Ogo ... A hope to Vitiligo patients

 

 BY OMIKO AWA

SHE was at the ground floor of the Nigerian Institute of International Affairs (NIIA), Lagos, receiving guests and giving directions on how to put the conference chamber of the institute, venue of the official launch of Vitiligo Support And Awareness Foundation (VISTSAF), in other. Beaming infectious smiles and donning simple attire that exposes her athletic physique, Ogo Maduewesi, Founder-cum-Executive Director of the orgainsation prances the stairs, taking special guests to their seats by herself. Her warmth and carriage leaves longing fondness of wanting to be with her, most especially, as she talks on Vitiligo; a skin disorder that is keeping many emotional depressed and out of active life.

  How did it start?

 “ I woke up one morning in 2005, to see my lips white. I didn’t bother because I’m allergic to many things, so, I felt it was one of those reactions until it appeared on my jaw, fore head and hand; then it occurred to me to see a Dermatologist, who said it was a fungi growth and prescribed some drugs, which after one month of usage didn’t make any change. “ She continues, ”this made me to go from one hospital to another in search of cure, but finally ended up at the Lagos University Teaching Hospital, LUTH, Lagos, where I was told it’s Vitiligo, a skin disorder. I was also directed to the Internet for more information on it, which I did.”

   Before going to LUTH, charming Ogo had on her own prayed never to have the skin disorder, behold that prayer never reached her God, as the dreaded patches turned out to be what she had dreaded. This made her to lose her sleep.

  “So, when I was confirmed to have it, I had no choice than to accept my fears and live with it. I used to have them on my hand, back, neck and head, but with time and medication they have reduced to some parts of my body such as my face, hand and lightly on my neck; while some have totally disappeared, ” she says.

  And the guys? This is one question everybody wants to know she enthuses amidst laughs.

  “Em-mmm, when it started I was in a relationship, which ended as a result of already existing problems. I don’t believe it was the white patches that led to our parting though people say it was. However, between 2006 and 2007, I could not get into any relationship, because of my depressive mood and decided to take my time. I was so dispirited that I would not respond to anybody’s, ’h-e-l-l-o.”

 But having read much about the skin disorder, Ogo mustered courage to lead a normal life, knowing that her despondency aggravates it. “By December 2005, it was spreading so fast on my body that I thought I had got to the end of the tunnel. My broken relationship further placed me in a traumatized condition … sorry that’s not the right word; I was totally depressed without knowing I was doing more harm to myself, because I had not really understood Vitiligo.  At LUTH, I was asked, why my patches were spreading fast in just six months. I couldn’t really answer the question; I just stared, not knowing what to say. But, when I realised the harm I was doing to myself; you know…. I could have killed myself in that condition, so, when I was enlightened, I quickly changed my perception,” she enthuses.

   You mean emotional depression affects it?

    “Yes, when you’re highly depressed, it does! It’s dangerous! Some people say they started noticing it when they lost their loved ones, job or something that triggers depression. I didn’t know all that, instead I was gradually killing myself, ‘thinking out’ my heart,” she says.

  The Nnewi in Anambra State-native and second child in a family of six children, three girls and three boys, is no longer bothered about her skin patches, in fact, she has seen several embarrassing situations that she now flaunts them.

  “Apart from the gazes, guys at various times have told me, ‘beautiful girl, if not for theses patches on your body, I would have gone out with you’. That’s is the type of psychological torture sufferers go through on daily basis. There was even a case of one of my in-laws directing a suitor through my mother to me, the you man after discussing with me never bothered to call on me again even when I had raised the issue of the patches on my body to him, which he didn’t see as something serious, but only to go back to reprimand the woman that directed her to me for doing so. When I was told of it two years later, I just said I’m not bothered, because I had gone over the depression of having Vitiligo,” she recalls.

  Could all these be the reasons for the foundation? Ogo with all seriousness responds: “Yes! When I had Vitiligo, I started looking for people with the disorder, so that I could learn from them but none was available to explain anything to me. It was like I was getting mad, I was confused that I had to go to anybody with a patch to ask if it’s a birthmark or Vitiligo. It was then; I knew that there is something wrong with our society. I began to drop my phone number with people for anyone that finds someone with the skin disorder to call me. But the story True Love Magazine did on me in 2008 opened the floodgate for people to call me to find out more about Vitiligo. Hearing from them gave me the impression that they’re all crying for help and was happy when I started talking about it.  So, I formed the foundation to create awareness, educate and inform people about the skin disorder.”

   “Vitiligo patients face a lot of ridicule, she stresses, imagine when I buy something and give people money with my right hand, they don’t take it, but if I give them the same money with my left hand they will collect it; at times people run away from us, not wanting to do anything with us. So, when I made myself known, people started calling me within Nigeria and outside, inviting me to come to Ghana, Kenya and other African countries to do something for them.”

   The search for information in the Internet made Ogo to meet Prof. Raymond Boissy, the president of the first Vitiligo Foundation in the world and invited him to Nigeria for the launch of VITSAF, in which he presented a paper.

