fter a two weeks residency at Centre Choreographique Multicorps, Cotonou, Benin Republic, in April, to create the dance piece ‘To-Be’, Lagos-based theatre outfit, Tantoloun Productions, began another one week residency at Shodex Garden, Anthony Bus Stop, Lagos, to further develop the piece, which will be performed at the end of the residency.
This project which began yesterday is a collaboration between Tantoloun Productions (Nigeria) and Walo Dance Company (Benin), and it reflects the desire of both companies to attract a new audience and diversify in their space.
“‘To Be’, a duo dance piece by Lucrece Sidoine Atchade (Benin) and Esther Essien (Nigeria), is a stepping stone for other cross-border projects and we could not be more excited about partnering with each other than being continually circumscribed.
“Through this work in progress we wish to develop the intersection of our arts, hoping to receive support from cultural spaces and especially from festivals in Africa and around the world,” says the music/artistic director, Oyebisi Tosin A.
“The dance piece is about becoming, the act and willingness to be who we are meant to be, and the enablement to create a new and peaceful environment with equity, without global crisis. Focusing on the set goal without any set back, regardless of what the society says, and at the same time, not neglecting control, guidance, sacrifice, discipline and the rigorous process of becoming and creating a safe and better environment.”
According to him, the piece was developed using real life experiences of young people in Benin Republic as a reference to human experiences from other parts of the world. “The interviews done and other voices used in the creation are in French and other local languages.
“With the use of bass guitar, Bata drums, Djembe and shakers, the performers on stage represent intercessors intervening and travailing people’s pains and frustrations of becoming.”
Day I was embarrassed because of my grey hair – Oghenekevwe
Victory Emuejekarohwo Oghenekevwe is a celebrated actor and production manager. He has featured in several television drama series such as ‘Tales By Moon Light’, ‘House of Badmus’, ‘Spider’, ‘Our Home’, ‘Police Post’, ‘Work Chop’, ‘Yours Faithfully’, and movies such as ‘Silent Night’, ‘Domitilla’, ‘A Rose for Freddy’ and several others. In this interview with TONY OKUYEME, the Delta State-born versatile thespian and graduate of Theatre Art from the University of Port Harcourt, , shares his experience on stage and screen.
You are an actor, a producer and production manager. Which of these do you find more engaging and rewarding?
As a production manager they pay me higher sometimes, but I have fulfillment when acting than when managing
If you were not an actor, what would you have chosen as a profession?
Of what importance is your talent if you can’t use it to praise God? So, I will like to be a pastor or a motivational speaker.
Did you really set out to become an actor?
I was a little boy when I started beating band, drums in church as a member of choir group, really growing up to become an actor is from my youthful days
Which of the television drama series you have featured in is your favourite?
I can boldly say is “House of Badmus” produced by Fredrick Atigogo. I am Mr. Badmus, the lead actor, or ‘Police Post’ produced by Peter Fada who is a new producer in the game.
I said house of Badmus because it is like the script is written for me, and I enjoy playing the role of Badmus, who is always having issues with his son, a character full of humor. Mr. Badmus cannot tolerate anything that will jeopardize his masonry and his ladies wahala.
You studied Theatre Arts at the University of Port Harcourt. Tell us about your experience…
Yes, but before I gained admission into the University of Port Harcourt, I was already doing Tales By Moon Light with NTA. Our producer then was madam Bukky George, and during my school days I featured in ‘Silent Night’ and ‘Domitilla’. I had wonderful experience. Julius Agwu was my course mate and Kate Effiog, Lolo West, Rita Dominic and Charles Inoje were our juniors.
You have featured in a lot of TV series, such as ‘House of Badmus’, ‘Spider’, ‘Our Home’, ‘Police Post’, ‘Work Chop’, and others. Which of these is your most challenging?
Well let me say ‘Police Post’ because the script was written in a way that if you have phobia for lines you will run because the lines were so long and many pages…
You have carved a niche for yourself as a versatile actor, playing various roles. How have you been able to do this?
When as an actor, I like knowing the character and what my director wants from me so that I will not be acting off key. For instance, this set I am now is a soap titled “The Rivals”, produced by Marion Theo and directed by Cent Micah. I am playing a fatherly role, a very strict man of God. So I am able to disconnect from comic father character from a strict father character.
Which of the roles you have played so far is your favourite?
