Saturday, November 27, 2010

Macmillan literary night


Crown Troupe of Africa performs at the event

Nigerian writers got the accolades they have rightly earned over the years at the eighth Macmillan Literary Night held on Thursday, November 18 at Agip Recital Hall, MUSON Centre, Lagos.


Octogenarian, Chinua Achebe; Nobel Laureate, Wole Soyinka; dramatist, Femi Osofisan; poet, Niyi Osundare and deceased writers, Amos Tutuola and Cyprian Ekwensi, amongst others, were lauded for their contributions to Nigerian literature.
The event themed ‘Penning Our March to the Golden Year: A Celebration of Nigerian Literature in the Last 50 Years', was attended by many lovers of the written word. The task of introducing some of them, especially the chair, Tunde Babawale, Director General, Centre for Black and African Arts and Civilisation, and the special guest of honour, Babatunde Raji Fashola, the Governor of Lagos State, fell on Nigeria's first female permanent secretary, Francesca Emmanuel.
The vice chair of Macmillan's literary committee, who executed the task with a touch of class, apologised for the late commencement of the programme. She capped her excellent presentation by reading an excerpt from Peter Enahoro's ‘How to be a Nigerian'.
Worthy ambassadors
Her husband and chair, Macmillan Nigeria Publishers, Bode Emmanuel, welcomed guests thereafter. He noted that the night provided an opportunity to boost creativity, writing and reading. He said Nigerian literature is representative of a country on the move as "it constantly draws from the country's realities in the best tradition of protest art." Emanuel added that it was inevitable that writers would speak out against the excesses of the Nigerian society after a bloody civil war and ill managed oil boom.
The publisher described the emergence of first generation writers including Achebe, Soyinka, Ekwensi, J.P. Clark and others as a "landmark" because they succeeded in giving "African literature focus and direction, and propagated African values to the outside world." He noted that rather than abating, issues that first generation writers condemned in their works multiplied, thus leading to the taking up the gauntlet by second generation writers. Labo Yari, Femi Osofisan, Abubakar Gimba, Festus Iyayi and Odia Ofeimun, Emanuel said, have at various times condemned corruption and other ills in the society. He added that contemporary writers including Ben Okri and Helon Habila have toed the same path.
Emmanuel further noted that apart from the Civil War being the cause of poet Christopher Okigbo's death and the imprisonment of Soyinka, it has been a major issue to Nigerian writers, providing a creative outlet for many of them. Elechi Amadi's ‘Sunset in Biafra'; Soyinka's ‘The Man Died'; Chukwuemeka Ike's ‘Sunset at Dawn'; Ken Saro-Wiwa's ‘Soza Boy' and Chimamanda Ngozi Adichie's ‘Half of a Yellow Sun', he noted, are examples of the country's rich civil war literature.
The publisher however expressed happiness that in spite of ills afflicting Nigeria and its literature, the writers have achieved a lot on the international scene. He mentioned the translations Achebe's ‘Things Fall Apart' has undergone and Soyinka's Nobel Prize for Literature as examples. He further praised writers for succeeding in exporting our culture to other parts of the world. "Nigeria stands tall in international politics because of the arts and writers... Nigeria stands redeemed through the works of writers," he said. Emanuel also restated Macmillan's dedication to quality publishing.
Laudable project
Emcee, poet and polemicist, Odia Ofeimun, keyed in to Emmanuel's last statement by noting that the company did something he had always wanted this year: releasing four new books. ‘A Childhood Journey' by Mary Oto Lijadu; J.C. Agunwamba's ‘The Poacher's Daughter'; ‘Too Close to the Rocks' by Jide Oguntoye and Onyechi Mbamali's ‘Your Man Abednego'.
Fashola, who was represented by Babajide Sanwo-0lu, the Commissioner for Establishment and Training, commiserated with Macmillan on the demise of educationist Aliu Babatunde Fafunwa, vice chair, board of the company. He disclosed that he was impressed by the company's effort to sustain and project Nigerian literature through the literary night initiated. "This is a laudable effort to promote reading," he noted. The Governor reiterated the importance of education to development and urged people to buy and read at least a book a month.
Presentations
Rather than have the chair's remarks, Ofeimun tweaked the schedule to take the presentations, which involved four major Nollywood artists reading excerpts from some works. Norbert Young, Ihria Enakimio, Tina Mba and Ireti Doyle all read while the Crown Troupe of Africa performed. The group's opening glee was a refreshing piece different from their usual offering. It earned them generous applause from the audience. Their second and last presentation, a dance drama titled ‘Our Story' and Wole Soyinka's ‘I Love This Lagos' were also appreciated.
The quartet of Young, Enakimio, Mba and Doyle, also did a commendable job, adopting the mannerisms of their characters. Young perfectly adopted the accent of a Yoruba man while reading Amos Tutuola's ‘The Palmwine Drinkard' while Enakimio did same with Frank Aig-Imoukhuede's pidgin poem, ‘One Man, One Wife'. The two ladies were not exempted in convincingly portraying their characters. Folk group, Nefertiti, accompanied the artists on some excerpts. The quartet did Ken Saro-Wiwa's lengthy, risqué and irreverent pidgin poem, ‘Dis Nigeria Sef' together to end the session.
Critical tool
It was only then that Babawale gave his speech. The CBAAC boss said he was honoured to have been asked to chair the event and described it as a "night of fulfilment, education and sober reflection on the state of our country." He commended Macmillan for doing a great job over the years and reiterated the place of the arts in the society. Babawale said one of the greatest mistakes Nigeria has made in the last two decades is giving preference to science and technology to the detriment of the arts. "Literature provides a critical tool with which you can analyse the society and you need a critical mind to develop. Government must be told in clear terms that we must do everything to support Literature," he said while pledging CBAAC's continuous support to Macmillan.
Babawale, who pulled no punches despite being in the employ of government, also condemned the country's decaying infrastructure. "Ladies and gentlemen, must this continue? No. Go home and start reading."
Source: 234next.com
Read more...

Eye on the Soundcity Music Video Awards


PSquare wins

Prior to the Soundcity Music Video Awards of November 20, its organisers generated a lot of hype about the calibre of the event they were planning to unfold. The major gist was how different this show was going to be from prior SMVAs and also from other award shows in the country. "We are aiming for international standards," CEO of Consolidated Media, owner of the Soundcity brand, Tajudeen Adeputu was quoted as saying.

The show started with the ubiquitous red carpet which the SMVAs had transformed to a fashion show hosted by Spice TV, the lifestyle channel and sister brand to Soundcity. The red carpet was opened only to holders of the VVIP ticket sold at N100,000 and special guests. The dramatically and beautifully lit runway which was hoisted at the poolside of the Eko Hotel and Suites, Lagos, featured designs from top fashion houses across Africa, especially Nigeria. There were exquisite designs from Lanre Da Silva-Ajayi, Tiffany Amber and Dax Martin from South Africa, amongst others.
The award show proper which was held at the Expo Hall of the same hotel started at about 11pm.

Uti the host
The event started with a performance from P-Square, backed by a high-octane dance routine from dancer, Kaffy. The announcer soon introduced the host and Big Brother All-Stars winner, Uti Nwachukwu. Heralded by bikini clad females and himself in glittering metallic overalls, Uti's entrance aimed for the dramatic but only marginally achieved it. (To balance the bikini-clad females, at another point during the show, bikini-clad males accompanied Adaora, host of MTN Project Fame on stage to present an award.) There had been some sceptics on the choice of Uti as host. However, with the sarcastic wit he displayed on Big Brother, his supporters felt he was worthy. At the end of the day, both sides of the debate came out justified. He had his high and low moments but there was nothing of the spectacular, either good or bad.
Unlike last year's show where the sound quality was held in question, this year it was loud and clear. For those on the balcony who were not able to feel the raw excitement from the well-lit stage (the downside of VIP area), there were small screens in strategic corners there and also huge ones on the walls of the hall that transmitted high definition images. The camera and video-editing crew did a pretty good hands-on job as there was no way one could have missed what was happening on stage or the power of it.
There were however awkward moments brought on by the absence of quite a number of award recipients. Presenters were often left standing aimlessly on the stage after announcing a winner's name without any clue of what to do with the award. When this happened to Fred Amata who had to present the award for Viewers Choice won by Buffalo Souljah for ‘Ezandlha Phezulu', he called on Zaaki "the man from Benue to collect the award for the man from Zimbabwe". This inspired move was accepted gamely by Zaaki and brought on amused chuckles from the audience.

