DOORS OF NO RETURN

There is a time in every man’s education when he arrives at the conviction that envy is ignorance; that limitation is ignorance; that imitation is suicide; that he must take himself for better for worse, as his portion; that though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed on that plot of ground which is given him to till – Ralph Waldo Emerson

DOORS OF NO RETURN
Ever since the first ship of African slaves as human cargoes sailed away, the search for an authentic African identity has been on. Along the Coastline of Africa, many “Points of no return” abound that signify the beginning of the journey of a people now known as Africans in diaspora. Even for Africans in Africa, colonial enslavement and mentality has eaten deeply into their lives and lifestyles. It is present in the eroding values and ethics, food, art, music, language, and culture. Many Africans are now searching for their African consciousness; And that search led the Centre for Black African Arts and Civilisation (CBAAC) in collaboration with Pan African Strategic and policy research Group (PANAFSTRAG) to invite about one hundred and forty participants to a conference aimed at further recovering African renaissance on a serene beach resort in Ouidah, Benin Republic. The conference tagged “Global African spirituality, Social capital and Self-reliance in Africa” held from November 4th to 8th, 2007, and was attended by scholars from around the world. Joe Agbro Jr. was there and reports

Advancing African rebirth and renaissance

Seeing his fair skin and body features, it is easy to guess he has foreign blood. Dressed in beautifully embroidered African outfit, it stands to be assumed that he is just a foreigner, one like many who love African clothings. When he is not wearing a cap, the little round growth of hair on his otherwise cropped skull glares in reminiscent of a devotee to
an exotic creed. However, at a closer look, his face offers a shock as tribal marks similar to that of Africans stand out like soft pelts. He is not your average mulatto! Over the three days he was at Ouidah, his Africanness became more pronounced with each passing day. “I can cook local food; I sew all the stuff I’m wearing, and I can even beat the drums.” He said displaying a beautifully carved drum. He continues, “I can skin a goat in twenty minutes and I can carve wood too. My mum taught me all that.” The way he danced to the beating of local drums with energy and vibes showed the African “spirit” flowing in his veins. Perhaps, that should not be too surprising because he is Olojede Olomo, the son of Olori leja OniIfa Iyaolorisa Aina Olomo, a professor at Texas University and an an Iya Ifa based in Texas who has dedicated over twenty years of her adult life to Ifa worship. “It is my first time in Africa”, Olojede says “and I have really found my roots here.” For American-bred Olojede, it was an homecoming.




Ouidah, the ancestral town of Voodoo spirituality was also a melting point of the slave trade while it lasted in the country. It was from places like this that European ships, loaded with human cargo began the enslavement of Africans. Hence, it was a dejavu, as about one hundred and forty participants from Nigeria, Republic of Benin, Brazil, Kenya, Niger, Jamaica, United Kingdom, USA, Ghana, Trinidad and Tobago, and Canada came to Casa Del Papa, a peaceful resort right on the beach. The motive for the gathering was how to move Africa to the place it rightly deserves to be. It was here that 36 academic eggheads of African descent or interest retreated to initiate a jaw-jaw for three days.

The chief host of the conference, Professor Tunde Babawale, Director and CEO of CBAAC Nigeria reiterated thus: “that Africa is the birth place of man is no longer news, that the continent also parades some of the brightest minds that the world has ever known is equally self evident. Yet Africa has not come to terms with self reliance”. He opined that the culture of dependency has overcome Africa. Hence, the purpose of the conference according to him was to “re-address this dependency manifested in social, cultural, technological, economic, and intellectual terms. It is our intention also to emphasize the significance of African spirituality.”

Professor Jacob Kehinde Olupona, a revered Nigerian scholar at the Harvard University, USA, in his keynote address titled “Sacred ambiguity: African spiritual, social capital and self-reliance” opined that religion cannot be exonerated from the predicament which African societies find themselves. According to him, “Africa has been traditionally associated, in the mind of the West, with exploitation, poverty, despair – and more recently with endless civil wars and terrorism. If we are being honest, we cannot ignore the fact that religion has been part of the problem. But there is a possibility – in fact, the necessity – that religion be part of the solution. As scholars, religious leaders, and public figures, we cannot stand by and watch. This must be every African for every other African. We must join the fray, we must save ourselves.”

Religion and Spirituality
And so, religion instead of spiritualism somehow turned to be the front burner throughout the conference, and nearly every speaker right from Dr. Lateef Adegbite, the Secretary-General of Nigerian Supreme Council of Islamic Affairs, (NSCIA) and Aisha Al-Adawiyyah from Women in Islam, USA, who by the second day felt she was threatened as the Islamic faith which she practised was often referred to as “guest faith”. The problem arose because of the absence of a working definition of spirituality. Hence, varied definitions by some participants clashed and this caused passion as most sought to protect their religious ideologies.

The compere, Dele Ashiru was most vital in helping to gauge the temperature and act accordingly. Dr. Grace Wamue-Ngare of Kenyatta University, Nairobi, Kenya, however defines African spirituality as “the idea of fitting into the community.” To her, “it involves communal participation. And the amount of participation is not important, but the contribution of everybody including even the lame.” She contrasted this “with the western form of spirituality which excludes people who cannot contribute economically to the society and are regarded as valueless or useless” unlike African spirituality which is “all inclusive”.

Also, interestingly, while issues of guest faith flaunt at opposing sides in Africa, it is African Traditional Religions (ATRs) that acts as a pivot in the crisis plaguing Africa’s Socio-economic and political landscape. And throughout the duration of conference, the Awise, was like the final arbiter on issues concerning Ifa. People listened while he talked. This was expected as de facto, he is the Babalawo of the world.

