Sunday, 24 March 2013

Kalakuta Dairies… Reliving The Fela We Know


By Anote Ajeluorou

No single writer will ever be able to tell completely the story of Fela. Like the elephant visited by 10 blind men, there would always be different aspects to the quintessential Fela narrative. What comes out clear is that no matter the narrator, Fela’s story will forever be fresh, stimulating, engaging and favourite bed time tale, with which grandmothers regale their grandchildren, albeit the discerning. This is Fela, the unknowable, the enigma, the legend, who left unmatched legacy in musicmanship, intellectual non-conformity in politico-cultural activism!
  And so out of the many books on Fela yet to be published, a new one Kalakuta Dairies (AuthorHouse, U.S.; 2012) by Uwa. It will be another gathering of the Fela intellectual clan, who will reminisce on the man whose life was a vast canvas of the most improbable.
  Kalakuta Dairies offers slices of life as it was lived at the empire and commune that the musical legend created both for himself and a vast number of the Lagos homeless that thronged it. Kalakuta was home to the good, the bad and the ugly. But in all these, there was order, there was government of sorts, there was organization because there were established rules that had to be followed. Enforcing some of these rules was one of the jobs of this new author, Erhabor, whose meeting with Fela was as dramatic and whimsical as the Fela persona ever was.
  The Erhabors lived a few paces from the old Benin City prisons and young Erhabor used to blar Fela’s music from his father’s stereo to the listening pleasure of Fela who was an inmate at the prison. Fela saw young Erhabor from his perch inside the prison and took a liking to the young man instantly. He reached out to him at once and thus began an association that was to last from 1983 to Fela’s last days on earth. It was with the same impetuosity that Fela married his 27 wives that he took on Uwa and assigned him a role in the orderly running of his vast musical empire.
  Erhabor lived through some of the turbulent times of the life of Fela in his many brushes with authority. As Erhabor states in his introduction, “Kalakuta Dairies is a personal narrative of events and characters that propelled and defined an African social-political setting (personality, enigma) in the heart of Lagos. Kalakuta was a creation of an icon rare-breed (sic) par excellence, whose legacies has (sic) left an indelible footprint in the sands of African and the world’s political times and consciousness.
  “This narrative is an attempt to emphasise the roles played by different characters that shaped the actions and policies of a die-hard pan-Africanist, who had an uncanny ability to read and predict exactly outcomes of diverse political and economic actions of the ruling elite years ahead of most of his fellow countrymen”.
  In this wise, Erhabor has provided an insider knowledge of Fela’s music empire, the goings on, who did what and why and Fela’s responses to most things. In diairic fashion, Erhabor records daily occurrences in the empire, the police raids, how Fela lived with his wives, who they actually were and how they related to each other, the band members, the musical tours within Africa and in Europe and America.
  Indeed, Erhabor’s Kalakuta Dairies is vintage, perch reading of the workings of Fela’s vast commune, of the sane and insane, and how, from this seemingly incongruous, contradicting setting, was to emerge the most unflagging cultural philosophy and political vision ever espoused, an unmatched rereading and reappraisal of a much maligned continent that has severally been raped raw both its own children in collusion with white foreigners!
  Like Fela, Erhabor’s book dispenses with the need for a table of content, even though Kalakuta Dairies has four chapters with an introduction. In Chapter 1, titled ‘Roots, Radicalism, Music and Mysticism’, Erhabor gives background to the Fela phenomenon, from his studies abroad to his musical journey till the discovery of Afrobeat that was to define him, with his activist mother as prompter to his musical direction. Erhabor refutes claims that Fela originally enrolled to study music and not medicine as has become the popular lore.
  In Chapter 2, ‘The Talisman: Origins and Journey into Kalakuta’, the author narrates his encounter with Fela in Benin City and how he came to be part of the inimitable republic. Here, he plays up the role of Fela’s late younger brother, Dr. Beko Ransome-Kuti in Fela’s life. Beko pulled a lot of strings behind the scenes just as Lagos lawyer, Femi Falana also played a significant role in Fela’s legal tussle with the autorities he frequently dared. But in retrospect, Fela it was who played a defining role in the legal career of Mr. Falana, with a Fela who was already established as a musical superstar. Fela’s brush with the authority gave Falana moments to shine.
  ‘Peoples and Personalities in the Last Empire’ is how Chapter 3 is entitled. Here, Erhabor gives Fela’s musical itinerary and the personalities that made it thick and those that gave it a bad name. He also gives the biodata of Fela’s wives and almost everyone that worked with Fela, particularly their temperaments and how their many intrigues plagued the great one’s empire. Chapter 4 Erhabor titles ‘Tours: The Sweet, The Sour, The Political’ and continues on the tour strain peppered with other communal life details at the republic until the last days with Fela finally succumbing to the dreaded diseases, for which the author strongly holds two ladies responsible, a lady of dubious reputation whom Erhabor simply calls Jq, through whom Fela’s increasing spiritual quest finally found outlet…
  Erhabor’s Kalakuta Dairies is an insider’s expose and makes for delightful reading. Fela’s life would always excite, and coming from an insider like Erhabor makes it all the more stimulating.
  However, Kalakuta Dairies is badly edited. Indeed, the book needs rewriting entirely to make it a truly great narrative, especially as it is about a man of the stature of Fela. Poor grammar and poor narrative flow mare an otherwise serious writing. It’s hoped that the author will take advantage of a reissue to remove these inhibiting errors so the book can truly warm its way into the hearts of the many lovers of Fela. Indeed, Erhabor’s Kalakuta Dairies is a commendable book waiting to be properly written!

