Unveiling Baba Segi

Unveiling Baba Segi
By Jerry Adesewo
Next Daily: December 28, 2010

The much awaited West African edition of Lola Shoneyin's novel ‘The Secret Lives of Baba Segi's Wives', was unveiled in grand style at the French Cultural Centre in Abuja on December 17, 2010.

The venue of the book party, which featured other side attractions, was a beehive of activities. At first glance, the gathering would have passed for one of the many diplomatic functions that the FCT is known for, as it attracted a large turnout of expatriates and the crème-de-la-crème of Abuja's literary community.

In her characteristic liveliness and engaging demeanour, Shoneyin read from different portions of her book (the UK and US editions of which have been well received), to the admiration of the audience. Enthralled by her reading, a member of the audience, an evangelist who introduced himself as Uche, said "She reads really well. I feel like sitting here to hear her read from beginning to the end. Listening to her read is like watching the story in motion." ‘The Secret Lives of Baba Segi's Wives' is Shoneyin's first novel, after successfully churning out three collections of poetry so far - ‘So All The Time I was Sitting on an Egg,' ‘Song of a Riverbird' and ‘For the Love of Flight'. She also recently released a children book titled ‘Mayowa and the Masquarades'. ‘Baba Segi', as the novel is now popularly known, tells the story of everyday polygamous situation in Nigeria but in a very unique, humourous and engaging language.

With three wives and seven children, all is well in Baba Segi's household until he takes the university graduate Bolanle as a fourth wife, and things go awry.

In an interactive session, the author revealed that she sees herself more as a poet than a novelist. "I still feel more at home as a poet than a novelist. What is here today is a product of a very long work. A lot went into making this what it today between me and my publishers in terms of editing." She added that the story that gave birth to the novel is a true life experience which she encountered when she was fourteen years old.

The book party did not end with the reading, as visual arts were also on the menu. The beautiful ceramic arts of Lami Abubakar, the paintings of Millicent Osumuo and Tyna Adebowale, creative cards of Pat Adidu and photographs by Rita St. John - all combined to make the evening a memorable one. The raw talent exhibited by Swat, an Abuja based musician, was another major attraction.

Talking to the press, Bibi Bakare-Yusuf of Cassava Republic expressed happiness for eventually succeeding in releasing the much awaited book after a series of obstacles and disappointments that had forced the company to postpone the date of release about twice. "This is one writer Nigeria has anxiously awaited and I am sure they will not be disappointed. ‘The Secret Lives of Baba Segi's Wives' will sure excite readers. And in line with our vision to serve you the best of African literature, we are glad to have brought to you Lola Shoneyin's book as our gift of love and appreciation to our customers and all lovers of literature, in the spirit of the season," the publisher added

JERRY ADESEWO: Once Bitten, Twice Shy

JERRY ADESEWO: Once Bitten, Twice Shy

Once Bitten, Twice Shy

By Jerry Adesewo NextonSunday December 12, 2010 01:05AM

Nigeria is a richly endowed country with enough human and material resources to make her one of the most advanced nations in the world. Sadly, she is ranked among the world's poorest. The pervasive poverty is however attributable to the greed and insensitivity of elites occupying leadership positions, and not lack of resources. To make matters worse, the people, major stakeholders in the electioneering process, appear undiscerning as they either sell their votes for cash or lack the courage to exercise their power and stand by their convictions.

These and many more are the focus of Tunji Fatilewa's voter education play, ‘Bombshell'. The play was staged at the Cyprian Ekwensi Centre for Arts and Culture on Friday, December 3 by the Abuja Playhouse in conjunction with the FCT Social Development Secretariat's Department of Arts and Culture.

Corruption as a norm

‘Bombshell' contains important electoral education messages, delivered in a distinctive, uncommon theatrical manner to show our capacity as a people to effect change by holding politicians, public office holders and others accountable to their pre-election promises.

As it is typical of most politicians, there is nothing tangible Akinfunmilola (Kayode Aiyegbusi) can point to as a development project for his people in spite of holding public office for 10 years. Two of these was as a local government chairman and eight as Commissioner for Works and Transport. A pauper before coming into power, he acquires the mannerisms of the ‘nouveau riche'. He moves to the capital, away from the ordinary people and acquires about 20 state of the art cars for his fleet. His children attend one of the best private schools in the capital while the older ones attend universities in the Europe and America. The only primary school in his community, the same one he attended, is without roofing and the pupils sit and write on the bare floor.

The highpoint of the play which highlights the deceit Nigerians are subjected to, is the revelation by Engineer Jonah as to why water doesn't flow from the boreholes Akinfunmilola inaugurated as a local government chairman. Jonah discloses that the bore-holes were not completed and that tankers were used to supply water to them prior to the inauguration ceremony performed by the governor and covered by the media.

The money meant for the project, of course, disappears into private pockets. In spite of failing to give pipe-borne water to the people, Akinfunmilola has two bore-holes in his mansion from which his wife sells water to the people.

People power

Democracy vests in the people the power to elect and to eject. Sadly, many lack the requisite knowledge and understanding of the electoral process, thus they are easily deceived by greedy politicians.

‘Bombshell', which was first staged in April 2001, demonstrates the potency of the people's power. Oladipo, a retired school principal played by Jibrin Ahmed, invades Akinfunmilola's political rally where he is declaring his candidacy for the governorship positin. He instigates the people to demand an account of Akinfunmilola's previous stewardship, saying it will be the basis to decide whether he deserves to represent them once more or not.

He says, "You have the power. Not the power to work in the factories. Not the power to till the soil. Nor the powers to exhibit great dancing skills as you are ignorantly doing now. No! It is the power to elect whom you want to lead you and to eject him when he breaks his promises..."

Right environment for business

Speaking at the end of the play, Mike Oko, a representative of ExxonMobil Nigeria, sponsors of the production, disclosed that the oil company supported the play because its financial and business stability depends on Nigeria's political climate. "We are doing this to educate the people so that they can take the right decision when our politicians come calling, for we need a stable environment for business to grow."