Economies in the discourse
On Social capital, it was consented that Africa’s technological underdevelopment was as a result of little appreciation of the link between technology and deep spiritual activity. In a paper delivered by Dr. Aderemi Ajala of the department of Anthropology at the University of Ibadan titled “Ifa divination s a diagnostic and therapeutic device in Yoruba healing system”. He said, “Ifa divination, being a system of inquiry made into obscurities and uncertainties is acclaimed to encompass a wide range of knowledge, which includes medicine, law, architecture, economy, communication, IT, astronomy, and many other facets.” He continued, “some people who attend churches and mosques would in time of problems start sneaking back to consult Ifa oracle. And the practice is they will park their cars maybe a kilometre away from the Babalawo’s place and walk down to avoid attention. Also, have you noticed how some ailments that orthodox doctors give up on and ask the patient to go back home.” He however feels there is need to further develop it to attain maximum efficacy in the area of diagnosis. To this, Oloye Professor Aina Olomo vented her resentment that certain limitations on the potency of Ifa as purported by Ajala was underestimated saying with conviction in her voice, “Ifa not being able to diagnose diseases. That is not true. Ifa can do anything. It only depends on the expertise of the diviner.”

Mrs. Adeola A. Faleye, of the department of African Languages and Literature, Obafemi Awolowo University, Ife, did justice to “The creative spirituality of Yoruba hairstyles and technology.” She showed that apart from the spirituality involved in irun didi(Hair weaving), the beauty of the hair-do is also unique and it is a veritable source of individual maintenance for the weaver.

Arts and Culture
Dr. Dani Lyndersay of the University Of West Indies, Trinidad and Tobago, who teaches theatre art, was expressive when she talked on “the restorative and spiritual dimensions of theatrical performances”. She cited instances where students of hers while acting “Sango” in a play were transformed as if in a trance. This “frequent transformation”, she said has led to banning of Sango drums in Trinidad and Tobago. However, with the ban came another instrument, “Ogun-Iron or steel pan” which was gotten by flattening empty iron drums used for bringing in American products.




African culture was also promoted in the form of dress style as participants were mostly clad in beautiful African designs. The Olomos were a shinning example in that regards and they were resplendently dressed in rich African fabrics and designs throughout. Other participants also reflected different African dressing. The Kwara state cultural troupe led by Mrs. Stella Oyedepo ensured that the academic discourse did not become too boring as it was spiced up with brilliant displays. Many that attended will not forget in a hurry how “catching and electrifying” the Sango dance was. At the close of the conference, the Olomos again showed how culturally rich they were in Yoruba tradition when they took turns at dancing to the drum beats of the troupe at the closing ceremony.
The life of late Afrobeat musician, Fela Anikulapo kuti was also brought into the discourse. This was by Eesuola Olukayode of the University of Lagos, who sees hope for Africans if they could imbibe values in ATR such as the late musician practiced. On critique of the late musician’s morality, he referred to Moses sleeping with his maid, Solomon’s and David’s many wives and concubines as facts in the bible, yet, these same men are upheld as great by Christians. So, “what is wrong with Fela marrying twenty seven wives or sleeping with many other women.” He asked. That analogy aligns with the words of Afe Adogame of the University of Edingburgh, UK that “we should look for the similarities that bind us, rather than focus on the differences”.

On the issue of economic liberation of Africa, the widely held view was a return to African Traditional religion. In the words of General Ishola Williams (Rtd.) of PANAFSTRAG “there are too many islands of black people doing good things. When do we get to meet?”

Kelvin Onaghise, a Nigerian and the secretary-general of the Edo state community in Benin who runs a gallery in Benin was there. Displaying his wares at the conference centre he says, some countries shy away from appreciating art. Referring to the Nigerian government, “our government is doing enough in tourism. That is why we are outside owning galleries here in Benin. Other smaller African countries are doing better in that area than us.”

The visit of His Royal Highness Alabi, The Onikoyi of Ikoyi in Ouidah on the closing day was emotional as he related how as Yorubas originally from Ikoyi in Ogbomosho, southwest of Nigeria, he found himself being born and bred in Ouidah. Brought as slaves, he narrated how his father ensured he spoke Yoruba, learnt the culture and tradition of Yorubas, and how he was eventually able to trace his ancestral home back in Ogbomosho. He told of how, now, the Yoruba people all over Benin Republic are being eroded of this culture, and efforts are being made to connect back. His tale was indeed touching and brought to the fore the pain of being cut off from one’s ties.

Resolutions
At the end of the conference, it was agreed in a communiqué that post-colonial Africa has failed to address the challenges of development, that racism is separatist, common in the western hemisphere and Africans, both at home and in the diaspora are being battered by slavery and colonization, and African renaissance will remain a dream till Africans start to teach African history and ideologies, imbibe African spiritualism, appreciate African arts and culture and promote African technology..




It was recommended that the concept of African spirituality be broadened beyond malignous African religion to include other religions in Africa, that there should be effective communication and collaboration among Africans and a discontinuance of western ontology to express social reality in Africa. Also, its civilisation must be recovered beyond Islam and Christianity, while African languages must be made compulsory and a revisit of the educational curricula in order to de-colonize the continent. The cultural policies need to be revised to incorporate African realities




To Dr. Akorede of the department of English at Adeyemi College of Education, Ondo, Nigeria, “the fear of the unknown and of the incomprehensible within the context of the indigenous and contemporary African worldview is a key factor underlying the attitudes and dispositions of the average African.” Kofitse Ahadzi, the head of research of Afrikania Mission in Ghana opines, “it is okay if you decide to be a Christian or a Muslim, but we (Afrikania Mission) have decided to go back to our roots.”


