds of village souls too far steeped in
the worship of streams and trees to seek the new God in the little
mud-walled church down of the other side of the village stream.

The sky was
overcast with thick, grey clouds drifting in the direction of Idasa.
That meant rain. It would come, as long as the clouds drifted in that
direction. Lightning flashes momentarily parted the clouds. They were
followed at varying intervals by deep rumbling of thunder behind the
clouds. Shango, the god of lightning and thunder, was registering his
anger at this strange talk of a new God taking hold of simple folk who
were once unquestioning votaries of his order. The new malady must be
nipped in the bud.

But Royasin and his
band resolved that their bud was destined to flower and to bear fruit.
He was the village schoolmaster, a tall lanky man with deep tribal
marks of tree vertical parallels on each cheek. He combined the duties
of schoolmaster and catechist and general public relations officer.
“Teacher” was the name by which everyone knew him in the village.

The first hymn had
brought the village urchins flying to the village square. To them the
open-air service was entertainment designed solely for their amusement.
The boys gaped at a respectable distance from the select. Teacher read
out loudly the lines of a popular hymn of praise in advance and for the
benefit of his congregation. It meant nothing to the boys. Nor did they
pretend that it did. Teacher next read out a portion from the big black
book which he carried in his hand. He urged his hearers to repent of
their sins for the Kingdom of God was at hand. A heavy peal of thunder
which tailed off into rumbling and died our grumbling behind the clouds
effectively emphasised the case for repentance.

Then the real
attraction of the evening stepped out into the open. He was a very tall
man with a big head that was bald in the front and fringed with a
horse-shoe formation of hair – a mixture of black and white in a ratio
that left the age a mystery. He wore a black suit. Unlike Teacher’s
striped collar with black tie, this stranger’s white collar was turned
the other way round, and he had no tie at all. The rumour went round
the group of children and the seven men and women whose curiosity had
brought them thither, that that white collar was a symbol that the
newcomer was greater than Teacher.

Now that was
remarkable. Someone greater than Teacher in learning! For Teacher was
the pride of Isolo. He alone could write letters and interpret
telegrams.

The pastor looked
round the little group of potential converts, and cast an anxious
glance at the jumbled group of thatched houses in which he knew
villagers went about their secular business indifferent to the call of
the Word. He would give them a few more moments. He recited the four
lines of another song, and started off in a deep, rumbling voice on the
first line:

O’er heathen lands afar

Thick darkness broodeth yet.

Arise! oh morning star,

Arise and never set.

As the fold were
finishing the last line the leader swiftly started on the first line
again. The spirit of the thing caught. They all repeated the verse
again and again.

Then followed the
golden word: “We have brought into your darkness the light of Christ.”
The pastor’s voice was melodious. They all admired him, this curious
hero of much learning. “There is no salvation in the worship of trees
and rivers.” So saying he kicked the trunk of the huge Odan tree fairly
viciously. That was a challenge. The tree was known to be inhabited by
the spirit of the god of the village. He looked round as if waiting for
something to happen – enough time for the tree to hit back if it would.
It didn’t.

“You see, brethren,
it is only a tree, and therefore cannot hit back when kicked,” he
continued. “There is no salvation in the worship of trees and rivers…
There is one and only one way to eternal life. The Lord Jesus Christ is
the way and the life… Throw away your false gods and follow Him. Burn
your idols – they have no mouths – they cannot talk.”

He once more paused for a moment, as if expecting something to happen. Something did happen then.

“But Toro’s
Grandma’s Shonponna has a mouth, and does talk!” It was a small boy
that piped out from the crowd. The man of God stepped forward three
paces, and bent double. With his only functioning eye he regarded the
waif with gravity. Challenge to the Word was a most unusual thing. And
this challenge had come from a most unusual quarter. He was a little
thing with a fat tummy. Half the skin of his head had been laid waste
by ringworm.