Actor, Ropo Ewenla, commended ExxonMobil for the initiative. "I am shocked to see that ExxonMobil is putting its money in theatre as a tool for change. This is highly commendable and I hope other companies will do the same. It is high time our corporate organisations begin to see that they can do much more than just making money. Their corporate social responsibilities must be channeled towards activities like these that have direct bearing on the people." Ewenla added that a few technical lapses he noticed in the play should be addressed as the group plans to take it around Nigeria in due course

Second term for Greg Odutayo

By Jerry Adesewo Next Daily November 30, 2010 10:56PM

The three-man National Delegate Council’s Electoral Panel, chaired by Nifemi Richards, has returned Greg Odutayo unopposed for another two years’ tenure as the national president of the National Association of Nigerian Theatre Arts Practitioners (NANTAP), the apex body for theatre practitioners, at the just concluded national convention of the body.

Odutayo took office in 2008 at the Ekiti convention, where he secured a landslide victory over Biodun Abe as the president.

CEO of Royal Roots Communication, producers of television series, ‘My Mum & I’ and ‘About To Wed’, Odutayo was commended for the achievements of his first tenure. Among other things, the administration brokered an insurance deal that theatre practitioners across Nigeria can benefit from. A NANTAP website was launched; and the administration has been very vocal in the agitation for an Endowment Funds for the Arts.

Other members of the executive who also returned unopposed include the deputy president, Toyin Ogundeji; secretary general, Steph Ogundele, director of business; and Deji-Etiwe Suleiman, who was the immediate past chairman of Lagos NANTAP.

The fresh faces in the National Executive Council elected and sworn-in for the first time on Saturday, November 20, include: Adesewo Adebayo, as assistant secretary general; Lara Akinsola, as director of finance; Ofonime Inyang, as director of research and documentation; Ozi Okoli of NN24, as director of publicity; Idoyen Francis, as director of productions and screening; Patrick Okonkwo, as director, copyright and royalties; Yinka Aiyelokun, as the chief whip; while the duo of Faith Eboigbe and Christopher Ifezime clinched the two ex-officio positions.

Chair of the National Delegate Council, Segun Oyewo, challenged the executive to move the association further up to take its pride of place in the nation’s polity, as a major stakeholder.

“Our fate and future we have committed into your hands today because we have absolute trust in you. Make sure that you give this association all the best. Two years is a long time and is so very short as well, but, it is not how short, but how well. We wish you all the best and expect the best from you,” he admonished.

The national delegate council also appointed a five-man constitution review committee, chaired by Nifemi Bruce Richards, to review the constitution of the association. This followed an earlier failed attempt by the Biodun Abe administration.

Other members of the review committee include: Lara Akinsola (Lagos); Gold Ikponmwonsa (Abuja); Christopher Ifezime (Delta); and Mufu Onifade of Lagos State. The committee is expected to liaise with chapters across the nation for their contributions and then present the reviewed constitution for ratification at the next National Delegate Congress, holding in Abuja, in November 2011.

Kelani goes back to his roots

By Akintayo Abodunrin and Molara Wood NextonSunday December 12, 2010 01:18AM

Foremost cinematographer in Nollywood, Tunde Kelani, bounces back from the setback of the heavily pirated ‘Arugba' with a new film, ‘Ma'ami', starring Funke Akindele. In this interview with NEXT, Kelani talks about the making of ‘Ma'ami' and his plans to get the film to the masses.

How did Arugba do commercially?

‘Arugba' is a flop. There is no doubt about it because we were really modest in our expectations; we bought the recommended holograms, 100,000 from the National Film and Video Censorship Board and we didn't sell 50,000. We still have thousands and thousands of copies of the film. There is no way we can sell with that level of piracy. Right now, we have in our possession three pirated versions and then one London pirated version. All our films have been pirated but there had never been such an orchestrated attack, like that of ‘Arugba'.

How do plan to forestall this with your forthcoming film, Ma'ami?

I think that generally this is a reflection of the Nigerian society. The industry is suffering from lack of the necessary infrastructure so this is going to go on for a long time. I don't believe the government at this time has the capacity to deal with it, especially now when elections are coming. If I carry a few samples of pirated films to any police station, I'm sure that I will meet more difficult issues that need the attention law enforcement agencies.

We have to adopt the physical division model in Nigeria where I have to release VCD or DVD and we have to physically move it from region to region, town to town.

Broadband internet access is at the moment less than two percent penetration in Nigeria. So, that suggests that we have to do physical distribution for a long time. The desperation in piracy since ‘Arugba' has gone worse... I understand that in the market today on any release, in the evening of the same day the pirated versions will come in the market. It suggests that there is no way we can risk physical distribution of ‘Ma'ami' so we have to come up with another model for making sure that it gets to the people.

Can you talk about your new strategy?

I'm passionate about reviving the cinema going culture. That's why I initiated the mobile cinema project and I got support from the Lagos State Government. We screened ‘Arugba' in the 57 local governments and development areas of Lagos State. We took the film on the road and it showed free, in the open air to Lagosians. I've been toying with the idea of developing at least 30 cinemas in Lagos State, working with the local governments. I'm already in discussion with the Association of Sports Viewing Centres in Lagos State and I'm hopeful that perhaps we can put together a chain of 200 such centres. Secure, comfortable centres that can seat a minimum of 100 people. This way, I plan to take the film to the grassroots.

What about the rest of the country?

First of all, my focus is on Lagos State because it is viable and accepting; and we have Governor Babatunde Raji Fashola who is keen and he's been very encouraging and supportive. If this model works in Lagos State, then we can explore the possibility of exporting it to the whole of the South West and by extension the whole country.

What can be done to widen the acceptance base of the Yoruba film?

I don't think that's a problem because now we are moving into the area of indigenous cultural expression. Countries like China, Japan or India for instance, how [have their films] been accessible? The whole world has been waiting, but the film has to be of a reasonable quality and standard. Japan and India [make] films of quality standard, so that's all we have to do. Already, some of the films we have produced (at Mainframe) have been subtitled in English, French and in the case of ‘Saworoide', we did a Portugese subtitling. So that's what we should do. Of course, I will be excited about the possibilities of meeting a great indigenous cultures like, for instance, Japanese and Chinese, rather than looking to following Hollywood. So for me, Yoruba cinema has a great prospect.