Touring the slave-route
A highlight of the three-day conference was the tour of the slave route where slaves were taken before its abolition. At Place du chacha where slaves, mostly prisoners from the Yoruba kingdom were sold to the whites in covert, there was a feeling of de javu and the route along which they passed where the men were made to circle the tree of forgetfulness nine times and women seven times so as to forget entirely where they were coming from. The slaves however, deployed a strategy of preserving their African soul by later circling a tree of remembrance three times so as not to forget their culture and to aid a return of their souls back to Africa when they died. According to the tour guide, they were chained on the neck, hands and legs to form a “chain guard” while walking and sculptures depicting stubborn slaves chained across the mouth and the legs was most moving. Once arrived at the seaside, the slaves could do nothing about their fate. Seeing the mass grave where about 40, 000 slaves were buried and the point-of-no-return, was further testimony of the colonial masters’ wickedness to Africans in collaboration with fellow Africans.

The next step
It turned out to be a stimulating conference despite the squeeze of thirty six papers in three days. But as loquacious Diane Stewart, a professor of African religion at the Emory university who was full of ideas and could not stop yapping with any listening ear said, “it is okay to discuss Islam and Christian, or any other religion, but what is crucial to me is reserving time after that to talk the politics of how our kids can live better”. She also believes the initiative by CBAAC for such a conference is very good but it should go a step further and with other relevant bodies so as to translate words into action

Olokun festival celebrated amidst pomp

Olokun festival is an annual traditional festival in honour of the river goddess. Essentially, Olokun is celebrated by riverine people of Nigeria who have come to associate their wealth and successes in life with the goddess. The festival which has assumed a greater dimension owing to the incursion of Oodua People’s Congress is becoming a major crowd-puller. This year’s celebration was no different. It was grand, stylish, and colourful. Joe Agbro Jr. who was at Badagry reports.

Picture this. A barefooted young woman, white wrapper tied around her waist and adorned with beads and cowries prancing about the beach with her followers equally dressed in white on her every trail. She moves as if in a trance, darting from one palm tree to the other, circling each one and muttering under her breath what her followers says are messages. Everyone in her path clears way for her and for good reasons too. She is the Arugba (Carrier of a calabash tray) which Olokun (Yoruba sea goddess) devotees and sympathisers believe will carry away sickness, trouble, bad luck, and other negativities of the world to replace them with blessings and their heart desires. To the onlooker, it is a sight as she moves gracefully evoking a feeling akin to a medium. It also seemed she could read the minds of those present. She demonstrated this when she stopped in her ritual to accost a Youngman she claimed was speaking ill about her. When the Youngman accepted he truly said such, she now told him of the etutu (sacrifice) he has to perform for atonement. After about an hour of dancing, prancing, and intense display, she proceeded to the shore with the calabash containing salt and some piece of cloth balanced on her head and a pigeon in her right hand. At this point, a male devotee helped to remove the calabash from her head and emptied the contents together with the live pigeon into the rushing waves. The procession behind the Arugba all the while were chanting “Ko gbe arun lo, ko gbe ise lo, ko gbe ire wa, ire olokun ire olosa, ko san pade mi” (take sickness away, take poverty away, bring blessing around, may the blessings of the seas and ocean flow towards me). While the Arugba and her escorts left the shore away after offering the sacrifice to Olokun, devotees and worshippers began offering prayers and using the sea water to wash while muttering prayers and wishes. That was the scene that played out between 5:30am and 6:30am on Wednesday, 24th October, 2007 at the Suntan Beach, Badagry.



The event was the celebration of the Olokun festival. Olokun as a goddess has always been revered in Yoruba tradition as the giver of blessings, wealth and all the good things of life. A wife of Oduduwa, she was not only very beautiful but also very rich. In fact, the Ifa divination starts with “Ifa Olokun asoro d ayo” (this god, make my situation joyous). The myth has it that she settled at a place called “Igbo Olokun” in Ile-Ife. A very hard working god, she was envied for riches and wisdom. This saw her not having enough followership and consequently her important place in Yoruba history. This is however changing with the intervention of the Oodua Peoples Congress (OPC) led by Otunba Gani Adams. Perhaps seeking to redeem the dented image which OPC has been branded when its members took laws into their hands becoming a menace to society, the organisation is now at the forefront of the promotion of culture, especially Yoruba culture. Olokun festival is one of the festivals they have delved into.



The 2007 edition kicked off on Sunday, 21st October with a beauty pageant at Planet One, Maryland, where 20years old Miss Ijeoma Ilechukwu emerged as the Miss Olokun 2007. It is perhaps interesting to note that she is an Igbo lady. On Tuesday 23rd October, the show moved to the Slave port along the Marina in Badagry. Here was the beginning of the festivities proper and the dress-colour code was white. This is because Olokun was honest, just and truthful while alive and also abhors filth and anything associated with dirt and uncleanness. Hence, most people wore white. The event started with prayers being offered the Ifa style with incantations by Chief Olaopin Aderemi. Gani Adams while giving his opening speech said “language, food, music, clothes and even religion have been integral part of our culture. Inferiority complex was deliberately placed on us by colonial masters.



The fifty two states of Africa agreed they have got independence but with the activities of organisations such as the UN, we would know we have no independence.” Speaking on deploring cultural values, Adams said, “if you don’t project your culture, don’t know enough to educate people on your culture, you cannot have an identity, you cannot have a nation. Another country cannot teach us our culture. Europeans may have a different way of communicating with God. These were forced on us during colonisation.” Elucidating, he said other people of the world had their gods and asked why with the coming of colonisation, we ignored and demonised our own ingenious gods. He berated Dr. Olusola Akinbode, Chairman, Olokun Grand finale planning committee for turning up in dark suit. “I’m highly surprised that the Chairman is putting on a suit. When you say you are projecting African culture, there should be a limit to what you wear.” After other speeches, it was time for the cultural displays; the main show was the boat regatta, but while they were getting ready, the Eyo masquerades in their flowing white robes and white hats danced with the leader unmasked and wearing charms around his waist. They paid homage to the Otunba and also said prayers.