 “I’m proud today, that I have Prof. Raymond Boissy, the president of the first Vitiligo Foundation in the world partnering with me and also Eryca Freemantle as my Patron. I contacted them through the Internet, when I was sourcing for information and we chatted and today they are here, not only to present papers, but also to partner with me.  VITSAF is linked to all organisations that have one thing or the other to do with Vitiligo,” she mutters.

   Ogo, a young woman in her mid 30s believes so much in sufferers coming together to learn from each other and to create awareness about the disorder.

   “It’s our talk and we have to ‘talk it’.  Other people do the talking for those living with one ailment or the other such as Acquired Immune Deficiency Syndrome, AIDS, but for us, it is not so, that is the reason we have to do the talking by ourselves. People are asking a lot of questions that need to be answered; it is by doing the talking that we create the necessary awareness, educate people and disseminate the right information,” she intones.

    Do you not seek solace in spiritual healing homes?

    “Hey, I was invited to as many churches and spiritual homes as you could imagine, but I held to the belief that God can heal me directly if He wants without going to any pastor for prayers. I don’t know if it’s my early exposure to spiritual churches when I was growing up that made me to take that stand. I believe this happens to make me do what I am doing now, impacting on people and disseminating information for those undergoing the plight to live life to its fullest. It’s not all about fame or money, but to make sufferers to come out from their hidings and agonies to lead a normal live,” she enthuses.        

   Ogo, who graduated from Rivers State Polytechnic, and University of Ado-Ekiti, Ekiti State, and later Pan-African University, Lagos, having overcome piercing gazes and deleterious comments feels free to attend events and socialise, not minding her visible patches. She says it’s all about ones mindset and packaging.

“I try as much as possible to package myself properly, look good and trendy and not bothering who is saying what or leering at me. For, if you don’t do that people are ready to send you to your early grave with their stares.”

   But, what could have caused it?

    “Well, for now there is no known cause.  But some schools of thought believe that the combination of genetic, immunologic and neurogenic factor could trigger it in most cases. Many people report pigment loss shortly after severe sunburn while others relate the onset to emotional trauma. However, Vitiligo is a non-contagious skin disorder in which white patches appear on different part of the body because the cells (melanocytes) that make pigment in the skin have been destroyed. This is common in exposed areas of the body such as, mouth, eyes, nose, hands, face, upper parts of the chest, nipples, genitalia, armpits, groin and sites of injury. It may spread to other areas, but there is no way of predicting where it will spread to and there is 20 per cent chances of spontaneous recovery,“ she informs.

  “Because people don’t know the cause, they attribute it to one witch or wizard. For instance my parents were told that someone inflicted it on me, to prevent me from getting married. My dad at a point was almost believing this fallacy until we started getting information about it, she gushes.

   So, with this, are you getting the support of your parents?

  “Initially my father was against my establishing a foundation, he said you have something you are try to deal with and you are going to expose yourself to the world; but when he realized the magnitude of what I’m doing, he keyed into it and now he is one of my greatest supporters,” she says.

   But why did you not conceal the patches at first? “Conceal!” She intones almost with a shock.

  “I don’t want to conceal them.” She explains running her hand gently on the part of her forehead that has the marks, “though I have been advised to do that, but the truth is, if I conceal them, what will give me the hope and courage to talk to people about what I’m doing. So, it serves as a sign of encouragement to others having it, more so concealing them don’t come cheap,” she adds.  “Instead of concealing them, I try to manage it with food and drugs. Dongoyaro leaves are wonderful on it, chew the leaf if you can, or put few drops of the oil in water and drink. Take enough of morning sun because of the vitamin D and don’t expose yourself to heat or the hot afternoon sun.”

  Ogo, who why in search of information in the Internet chatted with Eryca Freemantle, who happens to be a sufferer, too, informs that Eryca apart from telling her more about the skin disorder, motivated her to actualise her dream. Was that why she is your patron?

   “Having seen all she went through, I felt she is the right person to be the patron of the organisation. She was distressed for the first 20 years of her life and had gone through life touching experiences that would make people to know that there are people feeling or had felt the way they are feeling now; and that there are people that understand their plights. So, I chose her because of her tall credentials of impacting on people through her life experiences; besides she has Vitiligo on her back and also a corrective make-up specialist, which makes her more qualified to give advice,” she chips.   

  And the fund

   “It’s not been easy, I combine my savings with the free services I get from people to run the organisation, but hopes to have international donors some day.”

  Looking happy that the foundation has taken off, Ogo advises sufferers, “manage it, and don’t give up hope of living. Eat healthy and take your drugs. And if any drug seems not to be effective for six months try another; meet people living with it for information, education and counseling. And over all be loving, shun moody conditions and package yourself properly.“

From CORA, it’s stampede for a better Nollywood

Efforts to reposition and move the nation’s film industry forward so that it could be attractive to investors and project the country and the African continent to the world better, telling Nigerian stories and for Nollywood to serve as a money-spinning industry after the oil sector may well have started with a recent arts stampede on new trends in the industry

Mahmoud Ali-Balogun

It was the initiative of Committee for Relevant Art (CORA), which held last Sunday, through its quarterly art stampede that brought together filmmakers, actors, marketers, film critics, art journalists and other stakeholders to share information on how to move the industry forward.