The performances
Still going for big and over the top, the SMVAs had contracted almost all the big names in Nigerian entertainment and one or two from Ghana and South Africa to give life performances. Even so, each staged performance depended entirely on the artists as there were little or no stage effects provided by the organisers. The best performances came from Sasha P, Asa and Whiz Kid who displayed some mean dance skills. D'Banj and the Mo'Hits crew were literal crowd pullers as they (especially after D'Banj and Don Jazzy appeared) managed to get people off their seats and to the bottom of the stage where they roared out their love for the Koko Master. The show all but ended there as most people left the hall in D'Banj's wake, leaving very few to witness Timaya, the last performer, give his usual energetic routine.
From the lights, cameras and stage and hall models, one thing was evident about the SMVAs 2010: a lot of money, effort and attention to detail were put in to this particular event, even starting way back from the runway on the red carpet. But as Julius Agwu who was an award presenter noted, it was sadly a solo project from Consolidated Media with no input from external sponsors.
Although, the SMVAs is still far from what is seen at international awards, especially at the "average" televised American award show, its ambitions were clear. At this stage, it is only fair to say that if Soundcity continues to set such high standards for themselves, they will one day surpass even these so-called international standards.
Source:234nex
Read more...

STUDIO VISIT:Hamid Ibrahim


Veiled

As a child, I used to draw a lot. I won drawing competitions when I was in Primary School. However it was when I got into Secondary School that it finally dawned on me that art was really what I wanted to do. I was tutored and guided by my art teacher then, Mr. Imo of blessed memory. He was a lecturer at the Yaba College of Technology (YABATECH) at the time and was also an art instructor at my school.
Training
I gained admission into YABATECH to study Art. I also have a diploma to teach art. Every other knowledge I have of my craft was learnt on the job.
Medium
I use oil colours. I have done watercolours. I draw a lot but I do not touch acrylic.
Influences
Kolade Oshinowo, my lecturer at YABATECH, is one of my major influences. However, I am not too much into external influences. For me, the struggle in art is listening to your voice. The constant struggle to better yourself is also part of this. You keep moving and trying. You keep telling yourself ‘I can do better'. Influences will come and go but you must be focused.
Inspiration
Everything in life inspires me. I do landscape, waterscape, figures and abstract art. I am a rounded artist. My inspiration varies. I see art as very universal.
Best work so far
I have not gotten one yet. My love for my pieces is temporal. I may like it for a while, after that the feeling is gone. So I am on the search for the best work.
Least satisfying work
After a while, I get bored. All my past works are least satisfying. No art work is completely finished. It's a continuous process.
Career high point
Success is what you feel inside after your work is done. I believe every work, I do can be better.
Favourite artist living or dead
I respect Picasso a lot. Also Rembrandt. My Nigerian favourites are Kolade Oshinowo, Yusuf Grillo and Gani Odutokun.
Ambitions
To do a great painting. I also want my works to have widespread influences.
Source:234next Read more...

On Danse Meets Dance







The festival aims to catch those who don’t normally go to upscale Island venues
The Danse Meets Dance (DMD) Festival is an annual contemporary dance festival that originated in 2001.

It was first organised and run by the French Cultural Centre Lagos until 2004 when the centre closed. The Festival is now being handled by the French Cultural Centre Abuja, Alliance Francaise Lagos and Goethe Insitute Nigeria with technical support from Blackroots International. Additional support also comes from the French Embassy and CulturesFrance, the agency of the ministries of Foreign Affairs and Culture and Communications responsible for international cultural exchanges.
The festival aims to encourage professional dance in Nigeria and give Nigerian dancers exposure on the international scene. The festival features performances from local and foreign dance companies; and also workshops for professional and amateur dancers.
Over the years, DMD has successively served as a launch-pad onto the local and international scene for several indigenous dance companies, one of which is the popular Ijodee dance group helmed by award winning dancer, Dayo Liadi.
With the calibre of foreign and indigenous dance professionals that have featured at the festivals, it is a wonder that DMD has earned little or no public recognition so far. Its aim to encourage dance in Nigeria, however, has led to an increased awareness of contemporary dance within mostly art circles and the proliferation of dance companies in Nigeria. According to Gboyega Adetona, the creative director of the Festival, as many as 20 dance companies have risen in Lagos alone thanks to DMD.
For this year like in past years, efforts were made to get sponsorships, with little success. For a "festival", the event gets very few participants in the way of audience. The organisers are able boast of 2000 people at last year's grand performance show, which held on the last day of the festival. This year, the normally week-long event has been shortened to four days, due to this lack of corporate sponsorship and public participation.
For a country that can boast huge music and dance reality shows, mostly culled from foreign franchises, it is a wonder that an indigenously organised event such as this would have to suffer interest. In the United States, the TV show ‘So You Think You Can Dance' has been hailed for encouraging dance (especially contemporary dance) culture in that country. The show has helped to bring together dance practitioners across America that help to develop workshops aimed at serving those, kids and adults, interested in the dance profession.
For a country, that loves to emulate, one would not be surprised if a production company decides to import that franchise for local consumption sometime in the future. This would be sad indeed, as there is already a foundation to build on with Dance Meets Danse, if only someone would come forward and start building.
The 10th edition of the Danse Meets Dance festival takes places this year from the 1st to 4th December 2010 at the Arts Theatre University of Lagos, Akoka; and the French School, Victoria Island. It is free for all comers.
Source:234next
Read more...

Dance comes to the people


All for Dance... Mfon Umana, Sunday Umweni, Adetona Gboyega and Norbert Cazeilles

Professional dancers from Congo Brazzaville, Germany, Mozambique and Nigeria will perform at this year's edition of Danse Meets Dance which will run from December 1 to 4 in Lagos .

At a press conference to announce the event, Mfon Umana, Director of Communication and public relations officer, Alliance Francaise Lagos, said that the event aims at highlighting the creative and original choreographic work of professional Nigerian dance practitioners.
She also intimated the press of the highlights of the Dance festival which is in its tenth year. "As we mark a milestone this year Danse meets Dance 2010 will be bigger with the participation of 8 Nigerian companies. Furthermore the three winners of the 8th edition of The Danse L'Afrique Danse Festival an international biennial contemporary dance competition that took place in Bamako, (Mali) three weeks ago will be present to display their award winning [routines] on the stage of Danse meets Dance (DMD)."
On the choice of the University of Lagos and the French School as venues, DMD Festival Director Adetona Gboyega said, "We chose UNILAG because this year we are taking it closer to the audience. So that people who usually do not have the opportunity to go to the MUSON Centre to watch dance festivals will be able to do so this time around. UNILAG is open and they want us to do a lot with them so we will also feature a lot of creative arts students. At the same time, the university is close to Surulere, one of the areas we are not close to, so we chose there to be closer to the people.
The event is being organised by the Alliance Francais and the French Cultural Centre in partnership with the Goethe Instituite who is sponsoring through a German troupe coming to Nigeria. It's free and open to all".
Troupes that will perform at the four day event, which will feature dance performances and workshops, include: Studio Maho (Congo Brazzaville), Cie Horacio Macuacua (Mozambique), Qudus Onikeku (Nigeria) and Alajota (Nigeria).Others include Gintersdorfer/Klaben (Germany), Squazd 1(Nigeria), Creative Arts Student UNILAG (Nigeria), Lycee Francais Lagos (Nigeria), Ashiedu Dance Company (Nigeria) and Amulegbajo Company (Nigeria).
Danse meets Dance began in 2001 as an avenue to bring together Nigerian and international contemporary dance companies to share ideas and experiences and how to promote regional understanding and integration through dance. The festival also showcases Nigerian dance companies, dancers and choreographers through stage performances, workshopS and seminars.
Over the years, it has attracted over 500 professional and amateur dancers from all around the globe.
Source:234next
Read more...

A global platform for Nigerian talent


 Rotimi Pedro, Yinka Davies, Pepsi’s Sid, Jeffrey Daniel and Producer Lillias Bode

The latest television talent hunt in the country, Nigerian Idol, debuted on the small screen last week.