‘Fela was a big gift to the human race’


By Anote Ajeluorou

Afrobeat music legend and revolutionary social crusader, Fela Anikulapo-Kuti, took centre-stage on Tuesday when friends, family and fans gathered at Nigeria Institute of International Affairs, Lagos, to reminisce on the man and his extraordinary life. The occasion was at the launch of a book entitled Kalakuta Dairies, written by Uwa Erhabor, one of the boys at Fela’s famous shrine.
  With an eye for details and keen to document the lifestyle of the master musician for posterity, Erhabor’s book has come as a forerunner to several already in the works on the enigma known as Fela.
  Not least in the audience that came to honour Fela, now immortalised yet again in the written word were Fela’s earliest musical and revolutionary soul mate, Chief Rasheed Gbadamosi; Fela’s inimitable lawyer in his many years of travails in the hands of Nigeria’s military authority, Mr. Femi Falana (SAN); rights campaigner, Mr. Yinka Odumakin and MD, Cowbell Plc and author of Insider Outsider, Mr. Keith Richards. Others were Mrs. Bose Kuti, and Fela’s sons - Kunle and Seun.
  Gbadamosi said he counted himself extremely lucky to chair the event, especially going by his long-standing relationship with Fela both as rivals in different secondary schools, academic sojourn in London and later as a trio in a musical and revolutionary group with one Wale Bucknor, now late. He said Fela was such an important individual to him that he would always say ‘yes’ to anything concerning him.
  The business technocrat and art patron then traced their paths together through their teenage years to studies in London and their revolutionary group back in Nigeria in the 1960s. Gbadamosi said Fela was very shy as a schoolboy and had hid himself after his school, Abeokuta Grammar School, lost out in a tennis contest. He recalled further, “It’s difficult to be part of Lagos in the 1980s and not have been infected by anything Felaism. The life of a schoolboy without Fela wasn’t it. As students in the U.K., Fela used to entertain with his Koola Labito band at Pancreas Hall. He used to play at Maharani Hotel as a jazz trumpeter, where the seed of Afrobeat was sown.
  “It was at Empire Hotel that Afrobeat took root. His mother had challenged him to invent his own music and stop playing oyinbo music. Three of us formed an association of music and political radicalism and we used to meet at Yaba College of Technology and punching solidarity fists in the air. But I had to pull out when I became part of Lagos State Government, especially when he started pouring invectives on government officials”.
  Gbadamosi also recalled Fela’s sad end, how he prevailed against MUSON Centre to allow Fela perform at that conservative music spot. Fela typically made everyone nervous with his usual yabis; but by then, he had begun to deteriorate, a situation Gbadamosi said his wife alerted him on. But Fela believed so much in the African way of doings things, so much so that he would not seek orthodox medical help even when his two brothers were medical specialists.
  It took Fela’s protégé, Dede Mabiaku’s insistence for Gbadamosi to impress it on Fela, after so many long arguments and his having to camp out at Fela’s Shrine, the need to seek medical help; which he eventually did. Fela’s last request, Gbadamosi said, was to be served jollof rice. “Then he passed on,” he recalled. “But even to the end, Fela’s humour and radicalism did not desert him. Then the aftermath, the glorious accolade and public applause, the great glory that Fela got at death, not even heads of state can compare with it; it was very memorable.
  “Fela was a great mind, a wonderful human being, who made great impact on all who knew him. We must thank Uwa for helping us to remember Fela today.”
  His lawyer, Falana, on the other hand, brought the iconoclasm of Fela home to bear on Nigeria’s current political reality, and how Fela’s voice still echoes stridently through the grave to impact on current, sordid affairs. Falana praised the author for producing a timely book on Fela, adding that Fela was a big donation from the Kuti family to the African project.
  Fela’s classic ‘Authority stealing’ music that was recorded in 1988, Falana recalled, captured the essence of the current state of corruption in the political life of the country. “What Fela was saying then was that you should not talk of armed robbery but of pen robbery, which is very sad. Now, pen robbery is not in millions as in Fela’s days, but in billions. Fela was indeed a prophet. Africa is the richest continent but our riches have been cornered by a few people.
  “These were the things that Fela tried to tell us but he was branded a madman. Walter Rodney’s How Europe Under-Developed Africa was a catechism for Fela. What the author of Kalakuta Dairies has done is to capture the essence of life at Kalakuta; nobody has done it before now. It’s going to the innermost part of Kalakuta”.
  Falana also shed light on the many legal battles he waged for Fela who frequently had brushes with the military government of the day. He recalled an incident when he insisted that as his client, Fela should see him in his chambers for his briefs rather than being invited to Kalakuta, as he was wont to do. So one day, Fela went to his chamber with about 5,000 of his followers and caused a major scene on Awolowo Road, Ikeja. From then on, Falana never asked Fela to see him in his office.
  Falana described Fela as the “most intelligent, interesting client I’ve ever had; he would deliberately commit an offence. Fela’s cases were the toughest and easiest of cases to handle. Fela has been the best suspect I’ve ever had. You’ll find in Erhabor’s Kalakuta Dairies what Fela was; he was generous. He didn’t leave riches behind but he left a good legacy”.