One church elder
recovered first from the shock. Taking four quick steps forward he
gathered with his left hand the tattered end of the boy’s jumper and
smacked him on the head with the palm of his right hand. It would teach
the boy sense. It would put an end to the embarrassment.

But it did not. Instead it earned the elder the pastor’s disapproval, indicated by deep furrows and wrinkles on his face.

“Not so, Elder
Joshua,” he said rather gravely. “Suffer little children to come unto
me. For theirs is the Kingdom of Heaven.” Here Elder Jeremiah nodded
his fat head in approval of the clergyman’s declaration for youth.
“That is the way of Christ,” he said, “the way of Christ.”

The pastor’s eye
was riveted on the boy. The whole group stared at him. He stared at the
red laterite ground. The atmosphere was tense.

“There is only one God, my child… He is greater than all other gods combined.”

The boy looked up
quickly. He was puzzled. That was news to him; it might be true, it
might be false. He was not going to quarrel over that. He once more
stared at the ground. A peal of thunder warned the faithful that a
thunderstorm was imminent.

“Shonponna is no
god. It is a disease. The spirit is the imagination of the mind, and
the idol the creation of man’s hand. It has no life like you and me and
your mother and brothers. lt, therefore, cannot talk.” The pastor’s
manner was now friendly and conciliatory.

But the boy looked
up hurriedly again, and protested in the interest of the truth that he
knew: “But Toro’s Grandma’s Shonponna talks. It is the truth I speak.
My friends hear him. I hear him. We all hear him – truly!” The boy
looked round apparently for a word of corroboration from his friends.
But the other boys had let him down. They had smelt trouble at the
outset of this unusual procedure and had vanished. The boy looked
crestfallen, the way one looks after being let down by one’s friends.
He stared at the ground once more. Elder Joshua and Teacher Royasin
exchanged ominous winks which seemed to say ‘Thank God, the farce is at
an end.’

They were mistaken.
The boy looked up again. His shining face beamed with the satisfaction
that told the tale of a wonderful solution discovered for getting out
of a tight corner. “If you’d come with me to Toro’s house up the
village – her Grandma’s Shonponna will talk to you. Truly!”

The reaction of the
Church members varied. To some the whole thing was a stupendous joke.
To others it was nothing short of sacrilege. A mere heathen boy
upsetting the course of a divine service. Joke or sacrilege, the whole
thing had gone far enough. Surely the pastor was not going to take this
child seriously enough to follow him into a heathen home.

But there they were
wrong. For after whispered consultations with Teacher Royasin, the
pastor bade the boy lead the way. The rain had started in scattered but
heavy drops.

The little boy ran
ahead of the group part of the way. He felt ever so important. What
child would not feel important leading the village Teacher and one
still greater than Teacher and the whole army of village men and women?
“Truly,” he said, stopping once and throwing his head back to look at
the impenetrably solemn face of the striding giant, “Truly, Grandma’s
Shonponna talks well. We all hear him. Toro hears him, and my father,
too, hears him.” Here the boy turned an appealing look to Elder Joshua,
the same man who had slapped the boy on the head at the beginning of
the unusual incident. This time he aimed a blow at his head with his
Book of Common Prayer… but missed. He had hoped to conceal from the
Man of God the fact that he was the father of this brat. Now the secret
was out.

“My child, we go up with you to the end that we may–”

“But I am not your
child,” snapped the little hero. “I’m my father’s child.” Here again
the boy looked at Elder Joshua for confirmation of his paternity. “I
have no mother… and there is Grandma herself at the door of her house
over there.”

The procession
wended its way along the rugged village street, dodging goats, sheep
and puddles. For once Christian and unbelievers were united in a
resolution to unearth the mystery behind the talking Shonponna.