Nollywood star, Genevieve Nnaji attended an exclusive preview organised by the show's producers at the Sheraton Hotel, Lagos, on November 21. Present at the event were two of the three judges on the show, singer Yinka Davies and African American entertainer, Jeffrey Daniel of Shalamar fame. The preview was anchored by the show's presenters, Anis Holloway and Misi Molu (aka Yemisi Fajimolu). 
Also in attendance was Rotimi Pedro, CEO of Optima Media Group, current holders of the Idols franchise in Nigeria. He talked to NEXT about his company's plans for the show, as the search begins for the next Nigerian superstar.
The Idol franchise first came in to Nigeria in 2008 but was discontinued after only one season amidst controversies. Why has your company picked it up and why would you be more successful with it?
Looking for the next big star in Nigeria is something I think that is ripe at this point in time. Over the last few years, there has been a huge renaissance of Nigerian music. I have a two and a four-year-old kid. When I was their age, I was singing to Shalamar and Kool and the Gang; those were my mentors. But kids these days are singing to Banky, D'Banj and P-Square. These are the people they know now. They don't know about the American scene anymore. Like I said, there is a huge renaissance of Nigerian music and having a huge franchise like the Nigerian Idol is in line with the mood of the country. This is the reason why we went into it.
Is this strictly a business decision for you or is there also an altruistic desire to invest in Nigerian music?
The way we have positioned Nigerian Idol this time around, it can never be about the commercial aspect of it. It is purely about the altruistic, looking for the next talent and making our contribution to the Nigerian music scene. Over the last ten years we have done very well with sports and we now want to make our contribution to the music sector. We are in it for the long term. We aim to develop the next talent. Our franchise covers 44 African countries, not just Nigeria. In the next couple of months, we are going to launch East African Idol and the Ghanaian Idol. We are about discovering and nurturing the African talent over the next five years so we are in it for the long haul.
The last Idol winner in Nigeria is yet to fully make his mark on the Nigerian music scene, especially after much publicised misunderstandings with the then organisers of the show. What should we expect from and for the winner of Nigerian Idol?
The last holders of the franchise in Nigeria lost it due to this issue of non-compliance to obligation. So because of such issues, the owners of the franchise, Fremantle, were looking for a respectable Nigerian/African company that could actually project the franchise for the next few years and my company, Optima Media Group, came along to pick it up. The [winner of the] Nigerian Idol season one would be recorded and release an album on Sony-BMG and all obligations in accordance with the franchise would be respected.
Simon Cowell expressed disappointment at the fact that many American Idol winners had failed to become big stars. Any such fears here?
I think that Nigerians have the ability and we have the opportunity to discover raw talent in this country. As Jeffrey Daniels [a judge on Nigerian Idol] said, there are people from the creeks of Ajegunle and the Niger-Delta who may never have the opportunity for their 15 minutes of fame but Nigerian Idol is giving them that opportunity to come out and represent this great country of many talents. Based on this idea, we do not think we would have any dearth of talent or problems discovering one. We had ten thousand people that registered and above five to six thousand of them came to the venues, three thousand in Lagos alone; surely, there must be one or two stars in that number.
Tell us more about your company
Before we went into music, we were mainly into sports. We hold at least 80 percent of the market share in terrestrial sports television in this country. We have done that for over ten years. We have now gone into music and entertainment generally. Apart from Nigerian Idol, we would be handling other shows like ‘Got Talent'. We have already done ‘Don't Forget the Lyrics'. Basically, we are building a pedigree in quality production of music formats.
So far, much of your content is based on foreign franchises. Do you see yourselves developing totally indigenous content?
We believe in the global village. A Nigerian guy in the Niger-Delta knows about what goes on in North America and Europe. We want to harness the power of globalisation and promote our own. The world does not live in isolation or with a nationalistic toga anymore. The ethos of our company is plugging into the global network and delivering for our people. Even though we bring these international franchises to Nigeria, we would leave our own mark on it. The idea is to use a global platform to project the Nigerian image and artists that would cross over and conquer the world.
Source:234nex
Read more...

Theatre artists on the journey so far


Members of the Lagos State Executive Council at the end of the Convention.

The National Association of Nigerian Theatre Arts Practitioners (NANTAP) has revealed that it is more than just a gathering of theatre art practitioners if the theme of its 2010 convention is anything to go by.


‘Theatre and Change: Credible Election and Good Governance' was the 2010 theme, as revealed at the opening ceremony of the association's annual convention, held on November 18 at the Mainland Hotel, Oyingbo, Lagos.The association seemed fired up about the theme as it could be deduced from its president Greg Odutayo's welcome address, Ahmed Yerima's speech and comments from various members of the association.
Odutayo said this year's convention was to consolidate on three years of the executive. "We want to be able to showcase the journey so far," he said. "We have reinvigorated the association. We have taken our rightful place as key stakeholders in arts, culture and tourism," he noted. However he added that there is still much to be done, as there were still things happening in the Culture and Tourism ministry, from which the association was excluded.
Odutayo also reminded the members of the need to drive forward the state chapters and membership, as these two areas still needed much improvement. He declared that the theme for the convention became imperative in light of the association's elections this year and of course the impending 2011 election in the country.
Ahmed Yerima
Yerima's speech went in similar direction as he illustrated how theatre and the theatre artist could be used as a tool to effect change. "Can theatre be used to achieve political change? The answer is simple, yes," he affirmed.
Athol Fugard's use of theatre to agitate against the apartheid system in South Africa, Ngugi Wa Thiongo and Micere Mugo's use of Kikuyu language in theatre to depict the injustices of colonial Kenya, Herbert Ogunde's ‘Yoruba Ronu' and Soyinka's efforts in the 70s and 80s were some of the examples he cited.
Consequently, in using theatre to effect changes towards credible elections and good governance in the country come 2011, Yerima argued that the onus lay on the theatre artist. "He must understand the craft of skillfully turning theatre from a tool for entertainment and enjoyment into a weapon of social change." "He must observe the society, recognise the ills, and begin to weave his plot so that the conflict of his play carries the message without making it too didactic. Also the society must recognise and identify themselves within the context of the play" he said in addition.
He counseled that theatre practitioners should take advantage of their relationship with the media to send specific messages on the elections to the Nigerian populace. He also warned theatre artists not to sell their fame cheaply for a few bucks."Good governance can only be achieved if the individual artists are also careful in the choice and the personality of those they endorse," he said.
Yerima spoke about the $200 million endowment fund for the arts which President Goodluck Jonathan had announced would be made available to support the arts, and raised relevant questions about it, which elicited much response from delegates.
One attendee called on the association to look into ensuring that the fund is judiciously used and not misused. Another contribution advised that artists source for their own survival because they would not be objective in their criticism of politicians' excesses if they continued to go cap in hand to government. The responses revealed that Ahmed Yerima's speech had made its mark as comments continued to flow.
Veteran actors Dejumo Lewis ,Lara Akinsola, Ben Tomoloju (one of the founding fathers of NANTAP), Mufu Onifade and Martin Adaji of the National Troupe of Nigeria, were some of those present, among many others.
There were delegates and executives from the various chapters of NANTAP. There were also representatives from the Creative Designers Association, Committee for Relevant Art, The Lagos Chapter of the Guild of Nigerian Dancers (EKO GOND), Indigenous Movie Makers Association of Nigeria, Voice Over Artists Association and many other affiliated bodies of NANTAP.
In his goodwill message to the association Dejumo Lewis praised NANTAP for being a well organised and focused association in the entertainment Industry. "We are proud of NANTAP," he enthused.
Source:234next.com
Read more...

‘Africa needs good writers'







The author did a lot of research for ‘In Dependence
In Sarah Ladipo Manyika's debut novel, ‘In Dependence' Tayo goes off to study in Oxford and encounters the love of his life in the person of Vanessa, a young English woman. The story opens in 1963, in the heady days of independence and optimism for the newly liberated nations of Black Africa. By the novel's close in the late 90s, Manyika has taken us on a narrative journey of love and loss, age and regret; with the optimism of independence having slowly wilted away.