FELA’s split image, who has also taken after his father as a musician, Seun, commended the author for writing a book about his father’s musical journey. He described Erhabor as being close to the family, who has been like a big brother to him, and has written from a vintage position. He recalled the author giving him a toy as a birthday gift when he turned eight. He said Erhabor always kept them informed about the book’s progress while it was being written.
  The young Kuti also said, “the integrity of the book is intact, nothing exaggerated; it will make a great read for anybody who wants to see what happened in Kalakuta”.
  On his part, Odumakin praised the Kuti family for being the source of “great blessing to this country”. He recalled seeing Seun performing one of his father’s great hits, ‘Sorrow, tears and blood’ so dexterously, when he was just six years old, a musical tradition he has kept alive ever since. The human rights activist said “Generations yet unborn will remember Fela; he has left a good legacy. He didn’t leave riches, but he left a good name”.
 Richards is the author of Insider Outsider, an outsider’s view of Nigeria. He has lived in Nigeria a long time and have managed Guinness Nigeria and now Cowbell Plc, noted that he regretted not having met Fela even though he used to visit Nigeria while the iconic musician was alive. Richards humourously said how ironic it was that he, Fela’s typical colonialist, was at a Fela’s event spotting a jacket, something Fela always frowned at.
  He lamented the dearth of social history on Nigeria’s intellectual space and said it did not make for coherent information gathering about the country. “If we are to break stereotypes, we need more of Kalakuta Dairies. If we are to disseminate correct information about Nigeria, we need more of this. What Fela fought for is the true situation today. Fela should be a role model for Nigerians today. To understand more about Fela, we should read the book”.
  The author Erhabor, who lives in Germany, said it was “sad that people in Europe were the ones that usually reminded Nigerians about how great Fela was. The relevance of Fela’s music has never been so real today than back then when he sang it. The more people shout corruption, the bigger it gets. When Fela was talking about corruption, it was then in millions; now, it’s in billions and growing to the trillion mark. Well, what I know is that the Fela clan will always do what Fela expected of us”.