Shortly afterwards, two boats came in sight and the regatta started. The rowers demonstrated their prowess of control of the boats on water as they rowed with different speeds across the water. Afterwards, it was time to go to the Akran’s palace. The convoy of cars, mostly commercial danfo buses trailed the streets of Badagry heading towards the Akran’s palace. However, it seemed Oba Menutoyi was not yet ready to receive the entourage; hence, there was a diversion to Suntan Beach where the festivities would continue. Hitting the Badagry expressway, the convoy sped to the beach. Here, people had started milling around and it did not take long for the beach to become crowded. By 6:00pm, one could tell a great event was coming. Nurudeen, an OPC member said, “there is little crowd this time, supposing it was on a weekend, you will hardly find space to move about”. Still, the crowd that turned was impressive considering that it was on a weekday and no holiday was given to mark the Olokun festival. And the line-up of commercial buses with the OPC Olokun festival banner outside the beach was an indication of the turn-out. In the same vein, the Ejiogbe twins who are custodians of the Osun-Oshogbo deity and advocates of Yoruba culture appealed to government to recognize traditional religion even to the extent of making days when these gods are worshipped public holidays. Food and drink vendors were everywhere. Black soap specially packaged and labelled “Oodua soap” was on offer. Sellers of T-shirts and charms too conducted their business unrestrainedly.



Nigerian Breweries registered their presence by deploying a DJ to dish out music and making can Star beer and Amstel Malt drinks available. At about midnight, Alhaji Wasiu Alabi Pasuma, a popular fuji musician mounted the stage. However, he did not perform for long owing to insufficient lighting on the stage set up for him. Bazooka, another fuji musician, however ensured the night was not too quiet. All through the night, there was feasting and drinking and merriment. Alcohol was the choice drink being consumed and Igbo (Marijuana) was freely smoked. However, the in spite of the majority of those present being street children and being heavily intoxicated, there was decorum and a compere the next day announced that only six phones were reported missing. For the multitudes who could not afford to go back home or sleep in hotels, the beach sand became bed and pillow. They made themselves comfortable sleeping under the skylight and shelter of the palms. Dawn came lazily and with it was the grand finale. Before the official commencement of the day’s event, the crowd was treated to various displays: climbing palm-trees rapidly with only hands and legs for support, a snake charmer lolling his pet snakes, Bazooka, the fuji musician who did not want to stop. The game of Ayo Olopon, a traditional African game also served as a diversion for interested participants. Another side attraction was an art exhibition titled “Art for development” where about forty works were on display. The organiser, Emeka Uzoegbo believes art is an integral part of culture and sees as incomplete where a festival such as the Olokun will be devoid of Artworks when Olokun herself was into the arts, stringing beads and doing bronze work.



Also, two books; “My life and struggle” written by Gani Adams and “Leadership Challenge: Gani Adams and the Oodua peoples Congress” edited by Michael M. Ogbeidi were available for sale. “Fineboy”, a popular comic officially started the show when he rendered the National Anthem using sound made from his mouth. Then the speeches began: Otunba Gani Adams gave his speech. Professor Kolawole Owolabi delivered the keynote address. In his speech, Otunba Gbenga Akadiri, the chairman of the day addressed Otunba Gani Adams saying, “if not for you, we the Yorubas would be finding ways to discover ourselves.” Afterwards, different masquerades displayed: there was the Ewi, the Igunuku, and Egungun. The Edo cultural dance troupe was also not left out of the fanfare. Also, a simulation of Sango’s fire spitting power was re-enacted to the admiration of everyone present. There was an impressive presence of royal fathers; Akran of Badagry, Olubegi of Igbegi, Oloso of Oso o jowa, and Elero of Ilero to mention a few of them. Other dignitaries present included Ambassador Segun Olusola, a true lover of culture and Senator Tokunbo Afikuyomi, commissioner for Intergovernmental relations in Lagos state.

A week of Felabration


For the first time since the death of their father, Fela Anikulapo-kuti, Femi and Seun, mounted the stage together at the Afrika Shrine, Ikeja, as part of musical concerts Felabration, marking the post-humous birthday of the Afro-beat legend. The event flagged off last Tuesday and hit its peak over the weekend, reports Joe Agbro Jr.

There were little restrictions, yet security was such that permits no one to misbehave else “The Afrikan Shrine Police” might mess one up. Right from the Fela days, Femi still continues to instill security and discipline at the Shrine to make it a go-able area for all.

On a normal day, Shrine is active, but the traffic it has experienced the past week is hyper-active. The whole of the street is filled with people either stationary or moving. The car park beside the Shrine was filled. The adjoining streets too were lined with vehicles and by the type of cars parked; one would now the caliber of people coming were no riff-raff. At one corner of the car park, there is a snooker board and to play one has to stake. The board-man, Emeka says, “you drop 300 naira for a game and if you win, you get 500 naira.” “That way, you get something in return”, he said. Food and drink vendors also had brisk sales. There were ample stuffs to eat and drink: different kinds of food, Suya, Ice-cream, beer, hot drinks, and a lot of hemp. The Igbo (Indian hemp) sellers had a field day as this was the heaviest of vices which the Abami Eda allowed himself while alive. Shade who sells varieties of local alcoholic concoctions said, “We don sell well during this period. Even, on Thursday, Friday, and Saturday, all our drinks finished”.

The show which started on Tuesday saw the performance of Seun Kuti and the Egpyt 80 band and his performance showed he was a chip of his father. On Wednesday, the French Cultural Centre; one of the foreign countries which sympathized with Fela staged a film titled “Suffering and Smiling” which chronicles part of Fela’s life. Earlier on they had staged an exhibition of his pictures, album sleeves, costumes, and other memorabilia. This was at the right corner of the Shrine throughout Felabration. That day too, was Ladies night and it was that day most of the female acts thrilled Felabrants. On the line-up were Asa, Muma Gee.