  Hinging its position on the fact that the movie industry is the off-shoot of the nation’s TV drama, which started from the conventional stage plays and the moving theatres of the pre-independence era, CORA in its drive chose as topic: The New Trend in Nollywood — a look at the recent works that are redefining Nollywood.

Steve Ayorinde

With a panel made up of the nation’s leading movie practitioners, which included Mahmoud Ali-Balogun (producer of Tango With Me); Kunle Afolayan, (The Figurine); Stephanie Okerereke (Through the Glass); Chidi Nwokobia (Champions Of Our Time); Emem Isong (Reloaded); Lilian Amah-Aluko (Jungle Ride); Vivian Ejike (Private Storm); and Kelechi Ikata, who represented Chineze Anyaene (producer of Ije) with Steve Ayorinde, editor of The National Mirror Newspaper moderating, the group critically examined some of the latest movies to have come from the industry.

  Kicking off the discuss, Ali-Balogun identified scripting as one of the areas to look into and called on practitioners to have the audience at the back of their minds when writing their scripts. He further noted that not knowing this, has contributed to most movie scripts appearing in the format of tele-drama scripts. He noted that there are different script formats for the TV, stage plays and the cinema. Apart from that, he frowned at most movies for not allowing the pictures to doing the talking, adding that “for our films to actually be accorded their desired place and viewing at the international scene, producers should make actors talk with their bodies, gestures and the scene as against the soap opera-format currently in place”.

  Ali-Balogun also emphasised on sound as one of the elements that can help to tell a story better.

  On the other hand, Afolayan called on practitioners to identify their genre of movie — historical, cultural, romance, comedy and others — as well as carrying out research to backup whatever information they want to pass on to the audience. He added that his award-winning movie Figurine underwent a four-year research to be what it is.  Apart from this, he advised that filmmakers should always make their movies to be arty in nature and entertaining, so, as to have commercial value.

  For Okereke, whose quest for something new and different led to the production of Through the Glass, said there was a dearth of the right people in the distribution and marketing chain, which are essential for the growth and development of the industry. She also noted that this obvious lack had made pirates to reap where they did not sow. She called for partnership with corporate bodies to build more cinemas, funding and to expand distribution network for movies.

Kunle Afolayan

  Nwokobia and Emem Isong reiterating the views of other panelists called for continuous training and retraining of practitioners as well as exposing them to the latest trends in the industry.

  In his contribution Richard Mofe-Damijo, the former Delta State Culture and Tourism Commissioner, said, “There are diverse ways to reposition Nollywood. Though some believe the problem is distribution; for me, one thing that is uppermost, is engaging the private sector with a view to moving the industry into the main financial stream. Assess to fund will only come when people who are in charge of fund distribution pick interest in the industry. If they say Nollywood is the place to invest in the next five years, you would see everybody move into it.

  “Practitioners and other stakeholders should be actively involved in eliciting interest in the industry for private investors to come into it. If we do that, it will open a new vista and people will not cry for fund the way they are now crying. Fagbola did it so many years ago, though an experiment, and the scheme was over subscribed. I believe we are at that point now; we need to link up with the financial sector with a view to recommending it to their clients to invest in.”

Richard Mofe-Damijo

Using his experience in government, he said he engaged the private sector in his directorate and succeeded in bringing in the people that helped build the tourism sector in Delta State.

   He added, “Government is basically to create the enabling environment for private practice to strive and once that is done, so long there is security, the money will come.  Government has no business with funding; what it creates is, maybe, endowment. Waiting for government to fund the commercial viability of our films will never happen for the next hundred years. Government is to create institutions that can drive the process of bringing investors.”

  “Whether or not cultural policy is implemented today, if the other elements that make for a successful cultural policy are not in place, it will still not work; it’s all about implementation. The story of Nigeria is one good intention that has never been fully implemented. Government has always have good intentions, it’s the pursuits and the doggedness of people who drive those policies that have always been the issue, as they are often not seriously committed to the frame work,” he said.

 

Paul Obazele

President, National Association of Movie Producers (AMP) Paul Obazele, while commending CORA for its initiative informed that his members were going back to the cinema to distribute their movies.

  He opined, “We are a cinema-going people until the military government (of Abacha) made the country unsafe for most people in the country with sporadic bombings and killings. Lagos State and other states in the country encourage the culture of cinema. We are discussing with Lagos State Government to build neighbourhood cinemas, which allow for different films to be shown simultaneously in different areas of the hall. It allows for small audience of 50 to 100 at a time. If done, it will help bring back the cinema and contribute to the social integration of the community. Whether we like it or not, film is a very strong tool for social integration, teaching morals and building family values.”

Stephanie Okerereke

  On access to the two hundred million dollars ($200 million) intervention fund for the entertainment industry from President Goodluck Jonathan, Obazele said the first batch of the money would be released in June to producers who have met the necessary requirements. He added that the loan, which will be repaid with a single digit interest rate of five per cent, is to serve as a palliative measure for filmmakers in the country that have the necessary structures on ground.