In Ekeghe’s Overwhelming Treasures, performance poetry finds a rhythm


By Anote Ajeluorou

Spoken word poetry, or indeed, the pop version of poetry, is fast gaining ground in Nigeria, especially in the Lagos performance circuit. So much so that clubs or performance arenas to that effect are beginning to spring up.   
  Paul Efe Azino, Pumbline and Atilola Moronfolu are frontline artists giving verbal authority to spoken word art. Azino has taken the spoken word art to a revolutionary level with the verbal audacity of his performance. Moronfolu is less daring as she engages religion taken to a noisome level and other domestic issues.
  But giving a solid, intellectual angle to spoken word art is Dr. Chiemeka Nduka Ekeghe, with his new collection of poems, Overwhelming Treasures: Poems on Love, Life and Nigeria (Createspace Publishers, U.S.; 2012). While the popular artists’ spoken word art still exists in their imagination, Ekeghe has stepped up the rhythm in a book form. This is a major leap for the spoken word art; what remains to be seen is Ekeghe stepping forward to also thrill his audience with his verbal art. This would be icing on the cake.
  However, for the non-initiate to spoken word poetry, Ekeghe’s book as a work of poetry would sorely disappoint on account of its prosaic language, which is only relieved, and indeed, redeemed by his consistent use of rhyming couplets, which solely lend a measure of poetic sensibility to the collection.    
  Nevertheless, there are flashes of brilliance here and there for those not familiar with spoken word poetry, especially in pieces like ‘Human sympathy’, ‘Blessed Nigeria’ and ‘Corruption! Corruption!’ This is more so because of the topicality of the issues Ekeghe treats.
  Overwhelming Treasures brims with the poet’s vision of love for his beloved woman, his sense of enjoyment of life, his disappointment with the perennial failings of his beloved country, Nigeria and God’s unfailing love for mankind and His desire to draw man close to Himself so he can escape the path of self-destruct man seems set by his rejection of God’s love for him. These are the concerns of the poet, which he has put together in the spoken word tradition.
  He calls the first season ‘Filos’ and the first poem is ‘Love or infatuation? (A love song) in which he pours out his love for a female persona (his wife), as he shuns love outside marital contract.
  The poem drips with love syrup that sweetens to the point of boredom: Oh fair maiden, pure and sweet/How I long for us to meet/And share a love song so full of heat/That gives a melodious everlasting beat/On Facebook and Twitter, start to tweet.
  The poet pours so much praise on this woman and recounts her many virtues and qualities and why she is the one woman that matters to him in the wide world. This poem traces a man’s quest for union with the woman he adores and a forecast of what their union will be if she agrees to marry.
  Ekeghe concludes it thus: Little time remains/Please marry me in time so we make gains/Let’s give birth to beautiful kids named Junior and Jane/Who’ll never slack but be in the main/Of the faith, so demons are slain.
  In a poem reminiscent of Odia Ofeimun’s dance drama, Nigeria the Beautiful, Ekeghe’s poem ‘Abiriba, the Beautiful’ praises his hometown and the milestone developments it has recorded in its march to the future. Here, however, Ekeghe succumbs to the lure of ostentatious wealth that seems to abound in Abiriba, a phenomenon that has bred the corruptive tendency so prevalent in Nigeria that he condemns.
  In ‘Blessed Nigeria’, the poet gives a panoramic overview of the many fine qualities that set Nigeria apart as land of splendour and infinite possibilities. It enumerates the tourism attraction that abounds in the country, as he sings: To Zuma rock/The people flock/The amazing Gurara falls/Displays a great water wall/…
  Ekeghe gets into his finest element in denouncing Nigeria’s biggest enemy to development: ‘Corruption! Corruption!’, which he calls ‘society’s disruption’ and the ‘nation’s dissolution’. He further writes: Conscience has gone to snore/To chop belle full is at the fore/Greed is the aetiology of this sore/Honesty she mercilessly tore/Wealth for unborn generation is the lure/Vanity sits at the very core/Naira is what they want more/The refuse to open the door/Of basic necessities to the masses…
  Other poems in this section include ‘Rape of a nation’ and ‘The godfather’, which extend the corruption metaphor further.
  The last season, ‘God is crazy about you’ is the poet’s vision of God’s love for mankind. It is his evangelical treatise to his readers to heed God’s free and unconditional call to repentance so the crucifixion of Jesus, the Christ would not be a waste. For the Christian reader, Ekeghe has touched a core of belief and he is a lot more lyrical in this section as well.
  Indeed, Ekeghe’s Spoken Word Art is virgin poetic territory in this clime. His effort is to be commended. He would do well next time to be a bit more ‘poetic’ so as to win the hearts of core poets and not just those that hanker after pop art that spoken word poetry really is. Perhaps, Ekeghe mistook simplicity for simplistic or ‘prosaic’ writing, which is reflected in this collection. That way, spoken word art can also be made more enjoyable.