On Thursday, the show got a bit hotter and the acts began to roll out. Friday saw Pasuma, Mr 9ice, Freestyle and a lot other upcoming acts perform. On Saturday, it was time for the “Block Party”. Here, a solid, beautiful and covered stage was mounted by Storm Entertainment outside the Afrika Shrine and it was from here that the artists performed. First, there was The K slim band which just came from the UK. Other acts that performed included Marvellous Benji, Nigga raw, Rugged man, Lord of Ajasa and

On Sunday which was the grand performance, things changed just slightly. After enjoying a week of free shows, Afrobeat aficionados had to pay to watch it. However, at four hundred naira, it was little compared to the thrill going on indoors. The Shrine which was emptied at about 8:00pm and thirty minutes later, the loudspeakers had started booming and began the long queue to watch the last show of Felabration.

Expectedly, the shrine was jam-packed, filled with all categories of Nigerians; able and disabled, rich and poor, educated and nearly illiterate, refined and unpolished. “Fela was my friend for the past fifteen years. Our fourteen year working relationship had grown from that friendship. I regret his passing but celebrate his life. He will live forever through the incredible legacy of more than 50 albums of music which he has left us and through the love and respect of the millions of people who knew him, from near or far.” Rikki Stein, his manager and friend says. And indeed, there was a high presence of foreigners throughout the week long event. British, French, and even Chinese: such were the crowd that came throughout to celebrate Fela. Also, the event was used to pass across the message of HIV and AIDS by some NGOs. This was probably due to the pronouncement of Olikoye Ransome Kuti, Fela’s elder brother who diagnosed AIDS as the eventual killer of Fela at his death in 1997.

Inside, the shrine was smoky, and drinks flowed. For those that could not afford the price of drinks at the bar, Nigerian Distilleries which had been supportive of Felabration sold Chelsea in mini packs and bottles.

After Dj Dr. Step played for sometime, with a full band, Sunny Neji mounted the stage and thrilled the crowd to some of his numbers which the crowd loved. Next was Azadus and the way he crooned suggested the “Madam” originator still had it going on for him. Coming down from the stage, he brought up two Chinese ladies to the stage and involved them to Ko mole (dance bending down and low the “African way”). Then Zeal, Sasha with two other bootilicious dancers showed that when women move, all must watch. Baba Dee was up to do his thing. Though his performance was a little below par, it was still enjoyable. Next was Murachi and he definitely swayed the crowd with his act. After his performance, the Yahooeze exponent, Olu Maintain who came from South Africa climbed the stage and he took the crowd back to 2000 with tracks from the group Maintain which he was formerly a part of. The crowd enjoyed the flashback but was obviously waiting for the hit track Yahooeze in his new album. The moment he started singing Yahooeze, the crowd went gaga with excitement. Alibi thrilled the house and his combo with Paul Play Dairo was simply exhilarating. Other acts which performed were Yootman, Faji Blaze, Slim Kiss, O6, Kelly, Thrill Squad, Spydaman, and General PYPE.

All through the week, Olumide Bamgboye popularly known as Bob (a foundation member of Young African Pioneers (YAP) and Movement of the People (MOP) enjoined the audience to chant Fela’s name seven times in a bid to invoke his presence to the arena. “I lived Fela and it is my firm conviction that he is the greatest man that ever lived”, Bob said.

At 2:00am, Femi Kuti’s Positive Force Band began stringing tunes in preparation. Twenty five minutes later, his dancers costumed in skimpy blouses and micro skimpy skirts with flowing frills trooped onto the stage and Femi Kuti, the King of Afrobeat walked onto the stage. After a brief form of worship, he launched into his songs beginning with Truth don die. He showed his mastery of the keyboards. Playing the keyboards as if in a trance on, he churned the sounds out in a way only he could.

After that first song, he shared with the audience, “They think Felabration would not hold when they started their nonsense. They don’t now that Fela is beyond all this. People love Fela. When Fela died, I said over one million people would come to his burial, they said for where. Amugbo (hemp smoker), who go come him burial? And everyone was surprised at the number of people that attended his burial, carrying him and trekking from Tafawa Balewa Square TBS on the Island all the way to Kalakuta Republic Ikeja where he was buried.”

Speaking further, Femi said, “I like the youth of Nigeria I am seeing. They are very energetic. But what we need is education, equal education, light, water and other good things.” Well said, he launched back into singing and dancing which he did energetically. At 3:00am, it was tie for se were. “Se were” is culture of Femi’s Afrika Shrine. What happens is that the crowd is incited into behaving abnormally and plastic bottles, cans and just about any material is thrown freely into the crowd, with no intention to hurt. Though, it can be quite scary. This lasted for about five minutes after which he continued. For one who knows, the similarity in the socio-political and economic issues which Fela dwelt on is also present in Femi’s music. Seeing Femi perform does not equal his fathers’ but it is perhaps the closest and Femi’s every mannerism brings a little of the “Abami eda” to the fore. At about 4:00am, Femi brought the show to an end. After that, the compere of the week long event asked Dj Dr Step to do what he had been itching to do all through the night which was to hit the wheels of steel.

Monday which is Fela’s birthday was chopping galore at the Shrine. Had he been alive, Fela Anikulapo uti would have celebrated his 68th birthday on the Monday 15th October 2007. But it really does not matter because for the teeming and patriotic fans of Abami Eda (Strange one) as he was fondly called while alive, Fela lives on. The enigmatic founder of Afrobeat was a very active man who did things his own way. Born on October 2nd 1938 in Abeokuta, it was no accident that Fela was a Libra; a star sign that exalts leadership abilities and this can be seen in the way he effectively ruled Kalakuta Republic and The Shrine at Mushin till he was forced to move by the ruling Junta to the Kalakuta’s present location on Gbemisola street while he played at his “Afrika Shrine on Pepple street, both in Ikeja.