A small old woman
peeped out of the door of a modest cottage with a comparatively neat
and wide verandah. Already a number of sheep had displayed better
judgment than the procession advancing towards the house, and had
sought shelter on the verandah. The old woman watched the procession
with curiosity. Then with apprehension as she watched the urchin
trotting by the side of the striding giant, making for her verandah.
She came out to the verandah. She wore no head tie, and her hair, a
rich combination of jet black with thick strands of grey, was plaited
beautifully in a remarkably youthful style. A blue locally woven cotton
cover-cloth was wrapped loosely round her waist. She wore no blouse.
She was in no way perturbed by the fact that her wrinkled breasts were
exposed. She watched the approaching procession with suspicion.

“Ah!” she cried.
“Sheyi, Toro, all come out here. Dele is bringing trouble again… Now
whatever has he done this time—cut off someone’s head?” That last she
addressed to the crowd at that moment boarding her verandah at various
points. They were all dripping with perspiration. “Has Dele cut off
someone’s head?” she repeated.

“And why do you
come to my house instead of following him to the house of Joshua, his
father?” Sheyi, Toro, come and see what Dele is bringing to my house.”
The boy had already taken asylum in the ample folds of the old woman’s
cover-cloth.

“Mother, it is in
peace we come,” Teacher Royasin explained peaceably. The old woman
didn’t appear to see much suggestive of peace in the atmosphere. She
did not conceal her suspicion. She looked over her shoulder into the
house. Approaching footsteps from inside suggested that help was
forthcoming.

“This child,
Mother, has done no wrong,” the pastor cleared young Dele’s honour. At
that juncture another woman, and an exceedingly beautiful girl, came
out of the house on to the verandah. “This child, Mother, has done no
wrong,” the pastor repeated, as if for the benefit of the new arrivals.
“This child has been the means of Christ sending light into your
darkness.”

“Light into my
darkness!” the old woman echoed. She opened her mouth and looked round
the group. “Why, I am not in the dark at all. I can see you all,” she
declared with emphasis. Dele nodded approval in his place of refuge.
“If you cannot see me – Toro, will you please fetch a lamp from my
room?”

The pastor’s solemn
face showed a momentary trace of a smile. His metaphor had miscarried,
and he saw the humour of it. “The darkness I speak of, Mother, is the
darkness of the soul.”

“Darkness of the
soul! Darkness of the soul!!” She reflected. Her wrinkled face gave
away the secret of admitted defeat. Here was a very formidable physical
obstacle. How was she to open up her stomach for a proper scrutiny of
her soul?

The younger woman
came to the rescue. “I salute you all, Teacher, Joshua, Jeremiah and
all the rest.” Her salutation was about as friendly as between two
boxers shaking hands at the beginning of the first round of a
championship fight. “She is my mother and–”

“Yes, I bore her,” the old woman confirmed.

“Please keep
quiet,” the younger woman reprimanded her mother. “My mother is old, as
you can see. Now’ that she will soon go where old people go, I am her
eyes and her ears. Has my mother done anything wrong?”

“Ah, what crime have I committed, what crime?” the older woman asked apprehensively.

“Keep quiet, I
say,” the daughter flared up at her mother, in a way anything but
dutiful. “lf you commit us all through an indiscreet statement you and
you only must be held responsible, You cannot tell what they may be
writing down in that big black book.” She cast a suspicious, hateful
look at the Holy Bible that Teacher held in his hand. She adjusted her
cloth round her blouse and seemed prepared for a battle – by mouth or
by hand but not by book. She was tall and lean, and not by any standard
attractive.

“This child, I
repeat, has done nothing Wrong,” the pastor once more declared. “And
you haven’t done anything wrong either, Mother.”

“I haven’t done
anything wrong, Mamma,” Dele said, somewhat elated. “He said Grandma’s
Shonponna has no mouth and cannot talk. And I said that Grandma’s
Shonponna has a mouth, and does talk.”