Wednesday, 6 March 2013

Forging collaboration amongst women in Sista Power


By Anote Ajeluorou

Ever wondered why the only female presidential candidate Sarah Jubril in the last presidential primary in 2011 in the Peoples Democratic Party had just one vote despite having hundreds of women that cast their votes? Why do women always fail to stand together in communion with their kind to achieve a common purpose? What could women not achieve should they chose to stand together and work in collaborative partnership rather than bicker over silly issues? What specific strength can women display for working together?
  These are some of the salient issues a new book on female power has strongly lent credence. Sista Power by lifestyle coach and motivational speaker, Bidemi Mark-Mordi, deals with the positive power women wield and how collaboration like minds could help achieve great things for the greater good of society. The book was launched last weekend in Lagos amongst a close circle of friends and associates. The author Mark-Mordi is also the publisher of a female magazine, Effectual, modeled after the once famous Digest.
  In order for the audience at the presentation to gain better insight into the book, a panel of four discussed the book. The moderator, Mr. Tunde Fagbohunlu remarked that the book stresses the importance of collaboration, which could be viewed against the background of the twin collaborative evils - corruption and violence -threatening the corporate existence of Nigeria. He wondered whether there wasn’t more collaboration amongst anti-social elements, those that stand for evil than those that stand for good “for the kind of society we now have in Nigeria”.
  Fagbohunlu decried the “insularity among those who stand for good in society. The author is urging for less insularity among good people for the good of society. The book is about collaboration among women so they could play greater roles that uphold social values; it’s about step by step ways of achieving effective collaboration among women. Importantly, the author uses the metaphor of the midwife”.
  A panelist, Mrs. Unyime-Ivy King commended the author for giving women a weapon that is capable of uniting their otherwise divisive tendency. She noted, “We can do much more together than we will alone. This is a generation where people want to belong without really being themselves”. King stated that relationships had never been in more dire circumstances than now and that Sista Power would help a majority of people understand God’s purpose for relationships and their collaborative influences on society generally.
  She noted, “How can we relate in meaningful ways and be truly ourselves, even amongst Christians? This is a powerful book. Collaboration is really for everybody – men and women alike. People are so fake these days, which is sad.”
  For feminist, girl empowerment campaigner, Iheoma Obibisaid the book spoke to me about what we do every day. It’s an opportunity for older women to work with younger women, the opportunity to think outside the box and offer another paradigm is something I came away with reading the book. Younger women out there need to learn the virtues of collaboration; girls need to be given the confidence to dream, to aspire to anything in life”.
  Also Mr. Kayode Akomolafe, a pastor and panelist, stressed the different paradigms Sista Power offers makes it a fantastic book. He also commended the midwife metaphor the author employs, and said the intervention of the midwife in the life of individuals was crucial in weathering the peculiar storms of life. He gave two instances of interventions he’d made in the lives of people, of a man who attempted suicide because he couldn’t afford a simple surgical solution for his son’s cleft lip and pay his school fees and offering help to a woman who had a medical condition.
  In each of these instances, Akomolafe said there were a lot more wealthier Nigerians than he, but who did not feel compelled enough to help the man who attempted suicide, noting, “The use of the concept of a midwife is profound and it runs through the book. So, it’s not just collaboration among women but it’s about the webmaster (God) who weaves intricately the webs of our lives. We all have roles to play in life and there is the danger that failing in that role results in the death of someone”.
  Also present was President, Christian Booksellers Association of Nigeria, Mrs. Modupe Ehirim, who, while commending the author, also asked buyers to make a gift of the book to three people they know and constantly remind them to read the book by insisting on feedback on it. She said that that way the proper import of the book in people’s lives could be fully realised.
  While responding, the author Mark-Mordi said she used to think that only smart people wrote books until she tried her it only to discover that “it is the working of the holy spirit. It’s God displaying his huge sense of humour. It’s about the message God planted in my heart. I didn’t set out to write about collaboration but God put it in my heart”.
  The author further urged Nigerians to read the book and apply the principles in it “for our nation to be better. I’m determined that Nigeria be greater and we must do our bit”.