I do enjoy the comic roles because I always feel I am being paid enjoying doing what I love doing, but any role is favourable for me for now.
What is your take on the issue of sex-for-role in Nollywood?
People can say a lot of things, but as for me, I am not a party to that. It is only those artistes that have been harassed that can answer for themselves. As for me, it is bad to ask for sex before roles. I have helped a lot of female artistes to get role but no sex demand attached to it. It is not a condition, but anyone involved in that is playing with his destiny.
Would you encourage your daughter to be an actor?
Of course, I see nothing wrong with it. If she has flair for acting I will encourage her and guide her. If am a lawyer and my child wants to read law will I say no?
You have just directed a new movie titled Wedded Single. What is it about?
‘Wedded Single’ is family story about a carrier woman who prefers her job to making babies even when there was so much pressure from the husband’s family. But at the end… just wait till you see it…
What were the challenges directing the movie Wedded Single?
The producer, Chizo Ihezue, was playing one of the lead role, so having to work with her by instructing her to give me the real acting wasn’t easy, so also Nancy that played her daughter. But it was a wonderful experience.
When you are not working, how do you relax or unwind?
I like watching movies, reading, and listening to gospel music.
Your all-grey hair has become something of an identity. Is it your natural hair?
It is my natural hair ooooo, since university days…
What do Emuejekarohwo and Oghenekevwe mean?
Emuejekarohwo means you can’t achieve everything on earth and you can’t lack everything too on earth. Just be humble; we need each other to make it in life.
Oghenekevwe means God’s gift
What is your assessment of Nollywood?
Movie making in Nollywood has moved from early stage, the days we were still frowning at kissing have passed, moral standards are falling. The kinds of movies we are doing these days are lacking morals, we must be careful before the devil will take over the industry fully. Producing naked movies is the order of the day. Don’t forget, we use movies to promote culture, so I don’t like the kind of culture we are promoting with those nude movies. But it is well…
Tell us about your most embarrassing experience
Some years ago, a woman was actually running behind me, somewhere off Adeniran Ogunsanya Street, Surulere, Lagos. Before I knew it, she was busy touching my hair. When I asked her why she did that, she said she thought my grey hair was makeup. I didn’t it find it funny. The woman said that they argued about it in their house that the makeup person tried, so when she saw me she couldn’t hold herself seeing me that day. I told her she would have stopped me and asked me instead of rubbing her hand on my head.
No regret. At least I have a job I am doing.
BBNaija: Gedoni is stuck in a trap – Evicted housemate, Joe
Following his eviction from the BBNaija show, Joe Abdallah has spoken out for the first time in an interview with BBNaija host, Ebuka.
Among many things, he was asked what he thought about Khafi and Gedoni’s relationship in the house. Describing their relationship, he stated that Gedoni fell in a trap and got stuck there. He further stated that Venita genuinely likes Gedoni.
“I think Gedoni just fell into a trap with Khafi and got stuck, but Venita likes him genuinely. You know a man becomes more attractive to a lady when he’s in a relationship. I had the strategy to get in between couples in the game but I started late,” Joe said.
When asked if he deserved the strike he got from Big Brother after he had provoked Tacha, he responded in the affirmative.
Speaking on which housemates he believes are being themselves in the house, he mentioned Mike and Tacha as the only ones, stating that every other person isn’t acting real in the house.
Following the live eviction show which had Ebuka Obi-Uchendu questioning Khafi about Venita’s stepping into her relationship with Gedoni, it appears Venita is going in with the aim of getting her point across to Khafi.
Gedoni, who was angry at Khafi for discussing their relationship with other housemates, approached Venita after the live eviction show. Venita told him that she doesn’t care about Khafi and could have him if she wanted to.
Meanwhile, Frodd has earned the title of lover boy following his treatment of Esther because he has developed feelings for her.
The two housemates who have been enjoying the privilege of the head of house lounge since Esther became HOH, had Don Jazzy and some social media user mocking them. In a recent clip, Frodd could be heard telling Esther that he had washed every other thing except her towel, which he plans to do at a later time.
Music producer, Don Jazzy, immediately jumped on the statement and made a mockery of Frodd on social media. The producer asked Frodd to name the soap Esther uses, since he had gotten so mixed with her affairs.
It turns out that Frodd didn’t become Esther’s washerman because he likes her. He had actually borrowed her towel because someone took his and decided to return it clean.