  What came out of the cross fertilization of ideas from stakeholders in attendance was that Nollywood has what it takes to achieve the best result and, for it to effectively and efficiently play its roles of providing employment, promoting culture through telling of national stories and attracting foreign investors, there is the need for sustainable funding, viable and

Vivian Ejike

trustworthy distribution and marketing network, inclusion of the private sectors, training and retraining of practitioners, quality production, unity of purpose and co-production treaty with other established film industries such as Hollywood and Bollywood.

A Ray Of Hope … for 2011 election

 By Omiko Awa 

THE Nigerian Red Cross Society (NRCS) and the International Committee of the Red Cross (ICRC) recently presents Jos Repertory Theatre in a play titled, A Ray of Hope, in Lagos.

 The play talks about the harmful effects of violence, especially political violence in the country.

    Beginning with a market scene, all was well in the market and its environs until a customer comes to buy a piece of cloth; though the said customer sensing the trader’s sharp practices changed his mind of buying from him, but his female co-seller seeing the customer leave the first seller’s shop presented hers. The first seller taking offence with second seller for not allowing him to make quick gains prevents the second seller from selling the piece of cloth.

    In course of the emerging confusion, the customer leaves the market for the hapless traders to sort out things for themselves.

    The imbroglio so created further brought the resentfulness each group holds against the other to the fore. This raised fear over some traders’ inordinate ambition to control the affairs of the market. This fear soon leads to violence and the destruction of wares, killing and injuring people.

    To sue for peace, the customer who had ignited the time bomb calls all the stakeholders in the market to resolve their differences and to also choose credible leaders to mediate among warring parties and nib any future crisis in the bug.

  The nine –man cast crew excellently knitted the market scene into our political life; showcasing how security operatives have cooperated with politicians to rig elections and undermined the fate of the majority of the people.

   Apart from showing the dangers of tribal politics, ethnicity, vendetta, ethno-religious problems, kinship politics and other crisis that could endanger life, disrupt economic activities and create social dislocation, A Ray of Hope highlights how the Red Cross Society in their non- partisan stand provides aids during warring periods, provide succour for the wounded, re-unit displaced families and visit detainees in prison.

   Speaking on the drama, the crew director, Wapi Barau says, “ it should be noted that violence and disagreement among people of any society is inevitable; but man has been given the divine opportunity to manage any of such acts that come his way.”

  “The play aims at preventing violence and other related acts that may disrupt the 2011 election. Our contribution, is that of the International Committee of the Red Cross (ICRC) and the Nigerian Red Cross Society (NRCS), which says there can be and there should be peace during the 2011 elections and after,” he notes.

  Established in 1863, the ICRC is at the origin of the International Red Cross and Red Crescent Movement. ICRC is an impartial, neutral and independent organisation whose exclusively humanitarian mission is to protect the lives and dignity of victims of war and internal violence, by providing assistance that make live. It directs and coordinates international relief activities conducted by the Movement in situations of conflict. It also endeavours to prevent suffering by promoting and strengthening humanitarian law and universal humanitarian principles.

   The play, which will soon be shown on TV and aired on radio across the country, has been performed before a mixed audience in designated halls in Jos, Plateau State; Kano, Kano State; Port- Harcourt, Rivers State; Obalende, Lagos State; FCT Abuja.

National Troupe… A dance in the sun

By Bridget Onochie and Omiko Awa

Tension was high last Tuesday, as the National Troupe of Nigeria; the country’s major promoter of culture through dance, drama and music was prevented from using any of the halls in National Theatre, Iganmu, to hold its induction/ orientation of new artistes.

    This made invited guests and the newly recruited artistes, dressed in the nation’s colour and expectant of their induction, to stay several hours in the sun until the organisers decided to carry out the ceremony in the open, when according to sources, all attempts to make the GM, CEO, Kabir Yusuf, to open Hall 2, venue of the event or any other hall failed.

  Downcast, the artistes walked back to their hostels, believing the event would never hold. But sensing the effect, organisers quickly called them back to carry out the programme in the open space; in a way that lack the usual glamour associated with events of such magnitude. 

   Inducting the 36 artistes, 19 from the states, eight female and 11 male and 17 freelancers, seven male and 10 female, selected across the states of the federation, Martin Adaji, artistic director of the Troupe, said, out of the expected 36 artistes only 28 have been accredited. To this end, he called on all stakeholders whose representatives are yet to be accredited to notify them to report at the National Troupe Camp at the National Theatre Complex.

  “It’s a National Troupe and every state has a representation; we have carried this campaign to National Council meeting and reminded states to bring in their artistes, so, if you know of any artistes that is from your state that is not yet here remind the person to come and register, he said.

  In finding out while such mud should be flung on the face of the body, an angry worker in the National Theatre complex noted, “we have been having problems since Kabir Yusuff came in as General Manager, we have been being paying for our offices and all the services National Theatre have been providing.”

    Worried by the situation some media men sought audience with the GM on some of the issues pertaining to the event.

  He said, “I’m not aware that the event will take place at the National Theatre and even though, they said, I was officially invited, such invitation should be acknowledged, which I did not do.” He continued, “I am here to generate revenue to the government, I was not invited and National Troupe is a tenant like any other group such as the National Art Gallery, though we share the same board, National troupe remains a tenant. I made it clear to them, when I addressed them, this year that if they want to make use of the hall they should book in advance for it like any other body.”