Harmattan Haze on an African Spring… Soyinka’s rumination on a continent’s troubled fortune


By Anote Ajeluorou

ONE of Africa’s foremost thinkers of the 21st century, the Nobel laureate Prof. Wole Soyinka, even at age 77, has continued to play the role of an elder in the house who would not allow the goat suffer birth pangs in tethers. And so the eminent African patriot and global intellectual has continued to point out the way for his wayward continent men and women, who appear perpetually lost in the woods of world civilization.
  His latest critical book of essays, Harmattan Haze on an African Spring, gives insight into the man’s pains when he looks at his beloved continent that has been a subject of all sorts of appellations from outsiders simply because those running the continent have consistently failed to do the needful to change its colour from dark to light.
  Essentially, the book offers a new reading and rendering of the continent, the choices made or not made, the road taken or not taken and new visions for the future. And at the presentation on Tuesday at Terra Kulture, Victoria Island, Lagos, Soyinka in company of some leading intellectuals from divergent fields of business, political economy, education, the arts, public service and journalism, sat down to examine a contentious continent lying prostrate and stagnant in the sun, seemingly refusing to yield to every entreaty to stand up and stride along like the others.
  The interrogarors of contents of the book and state of Africa were former Minister of Education and World Bank senior official, Dr. Obi Ezekwesili, Dr. Kanyiolu Ajayi, who moderated the session, Director, Lagos Business School, Prof. Pat Utomi and, former Group MD of UBA Africa, and now president of HEIRS Foundation,  Mr. Tony Elumelu.
  Their role was to examine the book in the light of Africa’s poor development index and respond to some of the issues Soyinka raised concerning the continent’s retarded growth in spite of its huge material and human resources.
  Indeed, the book also speaks to the outsider looking at Africa from certain jaundiced, racist views; questioning why such perception still persists after many years of independence from colonial rule.

SOYINKA's latest work also examines Africa’s spirituality; holding it up as a fresh ground yet to be explored and exploited to solve Africa’s many intractable problems, especially religious conflicts that are foreign imports to the continent.
 Soyinka categorically argues that in African religions lies the alternative balm needed to heal a continent with many festering wounds.
  While using scientific interplay of the ideas of gravity and motion and their impact on human societies and where Africa fits in relation to its many complexities, Soyinka pointed out two observable obstacles to the contradictions that characterise the continent and its lack of development namely, the twin evils of slavery and colonialism, which he said constitute obstacles to overcome for the continent to move forward. “Africa needs to contend with those two in terms of resistance with the poor leadership, corruption, irredentism,” he said. “These are two monumental obstacles to which African leaders have failed to respond; two obstacles to organic development. African leaders have failed to overcome these two evils.”
  He cited the failed attempts at Nigeria’s elections and census enumeration since independence as colonial legacies the country was yet overcome, saying, “This country is the most notorious in falsifying elections and census results, because it’s a surrogate country of the British, with the residual effects and control of the two obstacles”. He, however, argued that overtime the country ought to have overcome these twin evils if there had been visionary leaders. He asked rhetorically, “Is it not about time we transcended these two by visionary leadership?”
  For the iconic literary artist, “Africa’s unexplored geographical resources are capable of propelling society forward, but a total, atavistic, retrogression has overtaken us, with the path not taken has continued to plague us to this day”. He said the Japanese and Chinese, “By hanging onto their traditional beliefs, clinging to their traditional core, and refusing to be alienated from their philosophies and ways of life, have managed to bring about development. Cling to what was indigenous to their societies is what has transformed their societies”.
  Prof. Soyinka wondered how people from the miserable, frozen wasteland called Britain managed to hold vast kingdoms all over the world and render them ungovernable several years after they left and planted surrogate nation-states, like Nigeria, India, with her vast architectural grandeur as seen in the Tajmahal!
  He expressed his abiding faith in the ability of Nigerians to accomplish great things that are capable of causing phenomenal transformation, as evidences of the people's immense abilities, which abound all over the world, but that such need to be harnessed -- and that's the only missing ingredient.
  “Nigerians can create a Silicon Valley in Nigeria,” he enthused ruefully, “but it’s about the leadership. Nigeria has got the brainpower. The possibilities have always been there. Perhaps, we should take the example of China and draw the bamboo curtain and shut ourselves up from the rest of the world and also go by Mbonu Ojike’s ‘boycott all the bycottables’ and then see what we can do by ourselves!”
  In the event where drawing the curtain is not possible, he called for regionalism as solution to Nigeria’s problems of development, noting, “I have been pushing for a recognition of a rapid, competitive development of regional governments in Nigeria” to solve our developmental problems.
  On his invocation of the abiku, Soyinka said it should only be taken metaphorically, saying pouring libation as stated in the book meant regeneration, continuity, as there is a need to recollect where a people were coming from, just as Africa’s recognition of the existence of the dead, the living and the unborn in a continuum.
  The abiku, he said represents everything about existence, from living to death and as a possible way of coping and that what comes out of the future should be about advancement.
  Soyinka also called for a revisit of local religions as balm to the distrust and disruptions foreign religions have brought to Africa. He labelled the twin foreign religions Christianity and Islam as having been turned into weapons of mass destruction. He noted that all religions are man’s creation and asked “Christians and Muslims to go to the Orishas and be wise!”