Ebinum acquires Benz, says favour of God better than labour
In many parts of the world, particularly in Nigeria, the best way to show prosperity is to acquire properties that others only wish they can have.
In the entertainment industry, most celebs show off their fortunes by buying luxury cars and houses to the joy of their fans.
Nigerian actress, Bella Ebinum, has not only acquired a new ride, but a Mercedes Benz, as she joins the league of celebs who own expensive cars.
To celebrate the new whip, Bella shared a video of her ride on her Instagram page with a caption that reads: “The favour of God is better than labour.”
Bella also shared a photo of herself posing with her Benz.
Just few days ago, there was report that Nigerian music star, Wizkid’s bodyguard, Roy, recently became a landlord as he now owns a house.
There is no doubt that people who are friends or work with celebs benefit from the relationship.
Yemi Alade set to release, ‘Woman of Steel’
Nigerian Afro-pop artiste, Yemi Alade, will release her fourth studio album, ‘Woman of Steel’ on Friday, August 30, 2019.
The album was announced just after her collaboration with American rapper, Rick Ross, on a remix of her single, ‘Oh My Gosh’ – the final song on the album which will be a follow-up to Black Magic which was released in 2018.
This fourth studio album and the fifth project by the ‘Igbo-Yoruba girl’ is coming five years after the release of her debut record, ‘King of Queens’ in 2014.
“Woman Of Steel” houses 15-tracks and has guest appearances from Duncan Mighty, Funke Akindele, Grammy Award-winning Beninese-American singer, Angélique Kidjo and also American rapper, Rick Ross.
To support the album, ‘Bounce,’ was released on June 12, 2019. The album, which has also been made available for pre-release on August 20, 2019, will be released under Effyzie Entertainment.
In addition to ‘Bounce,’ Yemi Alade has released ‘Home’ which was produced by Vtek and ‘Give Dem,’ which was produced by Krizbeatz as lead singles.
In the past, Yemi released albums such as, ‘King of Queens’, ‘Mama Africa’ and ‘Black Magic’.
Juliet Ibrahim lambast OAP Akuko Perming
This is not a happy time for beautiful actress, Juliet Ibrahim, as she has regularly been in the news for one controversy or the other. The popular Ghanaian actress was engaged in war of words with Ghanaian OAP, Akuko Perming who advised her to return to her ex-husband.
The light skinned actress, Juliet Ibrahim, used to be married to a business man, Kwadwo Safo Jnr., before they parted ways after four years together.
Since the separation, a number of people have wished the actress well, while others advised she goes back to her ex-husband.
Well, an on-air-personality (OAP), Akuko Perming, got on Juliet Ibrahim’s wrong side after she advised that the actress should go back to Safo and stop waiting for Mr Right.
Juliet did not take this kindly and she made sure to slam the OAP on social media. In a lengthy post, the actress warned the OAP not to speak on things she has no knowledge about.
She asked why the OAP is not married herself since she seems to know a lot about other people’s relationships. Juliet also warned the OAP not to judge people’s situations until she has walked in their shoes. She did all these while likening Miss Akuko Perming to a fowl.
Just recently, Juliet Ibrahim’s ex-boyfriend, Iceberg Slim, penned an apology note to the actress.
In his apology, the young man revealed his wrongdoings and asked that the actress forgive him for all he did to her. He said despite everything he did to her, she found a way to rise and smile above it all.
Davido pulls off stunning performance with 50 Cent in New Jersey
Afropop star, David ‘Davido’ Adeleke stunned crowd at the ‘Tycoon Party’ in New Jersey where he shared the stage with American superstar, 50 Cent.
Curtis James Jackson III, known professionally as 50 Cent, is an American rapper, singer, songwriter, actor, television producer, entrepreneur and investor.
News Agency of Nigeria (NAN) reports that Davido performed at the 50 Cent party alongside music heavyweights, Trey Songz, Fabulous, Snoop, Camila and Jacques.
The singer sang a medley of his popular songs and controlled the stage with 50 Cent by his side, as the crowd sang along.
Davido, who is currently on an international tour, had earlier announced the festival on August 10 via his Instagram page @davidoofficial.
In 2015, Davido had shared a stage briefly with 50 Cent at a Las Vegas party while the latter was performing at a party.
In July, Davido became the most viewed Nigerian artist on streaming platform, YouTube.
The ‘Aye’ singer amassed over 500 million views across all his uploads on the platform to achieve this feat.