You've been filming ‘Ma'ami' with Funke Akindele, Wole Ojo and the young man you are introducing to cinema for the first time, Ayomide Abati. What has that experience been like?

Filming ‘Ma'ami' is exciting because it has some element of my childhood in it. For example, when we combed the whole of Abeokuta looking for a primary school that has a football field, I realised it was becoming rare because education standard has fallen so low that they don't consider such development part of education anymore. I had to return to my own Oke-Ona United Primary School in Abeokuta and luckily we still had a kind of a field that we used 50 years ago. It's still there but in bad shape. The buildings are still standing although they are crying out for [renovation].

Again, we scouted for possible appropriate locations but we didn't find any, so we had to return to my own family compound; and for me it was like going back home. We had to repaint all the houses in the neighbourhood and our single interior set for Funke Akindele and the boy actually was shot in our own house. I found a boxfull of documents which my father had kept away. Going through these documents, I found a Christmas card that was sent to me in 1960 - from a girl and it was ‘With love from Yetunde'. I couldn't even remember who it was! It was going back to my own childhood and my own neighbourhood and I knew the terrain like the back of my hand. That's why making the film is special to me, I could see things from my growing up years.

There were reports you had dropped Funke Akindele from the film but she's still in it. What actually happened?

It was a misunderstanding. After I had talked to her and released the script to her, I was coming from my ophthalmologist and there was a video shop. I saw the poster of a film called ‘Iya Mi' and it was Funke Akindele on the poster. I was shocked because of the closeness between the titles, ‘Ma'ami' and ‘Iya Mi'. For a moment I was concerned that it might mislead some of the audience because I had received a few calls from people asking me if the film was out. I was apprehensive that ‘Ma'ami' might be mistaken as Part two of ‘Iya Mi'. I sent for the film, I saw it and what I saw was that Funke was not even playing the mother in the film, she actually played the daughter.

I thought something was funny... I decided that we were going to change her, to do another film entirely. She heard this news and came to me and explained her own side of the story. I thought Funke needed the film, she wanted to do ‘Ma'ami'. I thought she genuinely wanted to be in the project and I was convinced.

Of course, there is a reason why I decided to work with Funke Akindele because I have followed her career closely; and in (my films) ‘Narrow Path' and ‘Abeni', she had played minor roles, supporting roles. I was waiting for the right story to cast her. What was strategic for me, it was not a glamorous role and in the film, she had a change of costume only once; wearing the same thing again and again. She's not the glamorous star that everybody expected. I think this was a challenge for her and she had to play convincingly the mother of a 10-year-old.

And the young man that you cast as her child - you know what they say in Hollywood: never work with animals or children. How was it?

Ayomide is a child in the neighbourhood in Oshodi where we live, he's quite lively and gets along with everybody. But my worry... at this point I have to appeal to parents because we are gradually getting to a point where it is becoming very difficult to find young or adult Yoruba actors and actresses who can speak the Yoruba language. I think it's becoming a challenge. For about two or three days, we were really disturbed - both the young Kashimawo (Ayomide Abati) and the adult Kashimawo (Wole Ojo) - because it's now a problem and this is a result of when consciously parents discourage their children from speaking their own language or practicing their own natural culture.

I think that's the result of an identity crisis and we had identity crisis on the set. I think that Ayomide has learned from that experience and I think he will be redeemed. But I think it's a crisis in the Yoruba nation. There is no doubt in my mind that the children of the elite and the lower class no longer speak Yoruba in their homes. I doubt even the lawmakers, if any of their children speak Yoruba at home.

Can you tell us more about the making of Ma ami from a filmmaker's point of view?

I think ‘Ma ‘ami' is the beginning of another era because we are at a point now in digital media where we have access to great technology and it is the first and only film that I have shot digitally in what can be called 35 mm. You know they talk about shooting 35mm celluloid; this is the digital equivalent of it. In other words, we shot in 4K-to-a-35mm-censor. I think this is exciting. It is just like when I discovered photography in those days when I was young, I was excited every day of my life. Now, I'm excited all over again because of the various possibilities in the delivery of the content.

If there was demand and corporate sponsorship, we could get a 35mm print in celluloid for cinema release and we could do digital projection on any of the four formats since our original format was resolution 4K. For me, this is as topmost as you can get and I am happy I was supported by at least four companies. ‘Ma ‘ami' is a high-low budget film. It [cost] around 150,000 dollars, but I'm hopeful that it will be worth something like 700,000 dollars. I have the objective to achieve more with less.

When can we expect to see the film?

Work is going on on ‘Ma'ami' everyday and I still have some bits to shoot. We designed it in such a way that we rigged an editing system, work is going on everyday. We have a digital laboratory and presntly we are doing our first primary colour correction and then encoding into the editing format. The rough cut of the film is almost complete.There should be a workable version before the end of December because for Funke and some of the various expertise on the film, I have to enter the film for the Pan-African Film and Television Festival of Quadadogou (FESPACO). I think I'll be in time to enter for AMAA which closes December 15.

You have been able to sustain a blockbuster career, what are you doing that the other filmmakers are not doing?

I don't think the films can really be called blockbusers but at any time, they meant something. They show a progression and at any point, they have been experimental either from point of technology or digital media. If I thought that the future of African Cinema or world cinema will be in digital media, then I think I'm right because officially the year 2010 has been mooted by experts (as) the death of the chemical process of making films.

The collection of films that I have made have been successful , both universities both home and abroad use them as resource. Particularly for ‘Arugba', there have been one or two universities that ordered copies for African Studies. For me, that has been a kind of satisfaction and encouragement.

You relocated to Benin Republic where you shot the ‘Abeni' series and the ‘Narrow Path' but you are back. What happened?