   But the same board established you. “The board does not mean management, we are two autonomous entities; I’m the Chief Executive of the National Theatre while Martin Adaji is an Assistant Artistic Director. The National Troupe is a quasi- parastatal while I’m a full-fledged parastatal. In the recent restructuring I’m made to generate revenue.”

 Grieved by the questioning, he asked, “did they not tell you what they did to be locked outside? They know it very well; government gives everybody overhead, my overhead was cut down and theirs was increased, as such, they should be able to pay for common services such as electricity, cleaning, water and others. Government say we should go as individuals to generate fund, my overhead has been cut down and the board has agreed that they should pay certain per cent to augment the expenses incurred in running the complex and they have refused to pay it. And if they don’t pay it, they would not enjoy any facility.”

   But for how long has this been on? The GM, informed, “it’s not the case of today, Yerima was paying when he was here.  All of last year, they did not pay and we agreed they will pay up this year. January, we sent them a bill, which was not honoured and we are now in March, so they need to pay. We are powered by generator, I buy fuel for N158 per litre and we use 11000 litres for three weeks, if they don’t pay for services where do you think I will get all that money from. The hall was closed because there was no booking.” He continued, “ they are just to pay 35 per cent of the overhead for the services they enjoy in the 18 offices they occupy. In those day, the National Theatre retains the revenue it generates, but now, it’s no longer so, instead we generate and remit to government.”

    Asked why he did not consider them bearing in mind that many guests would be invited and it has to do with our national image.

 “Don’t be emotional about it. You hit somebody, when he needs you most that is the time he knows you are important. He wrote to say he is not going to pay for common services, if he does not pay he should not use them. And I have reported the matter officially to the Minister.”

  “It’s not the issue of national colour or flag; if today, I don’t have money to run this place, you will be the first to point that out to me. I have the responsibility of running the National Theatre and the National Troupe is feeding on me. They are told to contribute and they refuse. Every month I remit my revenue, I don’t keep a dim, what I generate does not come to me; an overhead has been given to me and to them and in his overhead, he has electricity bill, cleaner, water, as well as in mine, but does he pay for any of those things? No,” he stressed.

  But from fillers, it appears that the two bodies have some issues to settle which aside from the payment of services includes work time. On this Alhaji Yusuff said,  “the official closing time is 4pm and it’s done for safety, so that our property would not be stolen; I mean people would not on the grounds of staff still in the offices come to steal. For instance, the cables to the hall we just renovated were cut off and we do not know who did it.  But, I told them to notify us if they have programmes that will keep them late in the offices, so that we provide adequate security. If rehearsals will take them beyond that time, let them fill the event announcement form, which will enabled us to know the halls in use and make adequate arrangement for them in terms of security and other logistics. I made this clear to them that the official time is 4pm.”

   But, some say you once used the Mobile policemen to chase staff out of their offices for staying beyond 4pm.  “Why are they staying beyond 4pm, when the person that gives you the job said, he does not need your services after 4pm? Tell me, did the police use tear gas on their faces? They should have told you of those that went to cut cables, to sabotage the system.” Cut cables? Were they apprehended? No, but the Police Commissioner invited six of the staff for questioning. Imagine someone cutting the cable of the brand new air conditioning system installed, costing over N70 million. I reported the incident to the Minister and he said we should adhere to closing hour. Though, I was at Abuja for budget defense, when the air conditioning system was vandalised and when I was informed, I instructed they should apply the 4pm closing time as directed by the Minister. I was not even around when the police chased them away. Besides, some of them do nothing at that time.”

   Recall, with the advent of Festac ’77 and the entries of different countries of their national dance ensembles or cultural troupes, it was evident that Nigeria needed a formally established cultural troupe that will engage in international tours on behalf of the country and would also be addressed as the National Cultural Dance Troupe of Nigeria.

  This led to the approval for establishment of the National Troupe of Nigeria at the Council of Minister’s meeting in November 1981.  The objective at the time was to enhance the cultural development and artistic creativity of the nation. It was also to establish a national repertory system, which was to satisfy the yearnings and aspirations of the professional theatre, dance and music practitioners.

   By 1988, with the launching of the cultural policy for Nigeria, the National Troupe of Nigeria was formally included in the policy as a formal arm of government.  It was initially run as a branch of the performing Arts Division within the Federal Department of Culture under the supervision of the then Sole Administrator of Culture – Col. Tunde Akogun (rtd). During this same period too, government approved the appointment of the late Herbert Ogunde as its first Artistic Director.  He was to organise a formal formation of the group. 

  Chief Ogunde was to also embark on what was later to be tagged “The Ososa Experiment” – This later became the nucleus of the artistes of the National Troupe of Nigeria The objective of the Ososa Experiment was to prepare Nigeria’s representation for the Commonwealth Festival in Edinburgh, Scotland and to also convince Government that a group of artistes could be put together, organised and trained for the specific purpose of performance and future representations of Nigeria in both National and International engagements. The success of the experiment thus led to the formal establishment of the National Troupe of Nigeria in September 1989.  And in 1991, the Troupe haven thus developed was granted the status of a full-fledged parastatal by Decree 47 of October 1991 titled “The National Theatre and National Troupe of Nigeria Board Decree.”