In January, Davido’s hit song, ‘Fall’ beat out Yemi Alade’s ‘Johnny’ to become the most viewed Nigerian music video on YouTube.
He then became the first Nigerian artist to reach over 100 million views on YouTube racing ahead of Yemi Alade and Tekno.
In 2017, Davido had unprecedented career resurgence with his row of hits including ‘If’, ‘Fall’, ‘Fia’ and ‘Like Dat’.
Davido was the first Nigerian artist to reach one million, two million, five million and nine million followers on Instagram and now one of the most bankable Nigerian on the platform.
He recently sold out London’s O2 Arena and recorded the longest-charting Nigerian single in Billboard history.
His recent collaboration with Chris Brown, ‘Blow My Mind’ has amassed 10 million views in less than two weeks.
Insight into Nigeria’s development experience
Book Title: Federalism, Leadership and Development
Author: Samuel Orovwuje
Pages: 161 pages
Publisher: Dictus Publishing, Germany
Reviewer: Obed Awowede
here are very few books that capture the breadth and depth of Nigeria’s contemporary leadership and development experience against the background of its history as Samuel Orovwuje’s Federalism Leadership and Development. A collection of some of his essays, most of which have been published in Nigerian newspapers and foreign journals, Federalism Leadership and Development provides a more than sufficient peek into the Nigerian state and its developmental challenges. Yet, it is not limited to issues about Nigeria, as it delves into international relations and migration, yet another concurrent issue of interest across the world. Aside from the functional themes of nationhood and development, the book looks at the structural issues of federalism and explores the crisis of leadership both in Nigeria and on the African continent. Orovwuje’s kaleidoscopic panorama also touches heavily on such social issues that have engaged Nigeria’s rulers in recent years such as same-sex relationships, the Boko Haram insurgency, national security and free speech, leadership, unemployment and the ethos of nationhood. In all, through forty five (45) essays, he dissects the Nigerian condition in a style that anyone, policy wonk or layman, can connect with.
The background of Orovwuje’s essays is situated in the state of underdevelopment of Nigeria, which has forced a robust public debate on the issues of leadership, federalism and development. This underdevelopment is suffused in the experiences of unemployment, poverty, social dislocation, fear, anxiety, economic difficulties, corruption, migration and political succession problems. In addressing these issues he frontally engages them and is not scared of speaking to the problems and offering solutions. In ‘Leaders, not Pretenders!’, The author speaks to the malaise of godfatherism, nepotism and empty campaign promises that are the bane of party democracy in Nigeria. This is an essay he wrote and published just before Nigeria’s 2015 general elections. In it he pushes the argument that the country needs true leaders and not pretenders who want power for the sake of it. He takes on the leadership selection process in the two main parties, APC and PDP thus: “Internal democracy is not respected in the APC, PDP or other parties. Internal democracy is one of the major attributes of party organizational leadership but it has not always played out in Nigeria’s space and, indeed, the emergence of the incumbent president (Dr Goodluck Jonathan) as the only PDP aspirant is also a challenge for the democratic process and the leadership question in Nigeria.” That was 2015; the same can be said of the primaries for the 2019 general elections where President Buhari ended up the sole aspirant of the APC!
The theme of leadership failure interweaves the issues of underdevelopment as seen in the essay, ‘The Common Man and the Failure of Leadership in Nigeria’: “the parochialism in the political realm has not only exacerbated the socio-political and economic disparities between the rich and poor, it has crucially also played a role in institutionalizing corruption in Nigeria.” Those problems were expected to get a salve, especially with the successful transfer of power to President Buhari, a man famed for his ascetic lifestyle and Orovwuje captured the expectations and the potential pitfalls, which must now seem prophetic, as follows: “Indeed no one has a fair idea of the critical mass of this government, but it may only be a matter of time that we see the demonstration of a newfound Nigeria where courage, discipline, stewardship and indeed promise-keeping, reminiscent of Buhari’s ancestral DNA, will resonate with the election triumph. One thing, however, is abundantly clear. Unless the bogus structure of governance and the number of political jobbers that draw off the resources of the state at various levels is sorted, Buhari cannot go through with his ambitious economic reforms agenda for Nigeria. We can only hope that the Change is here.” How prophetic! But Orovwuje’s comes from deep thinking and a thorough reading of the social space, which has been his practice for over two decades now.