I couldn't relocate totally because I'm one of the people who subscribe to the notion that ‘ibi ori dani si laagbe' and it was clear throughout my career that I had options of staying abroad. I am happy and grateful to God that I have been created in Yorubaland and so far He has made it enjoyable. It is exciting for me, not only Yoruba culture but all Nigerian cultures. What happened was that I went there to see the Yorubas staying there and see how they are faring.

I didn't stay just in Porto Novo, Akete, Isede, Pobe, Ketu; I went as far as Dassa up north , Sabe. I did spend quite some there, about three years. If you watch the ‘Narrow Path' for instance, the marriage scenes, where they sing marriage songs, that is the song in that community. It shows that this is Yorubaland and these are Yoruba people. That was really exciting for me and obviously we reaped good things because the experience kicked off the Beninoise film industry. Now, they make a lot of home videos just like in Nigeria. I believe that our cooperation started that film industry up to a point that they make films regularly and I am not needed anymore.

Why don't you do collaborations with other filmmakers?

It depends on the project. For instance, I would gladly co-produce any Nigerian film from other cultures if they will do things from their vast literary resources like ‘Danda' by Arthur Nwankwo or any of Cyprian Ekwensi's or any of Chinua Achebe's work. ‘The Passport of Malam Ilia', things like that. Most of [Mainframe's] works spring from literature because I read a lot when I was young; I love novels and literature and I will be willing to work with [other filmmakers]; it depends on the orientation, if they want to follow Hollywood. I don't want to follow Hollywood, I'm an indigenous filmmaker, I believe in telling our own great stories and finding expression and taking the audience through my own cultural background. So I'm not really comfortable making a film the Hollywood style. The prospect of a co-production where Samuel L Jackson will play Sango, I don't think it excites me.

Or because I want to penetrate international or American market and I would use Danny Glover as Kabiyesi in my story. That's not quite what I want.

Mainframe recently collaborated with NANTAP and Dance Guild of Nigeria to stage ‘Yeepa! Solarin Nbo'. Can we expect more of such?

Yes, theatre has always been my passion because when I was in Form Two at the Abeokuta Grammar School around 1963, I was part of the excursion team that travelled all the way from Abeokuta to watch ‘The Palmwine Drinkard' at the 0bisesan Hall in Ibadan. It was a privilege watching Kola Ogunmola on stage and it was a production of the University of Ibadan. It was the first time I sat in a theatre where I witnessed the effect of lighting; when the light changed to black or came on, my head was this big. It must have made a lasting impression on me. Again, I was privileged to have [seen] all the great plays, like ‘Oba Koso' and ‘Kurunmi', for instance, and ‘Danda'. For me, it's seeing those people live on stage, appreciating them. Sunny Oti, Shodipo. The thrill I got looking at Duro Ladipo on stage or Ogunde on stage, I thought they were not human beings. It's a disaster that we have not documented any of the great classics, so I would really have loved to do ‘The Palmwine Drinkard' on stage for the 50th anniversary of Nigeria Independence but of course we couldn't because of the shortage of time and then Lagos State came in at just the time for us to stage ‘Yeepa! Solarin Nbo'.

What was exciting for me is the the possibilty of doing the standard Yoruba presentation where you do an opening glee, because the Yoruba theatre which has influenced me was ‘Total Theatre'. Before we watch the play they will do an opening glee which is a song and dance routine - perhaps a summary of the whole play in dance. And at the end of the day, they will do a closing glee, so I conceived that and wanted to work with NANTAP and the Dance Guild of Nigeria to do an opening glee and to use Ogunde's ‘Yoruba Ronu' and ‘Petepete' by 9ice to give it a contemporary touch. We tried to bring it back during the Ileya (Eid) festival with LTV and corporate sponsors because, coming out of the play, I am seeing things like people saying: I have never watched a Yoruba stage play in my life. People saying: we have never watched anything like this in 25 years. This doesn't even speak well of the country.

It's a pity, a shame really and I think somehow, we have to find a means of continuing and in my lifetime produce ‘The Palmwine Drinkard' before all the original cast die. I know where the material is. One or two people are still alive and its been studied... I befriended Pa Amos Tutuola before he died, I visited him at Odo Ona, Ibadan, several times.

What next after Ma'ami?

I have a string of projects lined up. First, I will like to do an adaptation of Yinka Egbokhare's ‘The Dazzling Mirage', about sickle cell. Then I will have to quickly do another Yoruba film to pacify the Yoruba audience so I will do an adaptation of Femi Osofisan's ‘Wuraola' and then I will love to do ‘Cordelia', which is another Osofisan stuff. This is set against a popular military coup and I have always wanted to do something about one of our military coups. Then I will do ‘Dog's on Lions Trail' which I have shelved for about seven years. It's an adaptation of Kola Akinlade's ‘Aja To N Lepa Ekun'. It's interesting because all those five or six films I have mentioned are adaptations from literary resource.

We don't have as much production anymore in Yoruba literature; will there come a time when you run out of resource?

It's not possible because if I take to Ifa corpus, for instance, those are more than a thousand stories. Our ancestors have already done all the work and passed all these things to us. It's another thing if we close our eyes and turn our back on it and never look. It's not possible in two lifetimes to exhaust literary resource. We haven't even touched any of Fagunwa's works. Two pages of D.O. Fagunwa is about two films. It's all there.

Stepping Stones Nigeria Pledges Full Support to Commission of Inquiry into Witchcraft Accusations and Child Rights Abuses in Akwa Ibom State

Open Letter to Governor Chief (Dr) Godswill Akpabio from Stepping Stones Nigeria

Your Excellency,

Stepping Stones Nigeria wishes to congratulate you on your recent establishment of Commission of Inquiry into witchcraft accusations and child rights abuses in Akwa Ibom State. We wholeheartedly welcome this positive move and wish to assure you that Stepping Stones Nigeria and its partner organisation – the Child Rights and Rehabilitation Network – will provide the commission with our full support and evidence needed to show the true scale of the problem in Akwa Ibom State.

It is true to say that the child witch problem was indeed here before the advent of your administration in Akwa Ibom. It is equally true to say that you were the first Governor who was brave enough to confront the challenge of witchcraft accusations amongst children. By enacting the Child Rights Act in 2008 and making it illegal to brand children as witches you have shown that you are a true champion of child rights in Nigeria.