“My lord Shonponna!” the older woman was saying. “Why, my lord Shonponna is–”

“You keep quiet,”
Sheyi thundered. “I must repeat that you and you alone will be held
responsible for whatever palaver your tongue lands you in. For
goodness’ sake keep quiet. You cannot understand the way of these
educated people. Leave me to deal with them… My mother has no
Shonponna in this house or anywhere else,” she declared belligerently,
conclusively. “Here you see all of us, the inmates of this house – my
mother and my daughter, Toro. The only other inmate is my younger
sister. She is much too sick to come out.” The painful coughing of a
woman in the last stages of consumption testified to that fact. “No
Shonponna at all in this house…

“This child of
yours, Joshua, is the bane of our lives in this house,” Ma Sheyi
continued belligerently in an aside to Joshua. “If he keeps any
Shonponna somewhere in the house, ask him to produce him. And if he
can’t—-”

“Shonponna! I have
no Shonponna at all!” declared Grandma Gbemi in an attitude of great
innocence. She caught the warning signal from her daughter’s face and
stopped there.

At this point Elder
Joshua hit his wayward child with his hymn book. “Take that, you
scoundrel. And that will teach you sense. He is a mere child, Reverend
Sir, a mere child,” he observed to the pastor by way of bringing the
embarrassing farce to a close. “The child knows not what he says,
Reverend Sir. He is a mere child, Reverend Sir.”

***

The scene shifts to the little study of the village Teacher in the mission house.

“This, I suppose,
concludes this business, Mr. Royasin?” the pastor asked wearily, not
caring to look up at his companion’s face. The open-air meeting had
long finished. Pastor David and Mr. Royasin, the village Teacher, had
arrived back in the modest but neat mission house. After changing from
their wet clothes, they had had a meal of pounded yam with
fowl-in-soup, specially sent down to the august visitor by an elder.

But the reverend
gentleman was in a bad humour. The delicious meal couldn’t compensate
for the humiliation he felt after the blank he had drawn over the
Shonponna incident. Winning the arch-heathen, the grand old dame of
Isolo, to the fold of Christ would have been the achievement of the
year. The greatest propaganda for the cause of the Gospel in the
village and the surrounding district. He was unhappy about it.

“Nothing more really, sir,” the junior man said; a trace of insincerity born of diffidence was just discernible.

“In which case we retire to bed, Mr. Royasin?”

“Very well, sir.”

The long pause between the last two words showed there was certainly something on Mr. Royasin’s mind.

Both men were
silent for a moment. The pastor watched a wall lizard stalking a moth
fluttering around the flame of the kerosene lamp unaware of its double
peril. A servant entered who proceeded to pour oil into the tank of the
lamp from a bottle he held in his hand. He was nervous in the presence
of the visitor, and quite a substantial quantity of oil found its way
on to the table.

Pastor and Teacher
watched the flickering flame. It appeared to be fighting a gasping
battle against unseen forces tending to choke it out of existence. The
gasps were periodical. The flame looked like going out after every
gasp. Then it seemed to recover and continue another lease of life for
a brief period. At last the boy put down the bottle and began to screw
the lid back on to the tank. The flame slowly regained steadiness and
confidence. Its light rose steadily in intensity as the boy tip-toed
out of the room.

A smile grew slowly
on the clergyman’s hitherto solemn face. “See that flame, Teacher? It
very nearly went out during refuelling.” Here he paused as if allowing
his companion to take his bearings. The younger man, however, showed no
anxiety or enthusiasm for him to proceed. But he continued. “It very
nearly went 0ut – was very nearly choked out of existence.” Another
pause. “It got over the trial, however. It new sends out light into the
darkness of this room.”

Royasin’s face was
collected enough to cover the disgust that he felt in his heart. That
light and darkness stuff was meant for the village heathens, not him.

“To-day the Church
in this village is still in its infancy. The forces of heathenism are
tending to smother the life out of it. But they cannot prevail. For
Christ our Royal Master leads against the foe.”