"The title goes to the fact that the book begins in the independence era. The political implications are there in the story," the author says of her novel. Chief among the motivations to write the story, she readily confesses, was what she saw as a dearth of universal themes like love in most books being published by African writers. Whilst acknowledging that stories of conflict are African realities, the author, a literature lecturer at San Francisco State University, insists that war and carnage, hunger and disease are not the only stories. So, she set out to write a simple yet complex story about the need to love and be loved - as writers the world over have done down the ages.
Capturing the era
The world of the novel is an elegiac, romantic one of ships and postcards and letters, symbols of a now disappeared world. "The sixties, seventies and eighties were times when people wrote letters. That's been eclipsed by email now," Manyika observes, while explaining that she used the ‘I' of the letter writers to bring readers closer to the characters' thoughts. "This is a novel that spanned a lifetime. I wanted the story to mirror the evolution of the characters; as they are young earlier in the novel and we follow them till they're older."
Among the things that strike the reader about ‘In Dependence' are the many eras and milieus convincingly evoked in the novel. "I actually did a lot of research. I wanted to make sure that I was true to the spirit of Oxford during that period," she informs. "I read all the student newspapers for the years my characters were at Oxford. None of it made it into the book, but it gave me the confidence to know that I could capture that period in history. I did many interviews with old students, too." She also spoke to her own family and friends' parents for not only "contextual detail, but also a feel for the language, films of the time and the music they were listening to."
Telling Africa's stories
The experience has shown her that there is a wealth of stories of Africa and Africans yet untold. "I feel that there are so many stories to be told," she reiterates. While researching for ‘In Dependence, she interviewed someone who had been instrumental in bringing Malcolm X to Oxford University in the early sixties; and who had corresponded with the African American leader via postcard for sometime afterwards. "There is a whole, fascinating history in that connection between those two people," she asserts.
Manyika talks about the need to "overturn this power structure" that means only certain stories about Africa come to the fore through Western publishing deals. "Africa needs good writers, wherever those writers come from," she declares. "I hope more and more books will be published. I would love to see a burgeoning of writings, more writing awards, residencies." She also hopes to see more Africans in positions of ownership in the publishing industry.
Indeed, one of the points raised early in ‘In Dependence' is the need for Africans to tell their own stories, for the continent's stories not to be seen via the constricting prism of Western eyes. Yet in a seeming contradiction, Vanessa goes on in the novel to become a renowned journalist on Africa, a white Africanist of sorts, telling the continent's stories. Manyika concedes that, "Any book is open to interpretation. At the end, it's up to the reader... All my characters are flawed to one extent or another and Vanessa is no exception."
Pan-Africanism
In the West African Society in Oxford, Tayo and friends discuss issues including racism, love across the boundaries of race and country, identity, as well as power relations between Africa and Europe. Asked if the discussion topics mirror her own concerns, Manyika is emphatic: "The writing is certainly is not a voice piece for my thoughts. I am there in those conversations to the extent that I care very deeply about the African continent. Through the various characters, I am exploring the questions that I've asked and that others have asked."
A Nigerian of mixed ancestry, Manyika has lived in Nigeria as well as in Kenya, among other places; and is connected to Zimbabwe by marriage. One of her short stories is published in the anthology, ‘Women Writing Zimbabwe', and she keeps a close eye on writings out of Harare even as she is a part of the Nigerian literary community, albeit from the Diaspora. "It's really exciting to see what's coming out of Zimbabwe," she says of wave-making writers like Petina Gappah and Brian Chikwava. "Because I'm married to a Zimbabwean, I have extended family there and spend time there. I feel connected in many ways. There's an element of West Africa in Zimbabwe." To buttress this point, she cites Chielo Zona Eze's novel, ‘The Trial of Robert Mugabe' that begins with the reference that his first wife was Ghanaian.
It's no surprise perhaps that the novel begins in the sixties, the high noon of Pan Africanism, with the likes of Nkrumah striding the length and breadth of the Black world canvassing the dream of a united Africa. Manyika hopes her readers will take something meaningful from ‘In Dependence', not least "that aspect of hope, that the original Pan-African spirit will resonate with them."
On women writers
‘In Dependence' is published in the UK by Legend Press and in a West African edition by Abuja-based Cassava Republic Press. A blurb on the book notes, in a complimentary tone, that "even the sex is well mannered." Why has Ladipo Manyika not gone with roaring sex scenes, as is de rigueur in contemporary novels by Nigerian female writers? "Just wait till my next book!" she jokes, then adds, "I personally find some of the most enticing... a lot can be left to the reader's imagination." The allure of many a romantic scene, she suggests, "is not about the roaring sex but the anticipation of what is to come."
The author feels an affinity with fellow women writers. "I'm conscious of women writers. It's often a struggle for women to write because we have to juggle more things," she says. As a reader therefore, she is especially drawn to short works by women, including Petina Gappah's stories, Virginia Woolf's essays and the stories of Edith Wharton and Jhumpa Lahiri, among others.
A constancy of themes
The themes in her works reflect "ideas that are occupying my mental space." There is a constancy to the themes. "Africa is always there somewhere in my consciousness," she reflects. She touches on recent news headlines about race riots in Italy: "African immigrants who have been used as slaves by the Mafia - these stories aren't really being told, they've been subsumed." Other preoccupations include women and ageing; and identity - "This notion of who we are and where do we fit?"
Sarah Ladipo Manyika did a book tour of Nigeria late last year, and was pleased that she didn't have to explain as much as she would have had to do with European readers. "I feel that Nigerians are maybe able to engage with the novel more," she says with satisfaction.
The author is currently working on a collection of short stories set in Harare, ‘Transatlantically Speaking'; and a novella set in San Francisco, with women from different parts of the world as the main characters.
As part of the drive to see more confident writings from the continent, she actively encourages other writers, "due to my desire to read stories that haven't been written, because it inspires me."

‘In Dependence' will be reviewed in next week's edition of The Lagos Review.
Source:234next.com
Read more...

Return of ‘The Last Pictures Show'







‘The Last Pictures Show’ has had its seventh run
For the second year running, works by Nigerian and Cameroonian artists were on display at The Last Pictures Show, organised by Catherine Pittet's company, Gondwana.

The five-day exhibition kicked off on October 29 with a cocktail at Terra Kulture, venue of the show. This was the seventh edition of the yearly event, which had run its first five exhibitions solely in Cameroon.
Present at the opener were artists Ndidi Dike, Alex Nwokolo, Jean-Marie Ahonda and Terra Kulture's Bolanle Austen-Peters.
The exhibition opened to the public a day after. On display were works of various media from 55 artists including Nigeria's Richmond Ogolo, Duke Asidere, Babalola Lawson, Fidelis Odogwu, George Edozie, Kehinde Balogun and Cameroonian artists Elolongue Weti, Bekoun Calaudee François, Louis Epee, He Zoul, Guillaume Makani, Francis Budin, and Maurice Tchinda Tchim.
The works shown
For lovers of art, it was a mixed grill of the abstract and the realist, ranging across various media.
These included works in acrylic on canvas by Bob-Nosa Uwagboe and Aser Kash, metal sculptures by Fidelis Odogwu and Agose Patrick Ighogbedhere.
Blaise Bang, Joe Kessy and Cheupine Njoya all had mixed media pieces; and there was photographic art from Pierre-Alain Bignalet, which captured city life in Cameroon. Mostly untitled, one of these featured stevedores on a boat and two women dressed in traditional attire. Rural life appeared to be the thrust of Mathieu Mbainaissem's works: cows grazing, corn fields, and village men and women in trade.
Amongst other interesting pieces was Nwokolo's ‘Congestion.' The piece done in oil on canvas depicts the overcrowded state of a Lagos province. ‘Manhood,' also by the same artist features, four young men apparently in the nude.
Weti from Cameroon made use of bottle tops to create captivating images; one titled ‘Le Monde' (The World) and another piece, ‘Unity in Diversity.'
Jean-Marie Ahanda's dual-purpose mixed media sculptures were also a sight to behold. Turned right-side up, upside down, front or back, the pieces depict a mother with a child tied to her back and a calabash on her head; or a young maiden with a long, slender neck. Marbles and sea shells were other components of the works. The artist also had a series of abstract paintings on display, but the sculptures stood out.
At the heart of Emmanuel Ekong Ekefrey's art was both modern and traditional African existence. One of his works, ‘Molue Bus', portrays the Lagos city bus in its usual overloaded state. Bodies dangle from the windows and faces peep out through the fender. In the midst of the chaos, one passenger can be seen brandishing the Benin traditional sword. Birds and giraffes were the focus of Sabastiene Berenyny's animal-themed paintings.
Catherine Pittet
According to the organiser Pittet, her outfit and the featured artists were satisfied with this edition of the exhibition, which closed on November 2.
"We are very happy because at Terra Kulture, we had the opportunity to display most of the works and I think everybody was very happy. It was better than my first time in Nigeria. This is my second time presenting the works in Nigeria and we had a better (place) to show the works," she said.
In her words, the sales and appreciation for Cameroonian artists was also better than the first time, when the show took place at The Civic Centre in October 2009.
"Many people bought (the artworks this time round). Cameroonian artists are happier this year because last year people did not know them. (At the initial edition) Nigerian artists were very happy in Cameroun but it was not the same for the Camerounians in Lagos. But they are better known now and (sales) were better."
Consequent editions of the show will take place for the first time in Cote d'Ivoire in February 2011 and in Paris (for a second time) in October 2011. While looking forward to taking it to other countries in the future, Pittet maintains that the exhibition will keep its home in Lagos. "I think we are coming back here because Terra Kulture has a gallery and I like to stay where I feel good."
Pittet feels good enough to be grateful that support for the exhibition has grown in Nigeria, but she hopes for a bit more. "We have small support and I wish next year we will have more. (I hope that) people like Coca Cola, Samsung and the telephone companies will support the exhibition."
She believes arts across the West Coast will receive a huge boost if funds are available to allow more artists feature at the exhibition. Pittet is however positive that lack of support will not dampen her spirit. "This is my life. I am a designer. It is part of my life."
With no preference for any particular artist, she says her exhibitions are open to all; either those who approach her or those she approaches. In her words, "It's a big family. We are all friends."