Stepping Stones Nigeria will be delighted to work with the Chairman, Justice Godwin Abraham, and all Commission members, along with national and international partners such as UNICEF, NAPTIP, various International Governments, CNN, BBC, Al-Jazeera, Channel 4, Amnesty and Human Rights Watch to ensure that the commission receives as much comprehensive information on this issue as possible and upholds the highest international standards.

We look forward to the Commission helping provide access to justice for the numerous victims of this horrific form of abuse in Akwa Ibom State as, despite our partners reporting cases of abuse to the relevant authorities, there have been no successful prosecutions to date. This has been a source of great frustration for us. As such, you can imagine our great delight that you have shown the wisdom to set up this Commission in order to get to the bottom of this evil practice. We implore the Commission to use local media to encourage local community members throughout Akwa Ibom State to offer their own opinions about the validity of child witchcraft accusations.

Stepping Stones Nigeria also very much looks forward to reviewing the recommendations of the Committee and remains committed to working with the Akwa Ibom State Government to eradicate the abuse of child rights that takes place due to the belief in so-called child witches. Stepping Stones Nigeria believes that such positive steps to prevent the abuse of children and bring a brighter future to the lives of stigmatised children in Akwa Ibom will go a long way to further improving Akwa Ibom State’s reputation in Nigeria and around the world.

Once again we commend you Your Excellency for your passion to help Nigeria’s vulnerable and disadvantaged children and hope to have the opportunity to discuss these issues personally with you in the near future.

Yours Faithfully,

Gary Foxcroft - Programme Director – Stepping Stones Nigeria

“THEATRE AND CHANGE: Credible elections for Good Governance” - Prof. Ahmed Yerima.

The ideological contention of historical attempts towards an essentialism of art as a value product of social change within any given society, has remained from the time of the Greek Philosopher, Plato, to the Russian thinkers, Leo Tolstoy and Plekhanov, and to the erudite African theatre scholar, Wole Soyinka. The discourse extends even to the argument of this paper.

Art itself a major part of the cultural consciousness of society cannot be devoid of man’s daily mechanism of existence. Modern art has gone beyond the argument of Plato’s “imitation and truth” or Tolstoy’s, “art as religion”. Art has as in the belief of Plekhanov left the docile “beauty” alone. It has instead become more organically beautiful. Highlighting the issues of the relevance of the creative mind as reaction to the beauty of the social life and critical aspects of human existence. It has become more functional, more immediate, more realistic, more truthful in mirroring the social reality of a people. In short, art has become like man and his culture, more organic – constantly evolving. This is the art that I am concerned with in this paper. The art that is part of man’s social transformation, man’s development and growth. The art that examines man’s link to universality.And the art which assist man’s manifestations of idealistic concepts which are to help him raise questions, and find answers that border on his social sensibilities, and assist him in plotting a focused sense of direction, especially in a “globalizing world”. This is the art which must treat the issues of language and identity first, within the individual, then through the differences of communal groups, forge wider intra-cultural understanding of new meanings and solutions to the socio-political challenges of the twenty first century.

With these new demands on art, the artist has also attained a new status within his immediate society. He can no longer be satisfied with the lofty descriptions or accolades such as “the gifted”, “the seer”, and the “teacher”. He too must be more functional and organic. Ironically, because some artists like Wole Soyinka, Femi Osofisan, Peter Badejo, Jide Kosoko, Adebayo Salami, King Sunny Ade, Lagbaja, Olu Jacobs, Peter Edochie, Tuface Idibia, Antar Laniyan, Mamood Ali-Balogun, Don Pedro Obaseki, and Alhaji Wasee Kareem to name but a few, have excelled both professionally and financially, society no longer ignores the artist. The challenges have become enormous. He too must join the social market, and compete for his own existence. This has also meant that he is now placed within a position of responsibility, were the society expects him not only to be an individual within a society, but also use his artistic tool to observe the ills of a society, comment on the ills of the society, and inspire younger generation of the society in order to achieve social change.

From the observations above on the status of the new art, it is easier to agree with Piscator, a German political theatrical initiator, when in considering the various qualities and functions of modern art, came to the following conclusion that:

I too now had a clear opinion on

how far art was only a means to

an end. A political means. A

propagandist means. A pedagogical

means.

(Piscator 1963: 23).

These attributes as listed by Piscator later gave birth to what is called the epic theatre, where theatre as used by another contemporary of Piscator, Bertolt Brecht was the formal and effective use of theatre as a weapon for instructive or didactic purposes.

This discourse shall remain with theatre as a subject and practice, because the title specifically demands for the relationship between theatre and change, and it is only theatre in all the genre of art that can be used to achieve and assess the type of organic involvement which is demanded by this paper.

Explaining why he chose the theatre genre, Piscator had once explained that, “if art were to have meaning at all it must be a weapon in the class struggle” (Piscator 1963: 21). This is because through the use of direct presentation, theatre presents vivid and practical acting and imitation which is truthful and real. Highlighting immediate conflicts through dialogue and characterization, theatre tells a story. Theatre’s other unique quality is to confront man’s emotions and demand that he reasons along with the string of action presented. Theatre envelopes other subjects, history, culture, sociology, psychology and politics.And through a confrontation with the audience, lures them towards a form of judgment, a valued evaluation and assessment of situations, and an ethical abstraction of thought which helps to effect changes or point towards social changes within any given society.