  By virtue of being jointly established by the government, the two bodies have a common management board headed by the General Manager/ Chief Executive Officer, appointed by the President, Commander-in- Chief of the Armed Forces on the recommendation of the Minister and as such are to operate like one — a Siamese twins.

  And for government, the midwife, to effect the needed surgery, has to go back to the basis of its formation to review some of it founding laws and spell out the limits of each body. Government should act now, to avert the repeat of the shame passed on the nation at the orientation and induction ceremony of the newly recruited artistes of the National Troupe.  

A Nigerian Crowns ECOWAS Peace Pageant

Joy Obasi winner of EPP 2009

The second edition of the ECOWAS Peace Pageant (EPP), 2009 held recently in Port-Harcourt, Rivers State, has crowned a 19 year-old Nigerian, Joy Ngozika Obasi, as the new ECOWAS Peace Ambassador in event keenly competed by 23 representatives of member states. Obasi, a native of Abia State, is a 200 level Micro-biology student of the University of Port Harcourt, Rivers State.

Alpha Blondy

  The event, an assemblage of the crème de la crème of the society, brought eminent personalities and artistes such as the ECOWAS President, Dr. Mohamed Ibn Chambas; Rivers State Governor, Chibuike Rotimi Amaechi; the legendary reggae artiste, Jimmy Cliff; and Cote D’Ivoirean, Alpha Blondy among others.

   The Koko drummers and dancers opened the stage with a scintillating cultural display that made the over 3,000 crowd asking for more.

  In his opening address the Commissioner for Culture and Tourism, Marcus Nle Ejii, said, “I am extremely happy today as we are proud to host the entire West Africa, Africa as a whole and even the world through the ECOWAS Peace Pageant (EPP). Our target is to return Port Harcourt to the old glorious city that is peaceful, loving, beautiful and ever ready to host the world; and the message of peace cannot be better preached than through this pageant.”

  The Rivers State Governor, Chibuike Rotimi Amaechi said, “we thank ECOWAS for the second time, especially the President and his entourage. I have seen the girls, they are quite beautiful, lovely and intelligent, they have enjoyed the best of our culture in the last two weeks and we say may the best mind and character iced with beauty be our peace ambassador.”

  The ladies came out in four different attires including traditional costumes, white lace, swimming trunk and dinner wear after which they addressed the cheering crowd on “peace and how it could lead to sustainable development in Africa.”

Jimmy Cliff

  Anchors by Comedian Yibo Koko from Nigeria and French speaking Bee Arthur of Ghana, the two intermittently tickle the audience with their hilarious jokes. The event also featured Little H, Nigeria’s youngest new sensational artiste, from the stable of La Face Records, who mesmerized the audience with his song and exceptional dancing steps that got the attention and applause of the audience, including the reggae icon, Jimmy Cliff. Dare Art Alade, the multiple award winner, six awards in 72 hours, was not left out of the show, as he thrilled the audience with his award winning song “ You are not the Girl” to the admiration of all, especially the ladies.  

  The ECOWAS President, Dr. Mohamed Ibn Chambas ,who led other top ECOWAS officials to the event said” The ECOWAS Commission is delighted to be associated with the 2009 Peace Pageant, a collaboration between the Commission and the Government of Rivers State of Nigeria in the promotion of the region’s cultural heritage, peace and unity among member states.” Adding, he said, “this edition is dedicated to the promotion of peace, a cause, for which the region deplored its scarce human and material resources to.” 

    The duo of Sherifat and Wutah from Ghana, unleashed African-styled reggae music. The African Queen crooner, 2Face Idibia, took his time to do a special piece of the same African Queen Song with all the contestants. They danced, choreographed and serenade with the artistes and the three beautiful back singers.

  At the semi-final stage, the contestants were short listed to 10 and subsequently reduced to five. The finalists were from Togo, Senegal, Ghana, Nigeria and Guinea.

Nlee Ejii presenting gift to contestants

The judges had hectic time picking the final three from which

 Joy Ngozika Obasi emerged winner, beating Sherilyn Reindorf of Ghana (second) and Marceline N. Diop from Senegal (third) to be crowned ECOWAS Peace Ambassador Queen.

“I had so many things running through me almost at the same time when I was declared the winner, everything just exploded in me. there is this shock, I said whao, finally, I made it,  it was the happiest moment of my life, though, all the while I have the intention to win. It feels honourable to be the new ECOWAS Peace Ambassador; I thank God for the opportunity, it is a rare one. I hope to leave up to expectation with the support of everyone. We will collectively embark on the peace mission, I have already been pencilled down for the pet project of the Governor’s wife, Empowerment Support Initiatives (ESI)” Obasi says.

Mike Dada, Jimmy Cliff and Stephen Alayande of ZMC

She was presented with a brand new Toyota Corolla 2009 by ECOWAS President and the wife of the Rivers State Governor, Mrs. Judith Amaechi amidst sheers.