For Nigeria to achieve true change and development it must regularly engage its peoples in discussions on the terms of the union. That point is succinctly explored in the essays dealing with Nigeria’s corporate history and true federalism and finds expression also in other subjects dealing with the everyday problems in the country such as insecurity and forced internal migration. In them the author sees the symptoms of the main problem, which is a defective federal structure. Again, the failure of leadership connects with the problems of the political and governance structure, because the current arrangement is both unwieldy and unaccountable. He advocates a structure that promotes national inclusion while providing for the expression of the identities of the diverse nationalities at the local level. In ‘Toward a new Governance Structure for Nigeria’, which was published ahead of the 2014 National Conference organized by the President Jonathan administration, the author counsels as follows: “Nigeria should not be in a hurry to forget the disintegration of the former Yugoslavia between 1992 and 1999, which had similar trajectories like us. Therefore, the national conference should facilitate a deep-rooted and inclusive democracy where all minorities are protected.”
Throughout the book Orovwuje emphasises that elite exploitation using the instrument of state power creates social problems,pitting groups and against groups through the vehicles of propaganda, hate-speech and manipulations of the levers of power. To stem the tide toward civil unrest, he canvasses that ‘Politicians should be ready to make necessary compromises whenever it is required in the spirit of national interest.” (The imperatives of Social Harmony)
While majority of the essays focus expressly on issues, a few come in the form of tributes: to Chief MKO Abiola (winner of the annulled June 12 1993 presidential election);President Nelson Mandela; Professor Ali Mazrui; Prime Minister Lee Kwan Yew; Maya Angelou and Dr.Tunji Braithwaite. These are easily recognizable names and their values will resonate with many readers, but in including a tribute to HRH Chamberlain Orovwuje, Okpara I of Agbon Kingdom in Delta State, the author brings out the point that even in our small corners there are persons who have shown commendable qualities deserving of recognition and have in their own ways tried to make a difference in their communities. The king was one such person;he “was a disciplinarian and highly principled man with a large heart that accommodated all shades of opinions, particularly from his chiefs and subjects.”
Federalism, Leadership and Development is not a textbook on those issues but a practical examination of the themes as threads that run through the essays. Broadly the 45 essays provide a deep insight into the historical and contemporary issues that collectively make up the touchstone of the Nigerian experience, a reason the book is highly recommended to anyone who seeks to understand why Nigeria is the way it is, a wasteland of development sprinkled with a few bright stars.
Indigo Reimagined: Celebrating ingenuity of Yoruba women
or over one month, Professor Peju Olayiwola held connoisseurs of the art and many of her followers, including students and the academic community of the University of Lagos, spellbound with her latest collection of art works in a solo exhibition titled ‘Indigo Reimagined’.
The exhibition, held at J.F Ade Ajayi Auditorium Gallery, a wing of the main auditorium of the university, attracted quite a number of personalities and generated discourse, ending on a celebratory note.
On display were about 11 works imbued with the signature tone of the artist and in a her exponential fashion; they tell the story of her sojourn in the art’s world and of her in-depth understanding and mastery of her creative fecundity as well as artistic concept for which she is known over the years.
For this writer who is quite familiar with the artist and was part of her formative years way back at the Ekehuan campus of University of Benin, seeing her works almost 30 years after, was an amazing discovery to behold the transition from the state of an acolyte to that of a master artist.
One was particularly impressed by the maturity and definitive images that have emerged from her creative oeuvre. That she has attained this level of creative proficiency and scholarship within such a period of time was not entirely surprising because she has always displayed an uncanny devotion to art all through our undergraduate days.
She was one of the reliable students then for many of us who were not in the Fine/Applied Arts department, but by nature of our study were required to take classes in her department, and she was always willing to put us through the grind whenever we ran to her with our class work.
Over the years she has developed that knack for mentoring and tutoring a notch higher and has not only become a master artist but a super lecturer. Humane and affable, with easy disposition and soft spoken but certainly with a compelling presence and understated authority and compassionate as well as.
A committed artist who at that early stage of studying left no one in doubt of the path she wanted to pursue. She was very much aware of her background as a royalty and the responsibility that imposed on her but yet very humble and disciplined.
Her art works fully bore the colourful and rich ambience of her cultural background; being of Yoruba extraction in the south western part of the country. Besides, she has also in a very interesting and impressive manner infused into this a good mix of her other half or background, Benin heritage as she is royalty as well from Benin Kingdom.