The smile on Pastor
David’s face outlived his divine discourse for a long while and
illuminated the clerical features. Then gloom descended once more on
his face. And silence, awkward silence, reigned once more in the little
study in the Mission House.

Royasin had to get that thing off his chest. He coughed to attract his companion’s attention. “Please, sir.”

“Yes, Teacher?”

“You received my application, sir?”

“Your application?” The pastor looked puzzled. “I don’t remember it.”

“I sent it through–”

“Ah! Yes, asking
for an increase in salary. I remember now.” He sat back in his chair
and looked at the ceiling. “What is it you earn now, Teacher?”

“Seventeen shillings and sixpence a month, sir.”

“That’s – er – seven pence a day. I dare say it isn’t much these days, Mr. Royasin.”

“You know I hate to
complain, sir. Now that I act as catechist and schoolmaster as well as
manager, sir, I beg that the pastor recommend me for increase of
salary. Prices are going up every day, sir.”

Awful silence. The
junior man awaited the verdict, hoping for the best but not unprepared
for the worst. At length Pastor David spoke. “My dear young man, when I
hear of demands for higher salary I look across the years and smile.”
He was smiling now. “When I came out of the Mission College in 1903, my
salary was three shillings and sixpence a month – exactly a fifth of
what you now earn… I accepted it then with the cheerfulness becoming
of a worker in the Lord’s Vineyard. I am not saying that you should go
back to a salary of three and six a month now – I myself will be the
first to oppose cuts in the salaries of workers.” He paused to allow
that bit about his consideration for junior fellow workers to sink in.
His only functioning eye relentlessly trapped Royasin’s.

“Church funds are
very low, very low indeed. We had only two shillings and a penny at
church collection today, both morning and evening. Pastorate dues
aren’t coming in well in this parish. Synod last year ruled that unless
response to funds improves, I may have to leave the parish.”

Here he paused for
a long time, his one eve focused on infinity. Then he jumped up
suddenly to his gigantic height and fired away rapidly. “But I don’t
want to leave this parish. I am not going to leave this parish. I
haven’t been paid my salary for four months now.” He paused again, and
spoke more slowly as he sank back into the chair. “No, I am not going
to leave this parish.”

He now directed the
full force of his one eye on Royasin’s face. The latter behaved in an
awkward fashion, like the pilot of an aircraft trapped in the beam of a
powerful searchlight. “You and I, my dear Royasin, are workers together
in the Lord’s Vineyard. Why must you and I seek after worldly returns
for our labours when we know that returns a hundred-fold await us in
Heaven? Isolo here looks difficult. Here men and women continue to
worship trees, rivers and rocks. Here your labours are required.
Required by the Lord Jesus in the service of your fellow men. Will you
desert Him? Will you abandon this little oasis of the Church of Christ
in this desert of heathenism – all because of another two shillings and
sixpence increase in salary?”

Royasin was silent, painfully silent.

“No, you will not.”
The clergyman made up the mind of the hesitating young worker for him.
“I know you cannot go against the dictates of your inner self, the
still, small voice within you. I knew the day the Lord flashed His
torch of truth and salvation into the darkness of a heathen home and
brought you out to the Church – I knew that day that you were cut out
to be not just another worker but a very special worker in the cause of
the Lord. You will not allow a mere half-crown to stand between you and
your divine mission.”

Royasin was held
under the spell of that penetrating single eye. A strange power seemed
to impinge upon his soul through that one eye which covered him
unrelentingly. It was invisible but it was real. The mud walls and mat
ceilings of the little study were no longer there. The whole atmosphere
was pervaded by the influence of this strange power. Royasin dreamingly
repeated endless Amens to a special prayer said by his guest and
superior asking the Lord Jesus to open the eyes of His creatures to the
superiority of spiritual Wealth over Worldly possessions.

*Being the first chapter of ‘One Man, One Wife’ by T.M Aluko (published in 1959).

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