‘The Last Pictures Show' opened in Cameroon on November 26 and runs till December 1.
Source:234next.com
Read more...

Fashola and filmmakers in mutual appreciation


 Eko o ni baje: filmmakers pose with the governor

The 2010 Association of Movie Producers (AMP) Eko International Film Festival started at the National Theatre, Iganmu, Lagos, on Monday, November 22 with the governor of Lagos State, Babatunde Raji Fashola, in attendance.

The governor's presence seemed a big issue to the filmmakers as they prepped themselves prior to his arrival. The emcee, actor and TV programme host, Bimbo Manuel, continuously warned the others to put their mobile phones on silent or in vibration mode and stop moving about, as Fashola would soon join them.
Veteran filmmaker, Eddie Ugbomah, was among those who didn't heed Manuel's plea. His Fela Anikulapo Kuti's ‘Trouble Sleep' ring tone startled even him as he stood beside the governor 
Mr Governor, please intervene
AMP president, Paul Obazele, welcomed guests to the occasion. He disclosed cheekily that he fasted and prayed for two weeks to be able to see the governor and invite him. "He is my friend but because of the nature of his job and demands on him, it is sometimes difficult to reach him," he said. Obazele noted that the filmmakers have a cordial relationship with the Lagos State government but reminded Fashola of some promises he had made to them earlier.
The AMP president said they had fulfilled all the conditions demanded by the government, including having a united house and improving the quality of their productions. He appealed to the governor to help them combat piracy, create a fund for filmmakers to draw from and establish neighbourhood cinemas to show their works. "All of us have invested but have never reaped the fruit; it's a monster that is threatening movie producers," Obazele said while highlighting the effects of piracy. He also reminded Fashola of his promise to introduce Cinematography as a course at the Lagos State University.
For members only
The festival director, Zach Orji, perhaps spoke the minds of the artists when he expressed happiness at Fashola's presence. He commended the Lagos State government for always supporting filmmakers and disclosed that the wife of the governor, Abimbola, had participated in past editions. The popular actor noted that this year's edition of the festival was organised specifically for members, as it included film financing, writers and coproduction fora. He added that there would also be keynote speeches on "various sectors that touch the industry." Orji also acknowledged AMP's collaborators, including the National Theatre. "I hope that we would have moved a step further in the quest to grow the industry after the festival," Orji concluded.
Our own Broadway
Fashola, who spoke extemporaneously, began by saluting the doggedness of the artists. He noted that despite people's reluctance to associate with actors in times past because they were perceived as the wretched of the earth, they have made significant contributions to the country's economy. "I shudder to think what would have happened if those pioneers hadn't opened the economy that was there, that so many of us couldn't see," he said.
The governor also commended the artists for joining the fight to ensure that the National Theatre wasn't privatised. "We should learn to put proper value and take ownership of what is ours and be proud of it. People go to Broadway... this is our own Broadway."
Pirates are our brothers
Fashola made the artists happy when he assured them that the government will join them in the fight against piracy. "Piracy is a problem, it undermines the returns that you get and it undermines your effort. But I can start by saying you should never despair, you should never give up. The people who pirate your work are also our brothers and sisters. Let us understand that they do not dislike you. It's not that they have a personal quarrel with you but there is an economic opportunity there and that is the best way they have responded to it. It is for us as leaders to show that there is a better way, a way in which we can take them along.
"And as I said when I first met with you, they would become your distributors, marketers and agents and everybody will have a win-win situation. It will require advocacy, it will require even better communication from us, not only from you. How many movies have we made about the ills of piracy? Have we made many to educate people? It's one thing to go and shut down the place today but if people don't understand why they must change, we fight a very difficult battle.
"I will work with you, hopefully using science and innovation to help further protect the quality of your final output. I've made contact with some people that I think can assist us, who are consulting for the government, from Harvard University. They are very sensitive to the development of this economy and are willing to help. Where it takes us, I don't know, but I have never been afraid to try."
Look beyond government
He also advised the filmmakers to look beyond government for financial support. "Banks in this country, like in any other country, exist for one purpose: to lend money... If the business is strong, if the business is good, if the business is well presented, banks will support it. You and I have to wear our creative caps and put on our creative thinking ability to make this business more finance-friendly. Government alone can't do it."
Though he didn't rule out the possibility of government support, the governor urged patience on the part of the filmmakers. "The idea of a government supported fund, I take on board, but you will allow me not to make a commitment because I think somebody has been sharing information with you from inside my government. Until I finish what I'm doing in that area, I will not announce anything. But you will get support from our government."
Restorer of dignity
Fashola further noted that the moviemakers' contribution extended beyond Nigeria and just paying taxes. He lauded them for "helping to imbibe and sustain dignity in people who will never have had the chance. People who ordinarily would have gone cap in hand begging to live, they have the opportunity to do dignified work for a dignified pay and be proud of society."
He promised that their request for a section for Nollywood in his government's proposed film village in Badagry will be granted just as he assured that Lagos places premium on tourism.
Sadly, it appeared that the opening ceremony was all the filmmakers cared about, as they failed to provide a detailed programme of events for the week-long event that ended on Friday.
Source:234next.com
Read more...

Fela! bursts onto the London stage


 Fela and his queens on the London stage

The corridors of Olivier Hall of The National Theatre, South Bank, London was crowded on the evening of November 16, when I arrived just minutes short of the start of the musical, Fela!. It was the opening night of the critically acclaimed Broadway production, which had already bagged three Tony awards and was much talked about in international thespian circles.