Her works draped of the rich tie and dye (Indigo) adire tradition of her people where cloth weaving and drawing of patterns tradition was very common. She has also through the works on display gone beyond the practice in homestead to also interrogate the practice, which has extended to other parts of Africa.
However, as a devoted artist to a given course, which she has over the years committed her resources and time in developing, she has infused her character and personality into the presentation of this art and elevated the tradition to a different level through her works.
It is this background that has over the years permeated her works but not without her introducing new elements and techniques, all too peculiar to her creative ferment into what she does. ‘Indigo Reimagined’ exhibition is no less inspired by the same background as she stated clearly that: “The works in this show are about cloth and yet not principally made of cloth. It celebrates the ingenuity of Yoruba artists and the art of Yoruba women who painstakingly painted cassava paste on cloth with feathers. It reveals the inter-connectedness of various artistic genre associated with dyeing such as painting, stencilling and pottery.”
It is this philosophy, intricate patterns and her unique technique of delivery, are well obvious in many of the works exhibited. Works such as ‘Even mother wrapper couldn’t cover,’ done on mixed media; ‘Aso Ibora 1/11’ done in polyster to ‘Kampala series – IV – VI,’ done in metal foil; all exploring different textile patterns but yet blazed forth her signature tone in the manner she has crafted these amazing creations.
While creations such as ‘Etu, aso – oke’ that is dyed in indigo further accentuates her mastery of this medium of creation, which she has so much elevated and shown how comfortable and relaxing that she is working with such medium even though it is most tasking but she is nevertheless so deliberate and definitive working with it.
She also, in a very vivid and powerful manner, took her captive audience back to her growing days in Ibadan, Oyo State, through some fabrics collection which, according to her, dates back to 1989. This is quite impressive and creative.
Also, the collection of 13 glazed treasured household wares, such as cups, and plates, which were all carefully put together and displayed at a the middle section of the exhibition hall, tell the story of the homestead, as these are priceless collections that enrich the home as ornamental and decorative elements but much more than that they also underline the status of the home maker because these are treasured possessions through the ages.
Going down memorable also are such works as ‘Ori mipe,’ done in mild steel, which is an installation that is quite gigantic in nature and can’t be missed out as you walk through the exhibition hall. Quite impressive creations that tell of the personality of the artist as these are timeless pieces that come with a lot of creative prowess.
‘Oje market day,’ a fabric installation, is also larger than life just as ‘Leitmotif I – III,’ which is textile with rich and discernible patterns on them.
While works such as ‘Body blue’ and ‘Sun bebe,’ both done on aluminum foil and polyester, also show the other side of the artist in terms of her understanding of the various interplays and elements that make up her society. They show her power of observation and ability to creatively reflect on what goes on around her in her society.
Reflecting once more on her creations, the professor of art said: “The multicultural dimension of these designs shows that indigo dyeing has moved away from being a solely Yoruba idiom with a large number of West Africans situated around the Bank Olemoh/Akerele area (Surulere, Lagos) practising the trade.
“Oje Market Day is a motley display of colours and patterns and fabric named after the popular Oje Market in Ibadan. It is visual poetry of the portrait of the ancient city.
“Oje Market Day refers to the connection between both local and international markets in textile. Oje Market in Ibadan was known as the international market for textile in West Africa. Exquisite hand-woven indigenous fabrics from different cities in south western Nigeria were sold in the market,” she wrote in the description of the work.
The write up on the exhibition also clearly gave a clear indication of the essence of the entire exhibits and her sojourn: ‘‘Indigo Reimagined’ highlights the multidimensionality of dyeing fabrics whilst simultaneously providing us with a window into the beauty and functions of other indigenous crafts like pottery and metal work associated with dyeing.
“These installations are not limited to the dyed textile as a site of adornment and signification. Instead, they redirect our gaze at the very process of ‘art as art’ in their own right; in a sense, the process, methodology and labour of making art is itself conceived of as art.
“This conceptual, yet tactical, engagement with cloth compels the viewer to look at the often neglected but important aspects involved in the process of this long-standing tradition of indigo dyeing. The show stands as a reflection of modern urban culture in the introduction of new themes, techniques, and materials. It ultimately challenges the viewer to see cloth in its multiple socio-cultural and political dimensions.”