Investing in women

BY OMIKO AWA
Directing the affairs of a one-stop-travel shop, Dynax Travels and Tour, is Rachel Kayode-Adele, whose passion is to empower women so that they can engage in productive enterprises.
The lady, whose encounter with two Christian preachers, Jessy Dupliantis and Rod Passy, in her hospital bed in the United States of American made her leave her boutique business for travel agency, shares her experience with other women through the Thriving Business Women Fellowship (TBWF), a Christian interdenominational group.
Born the fifth child in a family of 12, nine girls and three boys, and a Business Administration graduate of the Federal Polytechnic, Ida, she says, “my encounter in 2004 with Dupliantis and Passy, whom I listened to through a TV set while on hospital bed, made me leave clothes selling to establish Dynax in 2005.”
Beaming with smile, she says, “though, I had flair for traveling and visiting places, that singular encounter made me to rediscover myself and start working on my passion for a living.”
Married to Oluwakayode-Adele from Ondo State, the Esan, Irua native, came back home with little or no experience of travel trade, but had to go to a friend who put her through.
Armed with the right knowledge, she launched out her passion, working through the ranks to a level she now empowers women and single ladies.
Apart from being a successful businesswoman, Rachelsays “I love motivating people and reproducing myself. In fact, I believe a candle has nothing to lose by lightening up another candle, so, I encourage women to set up business outfits to help themselves and contribute to the finances of their homes. Many, who knew how I started, have come to understudy me and I have equally helped some of them to set up their businesses.”
This she has done through the platform of her fellowship, the TBWF.
Why work with only women?
The mother of two says, “at TBWF, we also mentor single ladies, who are in courtship and getting ready to marry. We make them see reasons why they should be hardworking in their careers; and while pursuing their careers, how they can engage in meaningful business, no matter the size, instead of depending wholly on their husbands for every kobo that comes into the house.”
Filled with emotions, she rells out reasons why women should to be empowered.
“I was privileged to know of someone that depended on the husband for everything she needed, but unfortunately, the man passed on. The in-laws, not minding the woman’s grief, sent her packing out of her matrimonial home with no means of livelihood. Also, women are always susceptible if the man’s economy is down, so, to avoid this we try to teach women how to catch fish instead of begging for it. We mentor young ladies to start on time so it could be part of them,” she says.
“We equally teach girls never to feel they are inferior to boys because they are girls, but to face the challenges of life as they come,” she says. “My father taught us to be confident and work to attain any height we desired in life; and that, I pass to the young ones.”
Would this not make them to be headstrong to their husbands and abandon the care of the home and children?
The lady answers ‘no’. She says, “there has to be a balance between work and the family. Women should take time to attend to their family needs — home, children, husband and relatives. They should have time for the children; see to their home and school work, and not leave them to the whims of nannies or the school authorities. In fact, working will not make you lose trends of the home.”
She adds, “some businesses could be done without the woman leaving her home. Take the case of running a crèche or other services that could be provided to people in the neighbourhood. However, what matters is identifying your passion and working to fulfill it.”
Using the virtuous woman of Proverb 31 in the Bible, CEO of Dynax Travel Agency says women are to honour and be submissive to their husbands to attend great heights.
“I don’t believe in women liberation or wife being equal to the husband, though God created us equally, He did not assign the same roles to us. Women are to be submissive to their husbands, no matter the height attained in business or in life. We are to honour and obey them, for any woman that disobeys this, has limited place in life. This is what we teach ourselves while impacting on the women.”
And the economy?
“Yes, there is recession, but this is not the first time it’s happening, and in spite of it, people are embarking on new projects. It’s during this period you build confidence and hope in the people, to strive for excellence. This is the main reason prayer should not be separated from business. In the fellowship, we combine praying and business; we also include our husbands in our prayers because a woman on her kneels puts her husband on his heel.”
On challenges faced so far, Rachel, who has through her motivational talks improved the lives of many of her members and those close to her, says, “ the most women are easily discouraged, when they try one or two businesses without success, they give up without knowing that profits come with efforts. They don’t know how to think outside the box. Business entails trying and trying.”
She adds, “electricity and getting funds from banks are challenges we face. Rachel adds, power outage makes us to run on generator, which increases our overhead cost thereby making output to be on the high side. The banks, too, are not making things easy, as loans are not always given to us. When we approached them, they promised to help, but ended up doing nothing. However, we have been raising our funds internally and things are working, but slower than it would have been if we had access to soft loans and regular electric power supply.”

How was growing up like? “I had fun. My late father was editor-in-chief of Nigerian Television Authority (NTA), Benin; he instilled in us confidence to succeed in life very early. He made us to believe that being girls do not make us less human. He made us to know that ‘we can be all, we want to be.”