It is not often that an African personality is celebrated and chosen as a subject for western theatre; therefore the excitement was palpable as this evening marked its next step: a debut in London's Theatreland - and the British media were out in their numbers to appraise this curious collaboration of American stagecraft and African music. 
Songs by Fela played softly from hidden speakers around the busy corridors of the hall, seducing us to a state of ecstatic anticipation. The songs interrupted frequently by recorded voice simulations of Fela urging that the motley audience take their seats as the show was set to begin. We finally made our way from the small talk, the bars and the sales stalls offering Fela merchandise and trickled to our seats.
The Olivier had transmuted into a world of colours, symbols and images. Grabbing attention high up on the right wing of the hall was a giant portrait of Funmilayo Ransome-Kuti, Fela's mother. The stall terraces were draped with flags of various African countries. The stage background was a blown up image of Kalakuta Republic, while the foreground paid homage to many traditional deities: Oshun, Shango, Esu, Ogun and Yemoja.
Projected pages of newpapers proclaimed news like ‘Fela Raided in Ghana', ‘Let's legalise polygamy - Fela'; and the many scrolling, flashing and shifting stage accoutrements that were scattered above the stage ensured that one did not quite know where to look. The stage set was a tribute to excess - oddly fitting in depicting the life of a musical legend who was known to have been ruled by extreme passions.
Preceded by his beautifully decorated dancers, who taxed their waists and derrieres in seductive dances that left many in the crowd gasping at the audacity of their ample behinds, Sahr Ngaujah swaggered onstage and promptly took the thousand-strong audience down a headlong dive into the life of Abami Eda from the first strains of ‘Upside Down'.
Unknown Soldier
We watch with wistful appreciation his devotion to his mother, whom he praises as "the first (Nigerian) woman to drive a car... the first to visit China... The Teacher" and we mourn along with him in pin-drop silence after her death at the hands of ‘Unknown Soldier'. We accompany him when, evoking the spirit of his mother, he summons an Egungun who leads him by the hand to seek her in the world of the spirits. And along with him feel the reprimand of her pronouncement when he begs to abandon the homeland: "I refuse to give my permission for you to use what happened to me as an excuse to run away."
We are acquainted uncomfortably - considering the British audience - with his long-held scorn for those he calls Nigeria's "tea drinking guests, the ones who take our petroleum and people and leave us with gonorrhoea and Jesus." And together we are pallbearers who carry gifts of ‘Coffin for Head of State'.
When the musical seems to double back on itself, we accompany Fela on his musical education to grey, cold London and sympathise when he wallows in what might be termed a quarter life crisis. We all discover his identity in Black emancipated Los Angeles, learning at the feet of Sandra who is as much a political influence on him as Malcolm X and Eldridge Cleaver whose texts she plies him with. And we share his triumph when he declares, "Music is about change and I'm going to change the world."
Complemented by a 12-piece band - with London-based Afrobeat musician, Dele Dosimi, on the keyboard - and two lead singers who played the two major influences in Fela's life Melanie Marshall (Funmilayo Ransome-Kuti) with her steely soprano, and Paulette Ivory (Sandra Isadore) crooning in sultry alto, Ngaujah sweated his way through several saxophone build-ups, while exuding the megalomania and larger than life charisma of Fela. He played the audience expertly, we laughed when he wanted and danced when he ordered. He took us from raucous participation in the notorious pelvic thrusting clock dance to sad contemplation of the still-bitter state of affairs in the nation he tried so hard to change.
Shuffering and Shmilling
‘Water No Get Enemy', ‘Coffin for Head of State', ‘Expensive Shit', ‘Upside Down', ‘Shuffering and Shmiling', ‘Sorrow Tears and Blood', ‘Zombie', ‘Yellow Fever', led us down route after intriguing route in the life of the much missed icon. Finally, Ngaujah asked, "Who here has ever been to jail?" and surprisingly several hands shot up in the audience.
Two of the more insistent hands came from the first and fifth rows, and moments later, stage lighting revealed them to be no other than Fela's sons, Seun and Femi Kuti. Seated discreetly among the crowd with his older sister, Yeni, Femi had undoubtedly tried to evade recognition until the nostalgia of the recreated shrine ambience prompted him to abandon anonymity. Seun on the other hand had hardly been able to restrain himself from joining Ngaujah and the dancers onstage. His head bobbed, shoulders shook, and feet tapped in evident enjoyment of the music and the bird's eye view of the spectacular dancers gyrating before him in an alternation of perfect choreography and reckless abandon.
Employing a colourful array of costumes, expressions, dances, ideas, Fela! was spectacular in its drama. Bearing in mind its international audience, however, many of the songs were performed in English rather than the Pidgin English. The musical also played, as it were with the facts: Fela was no known Abiku, who had eschewed his mortality in anger at being given a foreign name. Yeni, was quick to defend these add-ons when NEXT caught up with her after the show, "It's a musical, they can't get all the facts right. You will not find me criticising it because it has ensured that almost 14 years after his death, Fela's legacy continues to live internationally."
After curtain call
The performance seemed to be packed too tight on a body too thin, getting lost in the hazy area between drama and musical. Nigerians may not have seen all of the Fela they know, but the parts of Fela seen fit to be depicted was played out in almost an overdose. "The story is flimsy and confused, there's a lack of narrative drive," complained Henry Hitchings of The London Evening Standard, and one could not agree more. One might therefore disagree with Femi Kuti's remark that "This show is for the international audience. It gives the average foreigner knowledge of Fela and what he stood for. We Nigerians are too critical; we want the Nigerian accent and fail to understand the intention of the producers."
Seun Kuti who was seeing the musical for the seventh time, said he found it enjoyable though less heightened than the Broadway shows. "Not in the message," he hastened to add, "but in the drama."
Watching Ngaujah alternate between abrasive confidence, soul and affected contempt for his "political enemies" was a thrill only slightly marred by his mispronunciation of Yoruba expressions. And one could not help but wonder, as he appeared in one elaborately embroidered Fela trademarked costume after the other, whether this job of playing Fela could not be better delivered by D'banj, whose new Mr Endowed mantra seems another of his similarities with the illustrious "one who carries death in his pouch".
Enquiring from Femi if when Fela! debuts in Nigeria as hoped, D'banj would be playing Fela, met with a bright eyed knowledge but a refusal to comment, and one can only wonder whether the Koko Master is not as we speak taking a crash course in playing the brass.
Fela! at London's National Theatre is an exhilarating testament to the achievement of Fela Anikulapo-Kuti while being at the same time exaggerated yet sketchy; toned down, as it were, to appeal to British sensibilities. One therefore hopes that when the musical visits Nigeria, the Abami Eda will be unleashed on his people in all his overwhelming glory.
Source:234next.com
Read more...

UN raises alarm on state of poor countries


 Supachai Panitchpakda, Secretaire General UNCTAD.

The world’s poorest countries are trapped in boom-bust cycles and their medium-term prospects are a cause for concern, the United Nations Conference on Trade and Development (UNCTAD) said in a report issued on Thursday in Addis Ababa.
The 49 states, categorised as Least Developed Countries (LDCs), weathered the global downturn better than expected, but they now need a new systematic international approach to development, rather than ad hoc emergency measures, to reduce their economies’ reliance on raw materials, UNCTAD said.
“They have not been able to benefit from any global trends to wean themselves away from increasing dependence on commodities,” UNCTAD secretary general, Supachai Panitchpakdi, told a briefing.
 
The 258 report, which was titled ‘Towards a New International Development Architecture for LDCs,’ said though these countries were coping with recession, they remain stuck in ‘boom-and-boost cycle’, which have long plagued their economies, and that their medium-term prospects posed a cause for concern.
The report said the 49 poorest countries need better-designed financing - rising from an estimated $4 billion to $17 billion per annum by 2030 - to cope with the difficulties posed by climate change.
“They will have difficulty escaping poverty and ending the chronic vulnerabilities, and even boom periods have done little to improve living standards in those countries,” it stated.
Optimistic on growth
It said that aggregate growth indicators showed that average GDP growth in LDCs was 4.3 percent in 2009, higher than in other developed countries.
It also stated that donors appear reluctant to scale up their external assistance, but that the new multilateral lending may have partly cushioned the downturn, but it certainly contributed to the build-up of external debt.
“While debt owed to official creditors remains far below its level of year 2000, in the median African LDCs it increased by 1.5 percent of GDP,” the report stated.
“By April 2010, a total of 10 LDCs were in a situation of debt distress and another 10 were at high risk of debt distress,” it said.
The report, which was jointly presented by Jean-Noel Francois of the Trade and Investment Department of the AU Commission, and Maryam Dessables of the UN Economic Commission for Africa, said in spite of the challenges, most of the LDCs would achieve the MDGs by 2015.
Source:234next.com
Read more...

ACN lawmakers oppose colleagues on electoral act amendment


 Olorunnimbe Mamora

Lawmakers of the Action Congress of Nigeria, in line with their party’s leadership, on Thursday broke ranks with their colleagues over the ongoing amendment of a section of the 2010 Electoral act to enable lawmakers become part of the executive council of their parties.
The ACN lawmakers, who said the amendment was self-serving, announced their position on Thursday after a meeting with the party leadership in the National Assembly complex, Abuja.
They said the current amendment of the electoral act, which seeks to order all political parties to have a National Executive Committee comprising all the federal lawmakers, offends the Constitution and stifles the ability of the parties to make their own constitutions and decide who attends their executive committee meetings.
“Instead of the feeble defence offered by its authors, that it will strengthen internal democracy in the political parties; we say unequivocally that it can only succeed in turning the parties to political zombies,” Usman Bugaje, the party’s national secretary who represented the party chairman said. “How can a zombie party thrive on internal democracy? This is a paradox that is glaring to all except those behind the obnoxious misadventure.” Mr Bugaje argued that prescribing uniform constitution for the parties, with regards to the constitution of the party’s NEC, the conduct of primaries and the other party guiding principles in the 2010 electoral act, would limit the choice of which party Nigerians could opt for.
 
“This to us is like prescribing one medicine for all ailments. This is wrong. It is not for the National Assembly or INEC to tell all parties how to conduct their primaries. Democracy cannot grow through such regimentation. We reject it in its entirety,” Mr. Bugaje said.
Internal democracy
The PDP-led national assembly, however, had argued that the various amendments in the 2010 electoral act will ensure internal democracy in the political parties.
“The talk about internal democracy, as a reason for regulating party primaries, by the PDP-led National Assembly, is a smokescreen, self-serving move. While the PDP may have a reason for doing that - to satisfy a faction, we at the ACN do not have such problems and should not be railroaded into one a one-size-fits-all kind of arrangement. It is up to parties to determine how their candidates will emerge,” Mr. Bugaje said.
The party criticised almost every amendment in the electoral act, ranging from the sequencing of elections to the proposed amendment which will make most of the legislators member of their party’s NEC.
“We believe that the ongoing attempt by federal lawmakers to gate crash into NECs of various political parties is anti-democratic, self-serving and downright unconstitutional. The national assembly as a whole whether senators or House of Representatives fully associate ourselves with the position of the party on this issue,” Mamora Olorunmibe, leader of ACN caucus in the national assembly said.
Femi Gbajabiamila, leader of ACN in the House of Representatives corroborated Mr. Mamora’s stance. He also said some members are being victimized for opposing contents of the proposed 2010 Electoral act amendment bill.
Source:234next.com
Read more...

Northern leaders refute reports on consensus


 Atiku Abubakar




The Northern Political Leaders Forum (NPLF) on Thursday refuted reports claiming that its consensus candidate, Atiku Abubakar, beat former military president, Ibrahim Babangida, by a single vote.The rebuttal was contained in a press released by the forum’s secretary, Bello Sabo Abdulkadir.
Mr. Abdulkadir said the report cannot be true because he was the only non- member of the NPLF present at the voting and that none of the reporters spoke to him.
 