Many of the visitors rated the exhibition very highly and one of the noted commentators on the works is Nigerian renowned artist and master sculptor, Professor Bruce Onobrakpeya, when he described the artist as a gem and cultural hero.
“You are a gem and a cultural hero. I haven’t seen an installation of this magnitude using various materials to celebrate our cloth history.”
Professor Olayiwola has come a long way from her days in University of Benin, Benin City, where she earned a Bachelor of Arts in 1988 before proceeding to Nigeria’s premier university, University of Ibadan, for her MA and Ph.D. in Art History in 1991 and 2004 respectively.
She comes from a very rich artistic and historic background and has put that to good use working through the years in various mediums as metalwork, pottery, textile and sculpture, with her focus on coterie of issues and developments within her confine and beyond.
Her sojourn in the academic world started from her former school, University of Benin in 1991 where she taught in the Fine Arts Department and later in 2002 moved over to the University of Lagos.
Now a professor of fine arts, she has over the years earned a number of awards, which include: Best graduating student at the University of Benin Art school in 1988; NYSC Merit Award, Lagos State (1989); Distinguished Researcher’s Award, Faculty of Arts, University of Lagos, 2007; Two Central Research Grants of the University of Lagos; and Commendation for teaching at the University of Lagos, in 2005. She is Professor of Art History and the current Head of the Department of Creative Arts, University of Lagos.
Tyson Scholar at the Crystal Bridges Museum, Bentonville, USA and Distinguished Visiting Scholar at the University of Arkansas (2019-2020); US Lagos State Consulate Grant 2017; US Alumni Exchange Award 2018 and Goethe Resident Artist grant, (KNW), Dusseldorf, 2017.
She is President – elect and Vice President of the Arts Council of the African Studies Association (ACASA), USA and member of various associations; Board of the Lagos Studies Association; Art Powa Publishing Network (ARTPOWA), South Africa; International Committee of Museums (ICOM); College Arts Association (CAA); Nigerian Field Society, Ibadan Branch (NFS) and other organisations.
Biyi Bandele’s Rain returns on stage
‘Rain’, a play written by Biyi Bandele, goes on stage on Sunday, August 25, at Terra Kulture, Victoria Island, Lagos.
Directed by Toyin Oshinaike, produced by Park Theatre in collaboration with Theatre @ Terra, the play features guest performance by standup comedian Odogwu D Comedy Machine. Famed for his performances on television as “Principal” in Bovi’s comedy series titled “Back To School”, Odogwu also hosts a yearly one man stand-up comedy show known as Home Alone.
Rain, which won the International Students Playscript Competition in 1989, is an absurd but funny play of two crazy street sweepers who find their mental balance in telling each other tall stories that reflect their warped state of mind made up of and by the state of the nation.
Park Theatre is the resident theatre platform established to offer and promote regular theatre culture within the serene atmosphere of Freedom Park Lagos, which is in response to the urgent call for more community-based performance spaces that balance the delicate needs of the performers and the community they serve.
The play was earlier staged at Esther’s Revenge, Freedom Park, Lagos, on Sunday, June 23, 2019. It was also directed by Toyin Oshinaike.
Wizkid becomes first African to hit 8m monthly listeners on Spotify
Afropop star, Ayodeji Balogun aka Wizkid has become the first African artist to hit eight million monthly streams on Spotify.
Spotify is an online, music streaming platform that pays royalties based on the number of artists streams as a proportion of total songs streamed.
News Agency of Nigeria (NAN) reports that streaming records revealed Wizkid’s popularity on the platform on Monday.
The previous record was held by Congolese rapper and singer, Maitre Gims. He had seven million monthly listeners.
This win follows Wizkid’s recent collaboration with DJ Spinall and Tiwa Savage on ‘Dis Love’.
The singer also featured on ‘Like,’ a new single by British-Ghanaian rapper and singer, Kojo Funds.
The music star is also the first African artist to walk the runway at a Dolce and Gabbana fashion show while his music `Soco’ played at the background.
Wizkid started recording music at age 11 and managed to release a collaborative album with the Glorious Five, a group he and a couple of his church friends formed.
In 2018, he became the first African artiste to sell out Skyway Theatre. The only other artist who has achieved same feat in Minnesota, is Beyonce.
The ‘Sweet Love’ singer recently made Billboard entry for his collaboration with Beyonce on her ‘Lion King’-inspired album.
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