Fela was born of silver spoon and could have decided to effortlessly mix with the elite crowd of his period. Rather he chose throughout his life time to associate with the commoners. In one of his tracks, He refers to them as “My people”. So, celebrating Fela’s birthday could not be an affair for the covers. His biological children know that. Hence, the conception of Felabration which is an annual festival dedicated to the promotion of Afrobeat and African culture and to the preservation of the legend and artistry of Fela Anikulapo-Kuti. This year was the tenth edition of Felabration and it was the bomb.

Resugram with Alafuro

Resugram, a Latin word meaning I shall rise again is the title of the exhibition holding at the Goethe Institute, Lagos. It opened last Saturday, September 22 and is open till October 5 as JOE AGBRO JR. writes

Alafuro Sikoki’s exhibition Resugram which opened last Saturday at the Goethe Institut, Lagos, is a five-piece installation by Alafuro Sikoki which addresses the changes in nature, their effects and how persons cope with them. The artist conceptualized the pieces to suggest changes a person experiences in life. Using photography, fibre sculpture and industrial design processes as her media, she focuses on social issues pertinent to men, women and children, particularly of African descent.
Doors of perception is a contraption of pines and almond branches hanging upside down on several wooden door posts and it strikes as anomalous since these plants grow upwards. It jars the consciousness leaving a feeling that all is not right. To the artist, “The work explores the impact of the sudden change in life and the effects on our senses of reality”.
Speaking on the inspiration for the work, she said lowering her voice, “I was inspired to do this when I lost someone very dear to me. Oh God! I couldn’t go a day without hurting or thinking. Nature sure has a way of effecting changes. It could be the loss of a loved one, the loss of a job, even the plants – the way they grow, decay and eventually die. It all shows the passage of time and its effects.”
Aviary is a collection of birdcages housing intricate pieces. Using liquid latex, flowers, hair, plaster, dolls, and pigments to create casts of body parts and eggs, she portrays the complexities of womanhood. The work highlights the role, pains, yearnings, and joy of being female. It looks at the struggle a woman undergoes as a daughter, sister, a wife, a mother. It draws attention to the woman and forces a closer examination of the limitations women place on themselves. In these climes where the issue of women’s liberation is tackled with mere lip-service, bringing up the subject frequently is welcome. “To me, it is challenge to women”, Sikoki quipped referring to Aviary. Asked if the woman would ever be free as she was symbolized in cages, the artist replied speaking generally, “One day, she will be able to roam.”
African time is the third installation. Here she blends elements of fibre sculpture and industrial design to create an aesthetic arrangement of calabash clocks. A beautiful sight to behold, it however discusses the serious matter of lack of punctuality with “African time” being given as excuse. “Oh she late! We are never on time as Africans. While the rest of the world is moving on, we just seem to be chilling”, Sikoki gushed.
Why didn’t you stay? is a garden swing in which a crate of grass is placed. A swing is normally a child’s play thing. When grass takes the place of the child something has gone wrong. It sends a message of a child that is simply not being a child. The work looks at the issue of child abuse. The cries and the plight of children who have to hawk on busy streets risking their lives, engage in prostitution other forms of labour when they ought to be in school, be playing and generally being children, has been on for long. This heartrending phenomenon fostered on many poor nations of the world including Nigeria, the birth country of the artist, abates at a rate slow for comfort. According to the artist, Why didn’t you stay? is a challenge to society to brace up in order to correct the wrongs and enforce the rights of the neglected children.
The fifth installation, Stills from the film that was never made, emphasizes the potency of images in communication. The pictures, like the one that shows teeth gripping cords, are subject to as varied interpretations as there are viewers. They convey messages purely on an individual level. All in digital photography, Sikoki invites the audience to form opinions on the premise, plot, and meaning of The film that was never made.
Installation is one form of art that nearly never fails prod lovers of the arts. In the media, artists express themselves in unimaginable ways. It is one form of art from which one never knows what to expect. Given the eccentricity synonymous with artists, such a display is bound to evoke feelings that the viewer might easily relate to or that might be entirely alien. Most times they turn out interesting. Yet they are jolting works subject to individualistic interpretations. With her captivating collection in Resugram, Alafuro Sikoki has succeeded in bringing to fore the experiences, challenges, joys, pains, and expectations change fosters on people.
Alafuro Sikoki who loves reading came across the Latin word Resugram, the title of her exhibition, before the age ten. A social reformer, this Bayelsa State-born artist welcomes challenges.
“I love challenges. If someone says this cannot be done. I want to do it. I grew up in a family that recognized individuality and the way a child’s mind worked”, she said, recalling her growing up years. This has enabled her to pursue her interests in life. She obtained a BA in Information Design from Coventry School of Art and Design in 2003 and a Masters degree in Industrial Design from The University of The Arts in Philadelphia, USA in 2006. Her designs and installations have been widely exhibited and have won several international awards. she is online at http://www.studiosikoki.com/

Victory over evil

Book review
Title: The slave that ruled
Author: EstherAdemoji Adesulu
Publishers: Crofes printing press, Ondo
Year of publication: 2006
Number of pages: 65
Reviewer: Joe Agbro Jr.

The story of Africa and Africans can never be over told. In these times when western ideas and cultures seem to be eroding our consciousness, there is greater need for awakening this consciousness. History is a part of a people’s heritage that ought to be preserved, and learned.

“The slave that ruled” written by Professor Esther Adesulu takes a look at the terrible practices of Africans before the arrival of the White men and civilization. The book which is the third in the African series carves real life occurrences with a little bit of modification.

The book tells the story how slaves were considered less than human in Idoida town.

Acccording to the book, it has been the practice to offer slaves as sacrifice to the god Olorosa during its festival.

The Ikoko of Idoida was a very powerful man; he was second in command to the king. He was also rich because of the taxes many workers were mandated to pay to him. Important decisions affecting the town could not also be taken without his consent. He was also the man appointed to slaughter slaves at the Olorosa shrine during Olorosa festival.