For the purpose of this paper, power must be defined within a cultural realm. I shall adopt the definition of Jenkins which sees power as “social categorization” of a people which is “bound up with power relations and relates to the capacity of one group successfully to impose its categories of ascriptions upon another set of people and to the resources that the categorized collectivity can draw upon to resist, if need be, that imposition”. (Jenkins 1997:23). The issues of dominance, significant class inequalities, group identification and social categorization have remained the problem with power in Nigeria. Even as the 2011 elections draw near, the placement of power within ethnic groups, acceptability of impending losses and victories, and the centrality of power within the bigger Nigerian polity has remained the major political issues. We are not lacking in leadership materials, but the quality of leadership. This is the bane of the Nigerian populace.The Nigeria of today, at fifty years of existence is again at that point where it has to decide through elections on who rules her citizens for the next four years. This is the threshold of the confrontation or collaboration between theatre and political change. It is also important to quickly note that these political realities are good materials for great drama. The language appearing in most cases as lyrical expressionism, is dramatic. The real political characters are grand, colourful and sometimes, larger than life, and some ideas and projected ideals are so mundane and far from reality that they can also when well crafted by good playwrights, hold the audience attention, no matter how restless, for a full dramatic performance. This is the thrust of this discourse.

Can theatre be used to achieve political change? The answer is simple, yes.

This is because it has been tried before in different forms, and it has either helped to achieve change by “educating” and “mobilizing” the society whose problems are reflected in the play, or helped to point towards change by “conscientizing” and “demanding” for it for the society. Again it must be noted that the specific desired effect and its resultant effect of the uses of theatre, depends on the intention and skill of the artist.

For example, Pablo Ferre used theatre

as a weapon in Latin America to mobilize the masses towards a change in the education system. InSouth Africa, Arthol Fugard, had collaborated with John Kanni and Winston Shona to use theatre to preach against the apartheid system of government. It is believed that their plays like Sizwe Bansi is Dead, Antigone and The Island contributed a lot in educating the world about the ills of the South African government which led to a political change.Ngugi wa Thiongo and Micere Mungo had also used theatre in the Kikuyu language to capture the historical happenings of colonial Kenya to move for political changes in their play, The Trials of Dedan Kimathi. And in Nigeria, Hubert Ogunde had used his play, Yoruba Ronu to examine the ills of the developing Nigerian society of the 5os and 6os. In the play, Ogunde had spoken directly to a cultural group in Nigeria, asking them to find a focus of identity for themselves within the political reality of Nigeria. Wole Soyinka again leads in the act of using theatre to effect change. In his “Before the Blackout” Series of sketches by his Orisun Theatre Company at Ibadan and Lagos in the 60s, and the Guerrilla Theatre Unit at the then University of Ife in the 70s and early 80s, Soyinka captured the immediacy of theatre as a weapon of change. Employing the graphic use of historical, socio-political issues and music, with a good dose of iconoclastic wit, where the audience laughed at themselves being presented as character caricatures. Soyinka confronted the society with immediate problems, dissecting the ills, proffering solutions if need be, and forcing the audience to ponder and arrive at their own decisions on the state of their nation. Segun Adefila has continued to use theatre to ask for social change within contemporary Nigerian polity. Using improvisation, gestures, acting close to the burlesque, humour, songs, music, and dance, Adefila confronts the Nigerian audience with the ills of his society, while he criticizes and analyzes the Nigerian society. In skit performances such as, The Fall of A King, Whispers in the Dark, and Our Area, Adefila continues to use theatre successfully as tool for social mobilization and change.

So how can one use theatre to effect changes towards credible elections for good governance in Nigeria in 2011?

Again the responsibility falls on the theatre artist. He must understand his tool. He must understand the craft of skillfully turning theatre from a tool for entertainment and enjoyment into a weapon of social change. He must observe the society, recognize the ills, and begin to weave his plot so that the conflict of his play carries the message without making it too didactic. The society must recognize and identify themselves within the context of the play. All sides of the political discourse must be presented within the context of the play. Questions on good leadership and governance must be presented in the plays. The society must be able to find a space to pause and think, and come to logical conclusions of issues raised in the play. For example,the electoratesshould be able to know that their votes should not be sold to the highest bidder or should they allow themselves to be carried away by the promises of politicians. They should be made to know that they must properly analyze such promises before decisions on who to vote for are made. Questions such as is government ready for free and fair elections must be asked.The dramatic presentations must be direct, yet humourous, the language clear, and the images and imageries recognizable.

Another way of using theatre to speak to the over one hundred and forty million Nigerian population, especially as it concerns the coming political elections of 2011, is to use theatre as a tool for grass root education. This is the use of theatre as a tool for community development, children’s theatre, or theatre in education. In all these forms theatre is taken to the base community or base age group by practitioners. The issues to be passed on to theaudience are discussed and broken down into plots and scenario, and professional actors, children actors, or actors from various communities are made to act out roles who pass on the information which would in turn inform the audience on the need for good and credible elections and good governance. Followup discussion sessions can be organized after the play performances to ensure proper entrenchment and understanding of information. In most cases this is a very good tool for mass education, mobilization and building public awareness. Theatre at this stage, becomes the ideal tool for propaganda and instruction.

Another unique aspect of theatre is its ability to be used by both parties: the artists and government. As a propagandist tool, theatre can serve both sides. Government can also use theatre to educate, mobilize, and prepare the society for free and fair elections. Government can embark in the performances of small sketches and skits that will convey specific messages on themes of free and fair elections. Ironically, the government of Gen Ibrahim Babangida had through the use of theatre embarked on a mass mobilization programme. Called MAMSER, and under the supervision of the Ministry of Information, government was able to teach the society about the “Option A4” system of voting which it intended to use at the time for the elections. To show the effectiveness of the use of theatre as a tool for change, the elections turned out to be the fairest and the best in the country at the time. The present government can also adopt this system of using theatre effectively to propagate change, to prepare the people for change, and to effect change.

The theatre artists can come together as a unified voice and collective consciousness of the society to call for an “abolition of theocratic ideal in all forms of government”. Soyinka goes on to announce such an invitation to other writers in his keynote address at the 1988 symposium which was on, African Literature Before and After the 1986 Nobel Prize when he says;“I urge my fellow writers to use their skill and exploit whatever strategies can be thought of for ending the uncertainty of social existence which is innate to the condition of the forcibly governed” (Soyinka1988:12). In line with the focus of this discourse, such collaboration can be a submission of writers from different parts of the country to evolve a storyline which examines the issue of political elections in different geopolitical zones, strung together, the power of such a play would be in its completeness of details, its representations of the problems, and its diverse appeal to the different segments of the society.