“Unknown to the peddlers of this false report, I, Bello Sabo Abdulkadir, Secretary to the consensus Committee was the only person present, who was not a member of the committee,when the voting to choose the consensus candidate took place. Yet, even I have no idea which member of the Committee voted for which candidate simply because the voting was by secret ballot and no member volunteered any information to that effect,” he said, adding that “the forum would have totally ignored the report if the report did not also attribute its story to ‘a source, who witnessed the vote.”
He said the report in question failed tenets of journalism in the sense that none of the reporters spoke to him or to any member of the consensus committee. “As a matter of fact, each member of the committee has assured me that they have never met with any of the reporters nor spoken to any since the conclusion of the process. How then did the reporters come about their vote count, not to talk of matching votes and voters to specific candidates? The report is, to say the least, highly irresponsible and regrettable,” the statement said.
He also apologised to “all whose hard earned reputation the report seeks to tarnish, especially the aspirants who submitted themselves to the consensus process.”
Source: /234next.com

Read more...

Obasanjo laughs at Atiku’s candidacy




Former president Olusegun Obasanjo yesterday laughed off the emergence of his erstwhile deputy, Atiku Abubakar, as the consensus candidate of the North in next year’s presidential elections.
Mr. Atiku had, on Monday, been named the presidential aspirant of the region by the Northern Political Leaders’ Forum led by Adamu Ciroma.
Mr. Obasanjo, who was approached by reporters while leaving the council chambers of the presidential villa where he had, alongside three other former heads of state, attended the National Council of State meeting, was initially reluctant to respond to questions from journalists on his former deputy’s chances at the polls.
But unable to avoid the throng of persistent journalists for long, he comically cleared his nose with his inhaler for a long while before replying in pidgin English: “ah, I dey laugh o!”
Rather than complete his statement or speak further on the issue, however, Mr. Obasanjo turned into a preacher.
He said he had always prayed for happiness in life and now he is a happy man. He went ahead to pray for journalists who were eagerly waiting for him to make a full comment on the question they had asked him.
“My prayer for you is that you will always have happiness in life” he said, and he got a loud chorus of “amen”.
Katsina state governor, Ibrahim Shema, who was also approached for his reaction, merely told journalists that Mr. Atiku is just a presidential aspirant and that the north will speak for itself at the appropriate time.
When asked to comment on the emergence of a consensus candidate from the region ahead of the polls, former head of state, Muhammad Buhari replied that his party, the Congress for Progressive Change (CPC), has nothing to do with the issue of zoning.
“Zoning is a purely PDP affair, but CPC’s constituency is the Federal Republic of Nigeria. Anybody, anywhere can contest for any office he think he can achieve,” Mr Buhari said.
Source:/234next.com
Read more...

Absence of witness delays probe of House’s N9billion scam







The EFCC chairperson, Farida Waziri
Nigerians hoping to see the outcome of investigations into the N9 billion scandal in the House of Representatives, may have to wait a little longer.
Investigations by NEXT indicate that the Independent Corrupt Practices and other related offences Commission (ICPC) and the Economic and Financial Crimes Commission (EFCC), which are both investigating the allegations, may have hit a brick wall and may not conclude investigations anytime soon.
“Though our investigations are ongoing, we are presently stuck at some point, but we will ensure we complete our investigations,” a senior official of the ICPC close to the investigation said at the weekend.
Indications are that the cause of the ‘temporary halt’ mentioned by the ICPC source involves a man believed to be behind the companies that received the inflated contract. The man, who is believed to have fled to England, is being trailed by the anti-corruption agencies.
“Already, we have confirmed that there was inflation of prices in the contract. But, the man central to the companies that secured the contracts escaped to the UK when we wanted to bring him in,” an ICPC investigator told NEXT.
The investigator, who declined to mention the suspect’s name, explained that the commission might seek the man’s extradition if he fails to return to the country to explain his role in the scandal.
The fraud allegation started in the House of Representatives when some members accused the speaker, Dimeji Bankole and the house leadership of mismanaging N9 billion of the N11 billion capital vote received by the house between 2008 and 2009.
The legislators, who called themselves “the progressives” and led by Dino Melaye, addressed a press statement on June 16, 2010 during which they gave Mr Bankole one week to resign or be removed.
The legislators, who also called for a probe of the house finances, further accused Mr. Bankole of authorizing “a spurious, vexatious, and reckless expenditure profile at a time when there is so much economic hardship.”
In other to prove that they were right with their accusations, “the progressives” submitted their petition and accusations to the EFCC and ICPC for investigation.
Inflated Purchases
Some of the items the “progressives” accuse Mr. Bankole of purchasing at inflated prices include torchlights, which have a market price of less than N2000 per unit, at N18000 each and 400 units of Samsung 40 inches LCD television sets, which cost N160,000, but were purchased at a unit price of N525, 000. Others are the purchase of 800 units of HP Desktop computers, which cost N160,000 but were purchased at N330,000; and sharp digital photocopy machines (model 5316), purchased at N270,000 as against N160,000.
“The progressives” also accused the house leadership of wasteful expenditure in the purchase of seven SUV cars for Mr. Bankole and his deputy, Bayero Nafada.
When contacted to give the official position on the status of their investigations, the spokesmen of the two agencies gave similar positions.
“We are on it. Our investigations are ongoing,” said Folu Olamiti, the resident media consultant of the ICPC, who refused to give further comments. Femi Babafemi, the EFCC spokesman asked this reporter to call back to confirm the status of the case but efforts to contact him later were unsuccessful.
Even the judiciary stalls
In the heat of the allegations by “the progressives”, the House of Representatives suspended Mr. Melaiye and 10 other members indefinitely, following a rowdy and violent session.
The suspended members, however, approached the court demanding a reversal of their suspension and that their arrears since their suspension be paid in full. After listening to the arguments of both parties, Muhammed Adamu, judge of the federal high court Abuja who is presiding over the matter announced that the judgement would be delivered on November 15.
After two postponements however, Mr. Adamu is yet to give his ruling. The case has now been adjourned to December 2 for ruling on the legality or otherwise of the legislators’ suspension.
Two of the eleven members who were suspended have been recalled by the House of Representatives. The lawmakers, Ehioge-West Idahosa and Gbenga Onigbogi, withdrew their case from the court and apologized for their actions.
Source:234next.com Read more...

Power sector assets not for strippers, says minister


 Government does not want PHCN’s critical assets to go into the wrong hands Photo: Femi Adebesin-Kuti

The Federal Government yesterday said the unbundling of the Power Holding Company of Nigeria (PHCN) and the privatisation of the power sector was not yet finalised because it does not want the company’s critical assets to go into the wrong hands.
Nuhu Wya, the minister of state for power, said at the 2010 ministerial briefing in Abuja that despite the criticisms by the National Union of Electricity Employees (NUEE) and the Nigeria Labour Congress (NLC), the power sector privatization programme would proceed as planned.
 
Mr. Way said that though the wounding down of the PHCN has continued to elicit protests from the company workers and affiliates of the organised labour, government is determined to go ahead with the plan and complete the process by next year’s second quarter.
“Government is determined to see the eventual privatization of the electricity sector as planned. But the public must be assured of the federal government’s commitment, to ensure that the sector’s resources do not fall into the hands of asset strippers,” Mr. Wya said.
“The power sector reform programme, which started in 2005, is well on the way to completion. The Power Holding Company of Nigeria (PHCN) is expected to be wound down by the second quarter of 2011, but government would insist that the exercise is not in favour of those in government that looted the $16 billion spent on the sector during the Obasanjo regime. Selling the company to these people would only impoverish Nigerians,” he declared.
Increased electricity supply
According to the minister, despite challenges militating against the completion of the privatisation process, the present administration has recorded significant improvements in the level of electricity supply to consumers since the beginning of the year.
Government, he said, was searching for people who are not only financially vibrant, but possess the ability to add value to what they are buying, adding that with several other infrastructural challenges that the government was facing, the search for foreign investors was unavoidable.
“The consequence of not taking these decisions would be very colossal. As long as the PHCN remains in the hands of the government, the country will continue to be penny wise, pound foolish. If we will not fulfill our responsibilities, we will continue to live in darkness. So, this government is saying: enough is enough; let’s go the full length of the reforms,” he said.
Hussein Labo, PHCN chief executive officer, said the power sector reform was inevitable, pointing out that individuals or groups that are against the ongoing privatization process were either unproductive staff or ‘freeloaders’, who are not really interested in the progress of the sector.
“There are two groups of people who are against reforms in the power sector. The first group is the unproductive members of staff who think when that utility is reformed they will be out of work; while the second group is people who enjoy certain benefits when the utility is under private hands, and they believe they would not continue to enjoy such benefits if the reform succeeds,” Mr. Labo declared.
Source:234next.com
Read more...