Sonifes sings democracy

BY OMIKO AWA
AS Nigeria gets set to celebrate 10 years of uninterrupted democracy on May 29, AfroCultour, in collaboration with the Nigerian Television Authority, NTA 2, Channel 5, is planning a musical fiesta — Songs of Nigeria Festival (SONIFES) — to celebrate the event.
The delegates of the group led by the chief executive officer, Chuks Akamadu, recently visited The Guardian as a way to intimate and sensitise the media of its project.
Akamadu said it is the first time Nigeria as a nation would be marking a decade of unbroken democratic rule, which has necessitated the art and culture community to think of an event to celebrate it, and to “lavishly showcase our boundless cultural and tourism strength.”
He added that the historic event is carefully designed to contribute, considerably towards the deepening of democracy.
Akamadu, who was once the secretary of Performing Musician Association of Nigeria (PMAN), informed that the festival is going to feature a three-track album, selected through a participatory and competitive process, to be rendered by 100 Nigerian musicians from across generation; a special democracy dance by the National Troupe of Nigeria; and SONIFES Gold Award to the best male and female Nigerian musicians respectively in the past 10 years of democratic rule; and the special recognition award to pillars and heroes of democracy in the country.
He noted that the album would be close to what some American musicians did for Africa — We are the world — in the 80s. However, “SONIFES is going to be much better than what the Americans presented to the world, as the fiesta’s songs are strictly written by Nigerians for Nigeria’s democracy to be sung by musicians.”
To achieve this, entries were called for in the six geopolitical zones to compose a not-more-than-five-minute song, and summit to SONIFES zonal offices in their region, who would select the best three for the national event.
For the winners, outside rendering their songs by an all-star music group will go home with various amount of money as prizes among other consolations, which include automatic free entrance to the festival venue.
The fiesta’s chief executive officer said the selection of the three best artistes male and female, who have made positive impact on the country within the 10-year period, would be done by Nigerians via short messages (SMs). He said that they have already received three nominees for the male and female artistes; for the males, he mentioned D’banj, 2face, and P’Square while for the female, Asa, Sasha, and Weird MC; and for the pillar of democracy, he informed that The Guardian Newspaper has been nominated and the presentation has been schedule for May 31 at the Eagle Square, Abuja.

AKAMADU informed that the various ministries such as Culture, FCT, and Information are in support of the project outside such bodies as the Performing Musician Association of Nigeria (PMAN), Society for Performing Arts of Nigeria (SPAN), Musical Copyright Society of Nigeria (MCSN), and Actors Guild of Nigeria (AGN). He equally revealed that Cuba would be one of the countries to be visited in cause of the project
While responding to the question why it took the group such a long time to make a statement in the art and culture sector on the nation’s democracy and what they hope to do next with the group, Akamadu said the group has been on ground for 14 to 15 months, and that it took them time to make a statement because they have to carefully plan for the festival that will give tribute to the nation’s fallen heroes while bringing cultural renewal and making a lasting tourism statement for the nation. So, we took time to put the best hand to work, to bring out something. This they did and having seen the good work, we decided to tie it around some event that will transcend the borders of our culture and tourism. It was at this point that the major stakeholders decided it should be tied to our democratic practice and sustenance .It was at that point that the group chose cultural tool such as music to showcase it.
“Politicians can talk about politics, even soldiers, yet the people would not listen, but with music, there is no division; for it is the only thing that can unite the nation more than soccer, as it cuts across religion, class, and other inhibiting factors that may stop other genres of entertaining art. It is like a weapon to further express and model our democracy beyond Africa,” he said.
He emphasized that SONIFES is going to use music to lavishly celebrate our democracy. “We are giving Nigeria and her people a double delicacy — music and celebration. We are lavishly celebrating music as an indispensable tool to showcase our culture and democracy,” he stated.
“The art and culture committee for this reason are made up of seasoned hands such as Ejike Asiegbu of The Actors Guild; Prof. Ahmed Yerima, director general of Actor Guild of Nigeria, director general Nigerian Football Association, and the National Coordinator Abuja Carnival is the chairman of the advisory board; We have PMAN and others. And by the time all these groups come together, we would have succeed at making a statement that will deepen democracy and thereby attracting other segment of the society such as the banking sector, NBA, and other investors to the art and culture sector of the nation. It is a clarion call for one to contribute to the preservation, and deepening of Nigeria’s democracy,” he stressed.

ON how SONIFES will project other genres of art, the project’s spokesman said, “ outside the 100 Nigerian musicians singing the democratic song, and the National Troupe doing a democratic dance; the group is going to promote tourism through the various presentation of dance from different culture alongside the performance of musicians from outside the country. As we go along, other segment of the art and culture will begin to fall in, because of the saleable nature of the project. It is a brand that is relevant to Nigerians and our culture, which is the main reason the federal ministry of information and communication is interested in it.
“Take it or leave it, the project will surely take the nation to a greater height at re-branding the country because its going to tell the world that Nigerians are good people, and the country is worth visiting and investing in,” he affirmed.
On the promised library, Akamadu said: “The proceeds from the event will be used to build a world class tourist centre that would comprise a library, a recording studio, art gallery adorning the faces of Nigerian music icons, and a guest house among others. The estimated budget for it, is N25 billion, so, we need to successful deliver the festival on May 30, before going into it.”
How did you select the musicians?
SONIFES CEO said they were all from the grassroots. We used actresses with grassroots appeal to create the awareness as well as source for artistes because of the limitation of Internet and the various media, which are readily available in the rural communities as in the big cities.
Other gains of the project, he pointed is to promote the non-oil sector, tourism and to make government develop interest in festivals as a way of boasting our Gross National Product (GNP), and National Product (NP)