Whenever it was nearing the period of the festival, the slaves in the king’s palace were always sad. This is because it was only from among slaves owned by the king that the oracle chose the slave to be sacrificed. For indigenes of Idoida however, Olorosa festival was a day for merriment, celebration, dancing, eating, and drinking. But actually not every Idoida was happy at the occurrences at the Olorosa festival.

On a particular year, the story told of Pekuje and Adalo - two teenage Idoida boys who after a hard day’s work at the farm stopped by the stream to take a swim. After swimming, Pekuje expressed his unhappiness at the coming Olorosa festival and how he could not eat during the last festival. “Were you sick?” Adalo asked his friend. “No, I was just unable to bear the scene of that slave being led to the slaughter”, Pekuje told his friend. In accord with Pekuje, the two friends concluded it was a wicked practice and wondered why the slave to be killed couldn’t even resist since it was only the elderly Ikoko and the slave that went beyond the Igoje where no one must follow. They prayed something happened fast.

Unknown to them, a slave from the king’s palace was listening to their conversation. Later, this slave relayed the discussion of the boys to other slaves and a plan to resist the Ikoko at the next Olorosa festival was hatched and spread around all the slaves in the palace. This was because any of the slaves in the palace could be chosen.

The day of the Olorosa festival when the slave was to be sacrificed finally came and it was Igulo that was chosen. As Igulo’s hands were tied and he was led away by the Ikoko, the other slaves prayed he would not forget the plan. When chief Ikoko and Igulo got the surrounding of the shrine, the chief saw Igulo hands were free and he new he might face some problems. Chanting incantations, he tried to subdue the Igulo, but was unsuccessful and Igulo killed him. As Igulo emerged from the shrine with the knife stained with blood the people of Idoida at first thought it was chief Ikoko coming out. But when they saw who it was, it dawned on them that the unthinkable had happened and it was chief Ikoko that had been killed. It was well-known that anyone who emerged from the Olorosa shrine is the Ikoko, but is was unheard of that a slave had done such thing and the people of Idoida fled.

Igulo approached the town square and the king was at first afraid knowing that Igulo has become the new Ikoko and now had a lot of powers. However, he bowed to the king and showed reverence. When asked by the king to address the town, Igulo asked for all the slaves to be present. Addressing the people and slaves in Idoida, he talked on the sanctity of human life and how no one was born to be a slave. After this, the king now proclaimed him the new Ikoko of Idoida. Igulo however placed some conditions before he could accept, amongst which was that that would be the last Olorosa festival and that all slaves in the town should regain their freedom. To these conditions, the people and king of Idoida agreed. The conclusion of the book shows victory of over evil.

Each chapter also ends with a segment called “Action point”. These “action point” sets discourse to engage the reader into taking retrospection of the topic. For instance, at the end of chapter five, the “action point” is “Think of how you treat the house helps in your family. Do you see them as slaves who can be beaten anytime? Do you share with them the house chores? Do you tell lies against them? Do you show them love? Do you realise they are human beings like you? Also, at the end of the book a segment is dedicated to showing the meaning of words used in the book. This would definitely be of benefit to the young readers in vocabulary building.

The author is definitely a good story teller and this book serves as a modern replacement to the moonlight tales which is fast disappearing in our climes. Written in simple language designed for easy understanding, the book is bound to be well appreciated by all categories of readers.

Beyond making Art quake...

Beyond making art quake…

The duo of Ice-K and Adex make up Artquake. Since coming out in 1999 with a hit single "Abule la wa", they have continued to wax strong on the Nigerian music scene. Ice-K spoke with JOE AGBRO, JR. on what they have been up to and their plans for the future

“It all began in Kwara Poly; I was miming raps while Adex was into miming raga. After a couple of campus shows, it got to the point we realized there was something I have that you need and something you have that I need, and why don’t we come together. The collaboration eventually turned out to be Earthquake. The name Earthquake was to signify the ground-shaking presence we seek to create anywhere we are. However, because of the destructive connotation synonymous with Earthquake, there was a misconception in some quarters and we felt a change of name was appropriate. Hence, by removing the ‘e’ and the ‘h’ from ‘earth’ leaving ‘art’. Thus we became Artquake in 2003, a name which suits our exploitation of art”, Ice-K said.
Apart from playing music, they now own a full entertainment outfit called AQ Multimedia, which for now is into production of music videos. Musing ebulliently, Ice-K said, “We produced the Splendour video for Sir Shina Peters and the Ijo Fuji video that won Adewale Ayuba a CORA Award in 2004. Before then, some channels like Soundcity did not play Fuji or Juju music, but with the kind of touch we added, the videos have more appeal. And we are billed to shoot videos for veteran Juju musician, Fatai Rolling Dollars. In addition, plans are on the ground to veer into advertising. We are aiming to exploit as much aspects of the art in which we are competent. We have the equipment and the professionals.”
On Artwork, their current album, Ice-K said, “We’re coming out tighter. Already, the promo video of Bus-Stop, a song in the ten-track album has been enjoying airplay on the local stations, Channel O and on MTV. There are other songs as well which will suit nearly every temperament. A video of Twist and Roll is another song which will be rolled out at the album launch. It is going to be hot. Also, this time around, I and Adex are doing one solo song each on the album.”
Asked if this is an indication of a split, he quickly explained that they were just trying to experiment and the bond was stronger than it was at the beginning.
The relationship of the duo according to Ice-K transcends friendship. “He is my cover brother from another mother. Money, women, fame and even the press have tested our relationship. I attribute it not to the fact that we don’t quarrel, but that there is no room for any third party to come between us. We quarrel and settle.”
When asked if he was married, he said he and his musical partner would probably wed on the same day. His reason was that this would their wives understand when the call of business comes and they have to stay late out or for some days. “For instance, if Adex is married and I’m not, his wife might say it is me that keeps her husband out because I am not married.”
Ice-K is not prepared to rest on his oars and for is now learning designs. From the way he talks, it is evident he enjoys what he is doing.
“Although it is work I enjoy it. How many years person go live sef? We are very happy. Just like someone saying I am not rich, I am not poor, but I am very, very comfortable,” he said.
In addition, chilling out for him comes spontaneously and instantly. He says with the power of a man in command “If I wan chop fish, na now now.”
Ice-K, a graduate of Marketing and Adex, a graduate of Accounting seem to keep everything in the family.
“My course is really helping. You know marketing covers nearly all aspects of business and the training has been useful as we diversified into other aspects of art. On the other hand, Adex with his accounting background is able to look at figures and ascertain the feasibility of projects.”
They duo comprising Artquake indeed make a good combo.