PERSONAL FINANCE:Have you embraced internet banking?




The internet has r e v o l u t i o n i z e d banking andpersonal finance inmany ways and mostbank customers are familiar with online orinternet banking services. Surprisingly however, many people even though equipped with internet on. Whatever the reason may be that you have not yet embraced your banks internet banking service, here are some compelling reasons to do so. Bank at your convenience Nowadays, we are all so busy in our work lives, that there often isn't the time to visit the bank. With internet banking, you can carry out most of your routine banking transactions at your convenience. As you are not bound by the banks' opening and closing hours and don't have to physically visit the bank, if you have internet access, you can check your account balances, and manage your various accounts with a few simple clicks from your laptop or computer, your I-pad, or even your cell phone. With this service you can plan to pay your bills on line and on time.Most households have routine bills to pay each month such as telephone, internet, cable television and so on. The process of writing a cheque and sending it to the same company every month can be inconvenient; with your online bill payment facility, you can schedule your payments easily and save yourself valuable time.
Some service providers in environments where online banking is widely used are able to offer better terms such as slightly higher interest rates on savings accounts and lower service charges. This is because internet banking is cheaper to maintain than the traditional bricks and mortar with attendant high overheads. As with any service there are tradeoffs and it is important to be aware of some of the pitfalls of internet banking.
Learning difficulties?
Some people avoid using internet banking services because they find it difficult to understand, particularly some members of the older generation who may struggle with technology issues and find it difficult to adapt. The signing on process is usually quite simple; you are expected to provide some form of identification, to complete a form and forward it to your bank. Thereafter all you have to do is to simply visit the banks website and log on to your account after establishing some security measures including a username and password. Bank websites can sometimes be difficult to navigate at first and some users might find them confusing and abandon them from the outset. Getting acquainted with the banking sites softwaremay require some time and effort for you to get comfortable. Banks must upgrade their websites periodically or may even change them entirely, by adding new features to enhance the site. This naturally leads to some down time as the changes are being implemented. Most bank websites do give some guidance by providing some basic tutorials to walk you through theprocess. Security concerns In spite of its growing popularity, there are still many people who feel unable to trust the system. Even though internet banking sites are usually heavily encrypted, one cannot rule out the fact that from time to time even in the largest global banks, sophisticated "hackers" may gain access In addition to the security that your bank will provide; it is useful for you have. some security software on your computer to reduce the chance of your account information being compromised. The personal touch Internet banking can be somewhat impersonal and not everyone is ready to give up the bank tellers' window, or forfeit the bank manager's smile. Some people prefer to relate to a human being and are uncomfortable dealing with a machine. With a brick-and-mortar bank, you are likely to have some familiarity with the bank staff. If you are the kind of person that needs enjoy the personal touch then you may never feel completely comfortable with virtual banking. However for your most basic transactions such as bill paying and small transfers it still makes sense to handle such transactions on line and then go into your b r a n c h for the m o r e significant matters. Some institutions have developed a seamless customer friendly service. For others sadly, you may experience appalling service, ranging from a website that is difficult to navigate, frequent server downtime and so on, much like the variations in customer service from bank to bank. Clearly, the whole concept of internet or online banking has its pros and cons. If unlimited access to your bank accounts and convenience is high up on your list of banking priorities, then internet banking is ideal for you; for those who have signed on, banking online helps them organize and manage their financial lives efficiently. For others however, it continues to be intimidating and complex. The truth is that the internet provides us with endless opportunities in our personal finances and it is important not to be left behind. Embrace internet banking now.
Source:234next.com Read more...

Shareholders will benefit from corporation


 Mustafa Chike-Obi, Managing Director, AMCON

Banks shareholders remain unsure of what becomes of their shares after the Asset Management Corporation (AMCON) assumed the banks' liabilities. Some of them claim that they have not been called by the rescued banks or the corporation on the corporation workings and procedure. But the Corporation has assured the shareholders that they will not be wiped out "AMCON has not spoken to any shareholders, to let us know what will happen to shares and other issues related to it," said Boniface Okezie, a shareholder and leader, Progressive Shareholders Association.
 




"On what grounds is AMCON taking over? Until they tell us (shareholders) that this is what they are doing and that this is the mode they want to follow, they have still left shareholders out. These are the things that brought backwardness some years ago, the government taking over or managing private institutions. The banks themselves have not come to us to say this is how AMCON will affect us or not. If the corporation takes over and sits on the board of banks, that is nationalization. It will not augur well with such institutions," Mr. Okezie added.
The banks management are also not spared by the Central Bank. Mohammed Abdullahi, the bank's spokesperson said the banks are responsible for updating their shareholders on issues regarding their shares. "The banks are to talk to their shareholders directly, and they are talking to them already. The shareholders are part of the discussion that the banks are having with other people, including prospective investors, so it's not the Central Bank that would do that" Mr. Abdullahi disclosed.
While some of the rescued banks claimed they have been talking with their shareholders on the proposed workings of AMCON, others said they were not doing that yet. "We have been talking to shareholders," a source at Spring Bank said. "We have already had about two meetings with them and have explained to them about AMCON, their shares and other issues, like recovered funds and others regarding the process".
A source at Intercontinental Bank said the bank would talk to its shareholders on AMCON, when it is time to do so. "You know all these things cannot just happen or take place like that," he said. "Recapitalisation and the corporation are in stages. When we get to that stage, the shareholders must be carried along. We would definitely update them when its time," he added.
"Right now, AMCON is just putting together their structures but they have said they are not in the business to take over any bank. The want to help banks work on their capital level so that new investors can invest in the banks. It is certain that when it comes to the issue of recapitalisation, shareholders would definitely be carried along" a source at Oceanic Bank claimed.
Shareholders will benefit
Meanwhile, some finance analysts said AMCON's intervention is a good development especially as it concerns shareholders' fund. Muyiwa Oni, a research analyst at Stanbic IBTC said the corporation will help in the valuation of the rescued banks' shares.
"I'll say that the corporation is positive for shareholders of the distressed banks," Mr. Oni."The shareholders' funds of the distressed banks are negative so we cannot say that the corporation will put shareholders funds at risk. As at March 2010, the total shareholders' funds of all the distressed banks stood at negative N1.458 trillion. On the contrary it will preserve some value for the current shareholders.
"The negative shareholders' funds are a shortcoming for the shareholders and so they will need to inject more funds if they want to maintain their holdings. Since AMCON is bringing in capital, it will have to own a stake. This will dilute the holdings of the shareholders significantly because of the amount that it will invest. I think what is important to note is that the shareholders stand to lose everything if the corporation does not step in" he added.
David Adonri, a stockbroker, similarly said that the corporation will benefit the shareholders. "Without AMCON, all shareholders will lose their investments. The intervention of corporation is a blessing because this means their shares will still have value. It intends to cooperate with the Central Bank to look for other investors and bring fresh funds. When this come, the banks will come alive, and then the shareholders wealth will now finally be secured." "AMCON will be silent" It's duty is to douse nationalization concerns; its inclination is not to be a voting shareholder in banks but protecting its investments and participating actively with others to recapitalize the banks.
Mustafa Chike-Obi, the AMCON chief said it is not the intention of AMCON to wipe out existing shareholders.
"The truth of the matter is that for the shareholders, the banks have negative equity but it is not the intent of the corporation or the government, in this case, to wipe out existing shareholders so what we will do is that we would buy the non-performing loans first, then we would recapitalize the banks to zero," Mr. Chike-Obi said last week in an interview in Abuja.
"In that process of recapitalisation, we would have a split between AMCON and the existing shareholders. Then we as a group would find an acquisition partner and an M and A (Merger and Acquisition) partner, then a negotiation with that partner would determine the final shareholding of the existing shareholders, AMCON, and the new shareholders".
The corporation chief gave the assurance that shareholders will never be forced to sell their shares in this process. "They may sell at the market if they think the market is high enough or they can stay and be partners with AMCON in the new recapitalised bank but they will never be forced to sell and nobody will force them out".
"Right now, the rescued banks have negative capital. If they go into liquidation or NDIC, they will be wiped out. The whole purpose of this exercise is that we want to create some value for these rescued banks so that the shareholders are not wiped out. We hope that by buying the NPL's and recapitalising these banks, there will be some value for existing shareholders".
Chike-Obi also said the corporation will be a silent shareholder. We expect that negotiations between the new acquiring partners and the banks will mostly be conducted by existing shareholders and the new ones. AMCON is just there to help the process. We will observe and protect our investment."
Source:234next.com
Read more...