Another way theatre can be used to achieve change in the coming elections is the use of its age old media partners; Radio and Television. Through Radio and Television jingles, plays and skits, propaganda materials on the impending elections can be performed and transmitted throughout the country. This will reach a wider number of audiences and make the messages more effective. Specially produced Nollywood movies in English, ibo, Hausa and Yoruba languages can also be commissioned to send specific messages on the elections to the Nigerian populace.

The power of the individual artists in terms of his or her personality and fame to effect political change cannot be undermined. It must be remembered that the endorsement of the actress, and Television hostess, Orprah Winfery started President Barrack Obama’s rise in the presidential election victory which changed the face of American politics and history. Already Nigerian theatre and film artists have started to endorse political candidates. Political rallies are strewn with theatre artists singing and dancing for candidates. The Nigerian President who is also running for electoral office in 2011 has already announced a $200 million incentive funds for the arts. Is this the much awaited Endowment for the Arts? How will these funds be distributed to all the genres of the arts? Or is it a political gimmick to win the votes of gullible, hungry, poor, stupid artists?

All these are developments towards the 2011 elections. The artists must note that the credibility of the elections also depend on the credibility of the candidates endorsed by the artists. They should be careful not to sell their fame cheaply for a few financial remuneration. Good governance can only be achieved if the individual artists are also careful in the choice and the personality they endorse to rule. Their fans who believe so much in them, can also easily be mislead

I must conclude by reechoing the fact that each society creates its own theatre, and each society in turn,also demands its uses of theatre based on its needs. But for theatre to be functional and helpful to society, it must be taken beyond the realms of entertainment and enjoyment. It must go into the realm of instruction and dialectical analysis of societal reality. One is then forced to conclude this paper by quoting Brecht when he says that:

It is not enough to demand of our

theatre that it offer understanding and

instructive reflections of reality. Our

theatre must arouse delight in

knowledge, and organize pleasurable

convivial feelings at the changing of

reality. (Brecht 1966: 10)

This is the supreme manipulative spirit of the theatre. The only viable communicative power that can become the tool that can address and attempt to correct the excesses of political power in a subtle and persuasive manner, without much offence. At this level, theatre in all its ramifications can then point towards or demand for change be itsocial or political, in any given society. This in itself,is anotherpragmatic truism.

References.

1.Erwin, Frederic. (1992) BERTOLT BRECHT

HIS LIFE, HIS ART, HIS TIMES. Secaucus:

CITADEL PRESS BOOK,

2. Piscator, Erwin. (1963) The Political

Theatre. (trans) Hugh Rorrison. London:

Eyre Methuen.

3. Plato. (1997) REPUBLIC, Clays,

Wordsworth Classics.

4.Soyinka, Wole. (1988) WOLE SOYINKA,

ART, DIALOGUE & OUTRAGE : ESSAYS ON

LITERATURE AND CULTURE. (ed) Biodun

Jeyifo. Ibadan: New Horn Press

5.Tolstoy, Leo. (1995) What is Art? Suffolk:

PENGUIN Books.

Remembering Ken Saro Wiwa on Stage

Death is a debt that every one must pay. Though the how and when, unlike debts owed a bank or some magnanimous benefactor, we may not know. Yet, we still must pay. And the why, for sure, is different from one debtor to another. However, there can be nothing as dispiriting as knowing that you are going to die, as well as the manner and time of death.

For Kenule Saro Wiwa, the Nigerian writer, theatre producer, and environmentalist, it was a mixture of all, as re-enacted in Adinoyi Ojo Onukaba's play ‘The Killing Swamp', where the playwright, using his creative licence, digs dramatically into the final moments of the late Ogoni activist's life.

The play, directed by Chidi Ukwu, was staged in Abuja on Saturday, November 13, by an Abuja-based theatre company, Arojah Royal Theatre. It was to commemorate the fifteenth anniversary of that execution, spearheaded by the then military ruler, Sani Abacha, an act that was widely condemned by the international community.

Patrick Otoro is Ken Saro Wiwa

The audience in Abuja, largely populated by members of the international community, was held spellbound by the delivery and interpretation of Patrick Otoro, who played the role of Kenule.

"The performance was so real that I felt like I was witnessing the exact incident as it happened... Kenule is a very strong character and the actor succeeded in arresting the audience," said Yoash, an Isreali in the audience.

He revealed that it was his first time watching a stage play since arriving Nigeria; and added that the lady sitting beside him was close to tears and murmuring repeatedly: "Did they really did that to him?"

Otoro, who endured the passing away of his father just days before, put up such a heart rendering performance. He could be described as a veteran of Adinoyi Onukaba's plays, having at various times produced, directed, or acted in some of the playwright's pieces. Among Otoro's earlier involvement in Onukaba's plays, are: ‘A Resting Place', ‘Tower of Babel', and ‘Her Majesty's Visit'.

"It's a great honour been given the responsibility of re-enacting the lifetime of such a great personality like Saro Wiwa. I am glad, however, that I did not disappoint. This will no doubt remain for me as one of the highest point of my active career as a theatre practitioner," he said of playing the lead in ‘The Killing Swamp'.

Other players in the four-man cast play were: Jibrin Ahmed as Major; Ikponmwonsa Gold; Seun Odukoya; and Adetutu Adebambo, who played Asabe in the first and second performances respectively.

Gaming with death

Though a dramatic imagination of the playwright, the last moments of the late Ken Saro Wiwa, as depicted onstage, moved the audience to tears. Kenule engaged in what Major refers to in the play as ‘buying time' with various demands.

The highpoint of the play was the late discovery by Kenule that his cousin is the Major who has been assigned to carry out his execution. This revelation was followed up by a long drawn argument about the real reasons behind his predicament, the foundation set up in the name of Bera's father, and the possibility that money must have exchanged hands. Having failed to talk him out of avenging his father's death, Kenule gave up his antics and orders Bera (Major) to carry out the execution, saying, "Go on, do what you are here to do."