A journey begins

18th September, 2007
Today is the first day I'm attempting to post. Been looking forward to sharing my thots with you guys, but I've been to lazy...about starting, I mean.. Working full time as a journalist does not really give one the luxury of ample free time. In the turbulent world of our profession, you only get free time by stealing it.......... and that is exactly what I'm doing here. So for any stray....this goes out to you.... Buckle up for an exciting trip with moi

Guinness grooves the Smooth way

Grooving it the SMOOTH way.

In its bid to connect with consumers and create more affinity with its consumers, Guinness Extra Smooth thrilled the people of Ibadan to a five-day music and entertainment fiesta, aptly dubbed the ‘Smooth Groove.’
The expansive Ibadan Recreation Club, popularly called ‘Rec’, was venue for the event and while the Smooth Groove lasted, it was fun all the way. Beginning on Tuesday, white-collar workers, entrepreneurs, students and people with a desire for a great but easy evening relaxation, thronged Rec, for five days of smooth enjoyment.
Tuesday night started with performances from local music acts in and around Ibadan culminating in the grand performance of the night by the ‘ajasa’ exponent, Lord of Ajasa. By the end of the night he left the Ibadan fun seekers reeling for more with his down-to- earth original Naija flavour.
Wednesday night was the turn of Yemi Sax to perform. Rendering popular Nigerian hip-hop songs in nothing but a saxophone flavour, he gave a whole new jazzy and entertaining appeal on the night, absolutely mesmerizing everyone present with his artistry. 9ice of the ‘make them talk…’ fame, put on a superlative stage performance on Thursday night that brought a great crowd excitement that even the drizzles could not drench. Dancing to his music, Bisi, a student of The Polytechnic, Ibadan, proclaimed loudly in his slightly wet clothes, “I’m enjoying myself terribly”.
The rains showers had somewhat reduced to hundreds what would have been a great crowd turnout between the opening Tuesday and Thursday as conceivably, a lot of people found the nights a shade too cold for an outing. However, on Friday night following heavenly reprieve, Ibadan residents besieged the venue, where they were treated to renditions of Juju melodies by Gbenga Falope, an upcoming Juju artiste.
It seemed no length was spared in the execution of the event as the ambience oozed planning and thought, starting from canopies to a cooling van to chill the drinks to world-class sound production. According to the Brand Support Manager of Guinness Extra Smooth, Jide Alade, “it is all about ensuring our consumers have a great time and have a lasting experience and relationship with Guinness Extra Smooth.”
Asked the role and place of Guinness Extra Smooth in the consumers’ drinking repertoire, Jide Alade explained that Guinness Extra Smooth is the perfect easy-to-drink beer. “ Smooth is about relaxation, taking it easy and still having a great time. For instance, there are people who after work want to drink a bottle or two but want to drink light in readiness for the next day’s job. You know, you’ve had a busy day at work and want to unwind with friends at your favourite bar but you’re conscious that you need to be in great shape for the next day; Guinness Extra Smooth is the perfect beer for such occasion and many others as its alcohol content is just about the same as lager and has millions of tiny bubbles all which combines to make it very smooth and as easy to drink as lager.”
The grand finale on Saturday night was the height of the event. Yemi Sax again mounted the stage and for about thirty minutes held the crowd spellbound with his Saxophone. Then came Wale Zion, another up and coming act. But there was apparently nothing local about his performance as he got the crowd to their feet in frenzied excitement at his mixture of funky Yoruba upbeat music. Everyone danced to his or her hearts delight at his renditions. The arrival of Olu-Maintain, the final act and star performer of the week-long galvanized the excitement of the crowd. Being an Ibadan boy, he was on ‘home-ground’ and the crowd welcomed him as they would a king. The Yahooeze exponent then thrilled the crowd to his hit and popular music. Bringing an element of the hit Yahoozee track to life, he threw several dollar bills into the crowd which they loved.
All through the week-long event DJ Dino, gauging the mood of the crowd, played music that sent them wild. He spun the wheels of steel to produce Fuji, raps, hip-hop, and other accepted genres of music, both local and foreign.
Apart from the artistes’ performance, there were also other side attractions. Yemi Sounde and a host of other comedians cracked jokes that delighted the crowd. In addition, there were dance competitions which were a big hit with crowd. And there were just rewards too. Consumers who bought two bottles of Guinness Extra Smooth got a bottle free also with a raffle ticket that qualifies them to participate in the daily raffle draws. DVD Players Typhoon-type standing fans, a 29” Flat-Screen TV and a 3.5 KVA generator were won by consumers. Victor, the winner of the generator was lost for words when presented the prize by Tunji Folayan, Marketing Manager Lager/RTD, Guinness Nigeria Plc.
At the venue, the only drinks sold were Guinness Foreign Extra Stout (Udeme), Guinness Extra Smooth, and Malta Guinness. Those present had no other option but to explore the Guinness hospitality. “I never knew that Smooth was this nice. The thing no too strong as I dey think”, quipped Joseph who had always drunk only lager before.
It was really a smooth and ‘easy’ week at Ibadan, but for Guinness Extra Smooth, the groove goes on.