WHILE congratulating Soyinka for writing the book, Ezekwesili said Harmattan Haze on an African Spring offers insight into the choices, especially economic individuals that have been made and how those choices have impacted on the collective on the continent. She said while the book looks at why Africa still remained undeveloped, the question that had to be asked is, “What is the essence of the human being? Is there a process of development for Africa that we missed as originally conceived? Who determines the success or successionisaton of their views of development to be so difficult? And who is that person that defines the context for that development?”
  Ezekwesili also stated that in parts of the West, there is the pervasive view that Africa is lacking all the essential ingredients for development, with the likelihood that the future would continue to be bleak, as development would never happen. She also noted there are yet others who were paternalistic about Africa’s problems and couch their expressions the faintest optimism that Africa would somehow crawl from its prostrate position and somehow arrive at its own Eldorado some day in terms of the developmental attainments that all the other continents have attained but which seem a mirage for Africa at the moment.
  The former Education Minister stated that Soyinka’s book is such that will force readers to re-examine the continent’s developmental issues again, whether the lack of development is as a result of alienation of the individual from his African roots.
   Ezekwesili also argued that development essentially takes the individualistic curve and the choices the individual makes. She cited the Singapore example as a people who had a certain mindset at independence to prove to the 'whiteman' that there was no reason for the whiteman to have governed them in the first place since they were capable of doing it themselves. And so they worked at it and today, Singapore is a model country for development.
  She reasoned that what happened after Nigeria’s independence was that while places like Singapore had a developmental model in mind, Nigeria had a replacement strategy. All the leaders were concerned with was to replace the departing British with all the exploitativeness of colonisers without a vision for future.
  She also argued that what Africa was exploiting and exploring in terms of its vast natural resources was a tiny bit of what lie beneath the landmass of the continent. She said the peoples have failed to really dig deep to unearth the resources their lands harb our.
  According to her, only 16 African countries have attained full school enrolment while many others have not been able to transcend the barest level, adding, “Development in Africa is a great opportunity. There are so many possibilities that lie within. Inability to fully exploit these opportunities carries the seeds of implosion. A steady state of failures causes people to find alternative ways of survival otherwise, the spiral down the slope.
  Also, Ezekwesili debunked the abiku myth as worth looking at, and said Africa accounted for 500 infant deaths out of 1000 births. She noted that such grim statistics made mockery of any inspiration derivable from the abiku metaphor because Africa’s growth lies in its virile population, which such monumental deaths imperil.
  Ezekwesili then concluded, “A single description of Africa is intellectual slothfulness” the West has perpetuated against the continent, a proposition Soyinka disproves in his book.

ON Africa’s spirituality as encapsulated in Soyinka’s famous poem ‘Abiku’ (the spirit child that is born and dies to be reborn again and again to torment the parents) as fitting metaphor for examining the recurring retrogression plaguing most part of Africa, Prof. Utomi, founder of the Lagos Business School and the Pan African University, said although Africa’s spirituality is dynamic, it is easy to link the colonial experience and how things were done in Nigeria. He said Nigeria’s woes stemmed from inability to deal with the consequences of individual actions, saying, “The problem of living in Nigeria is that of living with bad consequences”.
  He argued that while Africa’s young population has deep technology penetration, the problem is how to harness that penetration to give momentum for real development. He noted that 2012 has been a bit of a paradox, and added that his “fears had been how to pluck failure from the jaws of progress. We are still managing ourselves poorly and we may not be able to derive much from the Africa Rising momentum that is gathering. He cited the instance of Rwanda that has managed to raise itself from the dust of a tragic war as a place Nigeria should emulate. He said after the tragic war, there was a consciousness of ‘never again’ attitude and Rwanda was the better for it today, as the country is steadily making giant strides in development, managing its resources prudently for the benefit of its people.
  For Utomi, while Nigeria’s problems are traceable to leadership, there are other indicators to watch out for as impediments to growth namely, value problem, collapse of culture and institutions. He said there is nothing Singapore did that Nigeria hasn’t done, yet the gap between the two is still wide because the discipline to ensure values, culture and institutions work has been lacking.
  For astute banker Elumelu, Nigeria is full of critics, who ceaselessly bash the country senseless without lifting a hand to help. He urged Nigerians to begin cultivating the healing habit of saying good things about their country. “We criticise ourselves too much,” he said. “How do we say good things about ourselves to the rest of the world? If all we see and say about ourselves is the bad, how do we want others to say about us? We must begin to use our human capital to propel development.”