The play opens and ends at a clearing in the bush, where Kenule and the Ogoni eight are executed. It employs a flashback at some point to re-enact the meeting of Asabe and Kenule at an audition and then the court scene, which had both players switching roles. The same technique was employed in the court tribunal scene, where Major assumed the role of the judge.

‘The Killing Swamp' offers fresh insight into the Niger Delta issue, especially as it relates to the intrigues behind the execution of Ken Saro Wiwa. The playwright, however, in his wisdom, employs humour in his treatment of some of the most salient issues in the play.

Commenting on the production, the playwright, Adinoyi Onukaba, praised the high quality of work put into the production by the actors and director.

"While it is right to say this is my play, what you have seen here today is beyond me. It is the interpretation of the director and his artists. You don't always have much influence on how your play is produced. Once the book leaves your hand and goes into the hand of a director, he gives it whatever interpretation that suites him, and in this case, I must say that the director, Chidi Ukwu, is very good and has done a good job."

Baba Segi’s house of misfits - Olushola Ojikutu

The Secret Lives of Baba Segi's Wives

By Lola Shoneyin

245pp; Cassava Republic Press

Lola Shoneyin’s debut novel, ‘The Secret Lives of Baba Segi’s Wives’ offers a critical look at the Nigerian polygamous household. And quite like Abimbola Adunni Adelakun’s ‘Under the Brown Rusted Roof’, the novel bares the age-old matrimonial arrangement - warts and all.

‘The Secret Lives of Baba Segi’s Wives’ is told in an alternation of first person narratives and the third person omniscient observer, which very deftly elevates the theme and chronology of the narrative.

The novel chronicles the marital life of Bolanle and the challenges she faces as the youngest and educated wife of Baba Segi’s four wives. It explores the psychological metamorphosis of Bolanle, in the midst of rivals who are made insecure by the same qualities that charm their husband.

Bolanle displays an unsettling naivety even when confronted with threats such as poisoning. The one-up Bolanle’s co-wives can boast is their fecundity, and they use it well; as after two years, Bolanle’s belly remains “as flat as a pauper’s footstool.”

This underachievement in the sight of her husband and his wives ensures that her place in her husband’s house remains insecure. And the significance of this is illustrated with the analogy of the armchairs. Bolanle is denied having her own armchair in the family living room, until she is swollen with child.

However, Bolanle does eventually fulfil the prediction of her senior wives; she turns out to be a harbinger of misfortune in a house which before her time had breathed deep of untold secrets and a traditional understanding.

One quality that sets ‘The Secret Lives of Baba Segi’s Wives’ above many novels of its ilk is the voice and language Shoneyin adopts - one rarely used by Nigerian authors. Weaving a tapestry from different points of view, the plot unfolds; equally employing an almost verbatim transliteration of traditional Yoruba expressions like Iya tope’s description of her daughters: “They have eyes in their stomachs”, which translates in Yoruba parlance as ‘Oju Inu’ (perceptiveness).

Shoneyin also exhibites dexterity in striking a balance in character development. Though the novel is based on the experiences of Bolanle, the other characters are given an equal voice, which makes them no less valuable to the plot.

The author displays a willingness to explore some thought provoking ideas such as the dual existence of good and evil in the same being. Babe Segi is both a rogue and a knight. He is quick to point Bolanle out as “the barren wife” but just as quick to be philosophical in his disappointment: “When you buy guavas, you cannot open every single one for rottenness. And where you find rottenness you do not always throw the guava away; you bite around the rot and hope it will quench your craving.”

However, what the novel enjoys in structure it lacks in vocabulary application, as the author in a slightly pedantic manner employs elevated vocabulary where only the basic is needed. If Shoneyin had maintained a third person narrative the following statement may have been appropriate “What would Teacher say, If he saw me here heaving like a pursued duiker?” Problem is, Shoneyin wrote this statement while adopting the voice of Baba Segi, an uneducated businessman living in a semi rural town.

The work ‘duiker’, which means antelope, is unfamiliar at best in an African setting, even to the educated. Many such language inconsistencies freckle Shoneyin’s narrative. One gets the impression that the novel is set in an earlier time; therefore, it is also rather anachronistic that Iya Femi cites Bantu, a contemporary African musician. The author seems irrevocably caught between a pastoral imagination and foreign civilisation.

Shoneyin makes suggestions and allows the reader’s imagination to run riot without subsequent guidance. One major cop-out is the implied lesbianism of Iya Segi. Readers are led down an intriguing route when they read Iya Segi: “I could not stop looking at her – everything about her fascinated me. I was awash with lust.” But the author declines to pursue this, Shoneyin missing the opportunity to widen the novel’s plot and make it less predictable.

Despite attempts to create an emotive personality in Bolanle, one cannot summon empathy for her because she is not real. Everything about her character seems fictional - her unrelenting naivety, her fascination with unusual crockery, the drawn-out effect of a childhood ordeal and her choice of a spouse. Bolanle fails to resonate; and quite frankly, save for a few characters; the Alao family is a house of misfits.

Baba Segi is perhaps the most rounded and intriguing character of the novel. We get to know him better than we do any of his wives. And rather than fault his decision at the novel’s conclusion, we applaud it because we know and appreciate his personality. It is such descriptions as the following that make him so: “Baba Segi was open ended, he could never keep things in. his senses were connected to his gut and anything that did not agree with him had a way of speeding up his digestive system. Bad smells, bad news and the sight of anything repulsive had an immediate expulsive effect: what went in through his mouth recently shot out through his mouth, and what had settled in sped through his intestines and out of his rear end.”

The conclusion is one of the best parts of the novel though a few loose ends remain in the exploration of the wives’s long-held secrets and the emotions behind them. One had also hoped that Iya Tope would evolve in the household beyond a single outburst.

Nonetheless, The Secret Lives of Baba Segi’s Wives is a book which elucidates the intricacies inherent in the typical polygamous Nigerian home. And the wonderful use of language and grammar, save for a few editing oversights, ensure that it is an enjoyable read. Lola Shoneyin possesses a strong adventurous voice and is representative of the new crop of female writers who will undoubtedly play an important part in promoting Nigerian literature.