WHILE contributing from the floor, poet and social critic Odia Ofeimun brought an ominous dimension to the debate, when he said Africa is exactly where it was when the slavers from Arab and Europe came calling from the north and south centuries ago, with several acrimonies and internal wrangling going on all over the continent. He said the implication is that Africa will not be able to defend itself again a second time and fall prey to the superior powers of others who are more organised and developed. He said the continent is still plagued with distrust.
  Ofeimun lamented, “Today, we are not building factories and farms for the people to work on. Our problem is about not building factories. We should begin to demand from those asking for our votes, which imported goods they will stop when they get to office so that our factories can begin to work again for the people to be engaged and idle hands put to proper use and not otherwise”.
  Art collector Yemisi Shyllon argued that until African societies go back to their traditional cultures to rediscover themselves and what is innate to them as proposed by Soyinka, the continent would not experience growth.
  Dr. Yemi Ogunbiyi wondered why Soyinka has suddenly turned essayist as against the fine satirist he was known for in his many plays and poems, wondering also whether fiction didn’t quite solve the problems his society posed and whether it was a submission that fiction -- the arts -- has failed him as a tool to confront society.
  To this Soyinka responded that art has not failed the society, rather it has helped to contnualy propel the society towars self-examination and the quest for renewal and revalidation.
  Other contributors included Prof. Bimpe Aboyade, eminent librarian and, wife of the late famous economist and economic theorist, Prof. Ojetunde Aboyade, who is reputed to have written one of the economic blueprints that the Malaysians adopted to change the fortune of the country. Prof. Aboyade advised that Africans, even as they embraced forewign religions, must indeed go back and recover some of the positive values of their culture and deploy such to help in their march to greatness, especially in the context of globalisation.

THE night was also suffused with musical entertainment by the young poet, dancer and singer, Aduke and her friends; and generous wining and snacking. The literary feasting continued well into the night with an informal reception in the restaurant of the Terra Kulture.

Sunday, 3 March 2013

Kalakuta Dairies… Reliving The Fela We Know


By Anote Ajeluorou

No single writer will ever be able to tell completely the story of Fela. Like the elephant visited by 10 blind men, there would always be different aspects to the quintessential Fela narrative. What comes out clear is that no matter the narrator, Fela’s story will forever be fresh, stimulating, engaging and favourite bed time tale, with which grandmothers regale their grandchildren, albeit the discerning. This is Fela, the unknowable, the enigma, the legend, who left unmatched legacy in musicmanship, intellectual non-conformity in politico-cultural activism!
  And so out of the many books on Fela yet to be published, a new one Kalakuta Dairies (AuthorHouse, U.S.; 2012) by Uwa. It will be another gathering of the Fela intellectual clan, who will reminisce on the man whose life was a vast canvas of the most improbable.
  Kalakuta Dairies offers slices of life as it was lived at the empire and commune that the musical legend created both for himself and a vast number of the Lagos homeless that thronged it. Kalakuta was home to the good, the bad and the ugly. But in all these, there was order, there was government of sorts, there was organization because there were established rules that had to be followed. Enforcing some of these rules was one of the jobs of this new author, Erhabor, whose meeting with Fela was as dramatic and whimsical as the Fela persona ever was.
  The Erhabors lived a few paces from the old Benin City prisons and young Erhabor used to blar Fela’s music from his father’s stereo to the listening pleasure of Fela who was an inmate at the prison. Fela saw young Erhabor from his perch inside the prison and took a liking to the young man instantly. He reached out to him at once and thus began an association that was to last from 1983 to Fela’s last days on earth. It was with the same impetuosity that Fela married his 27 wives that he took on Uwa and assigned him a role in the orderly running of his vast musical empire.
  Erhabor lived through some of the turbulent times of the life of Fela in his many brushes with authority. As Erhabor states in his introduction, “Kalakuta Dairies is a personal narrative of events and characters that propelled and defined an African social-political setting (personality, enigma) in the heart of Lagos. Kalakuta was a creation of an icon rare-breed (sic) par excellence, whose legacies has (sic) left an indelible footprint in the sands of African and the world’s political times and consciousness.
  “This narrative is an attempt to emphasise the roles played by different characters that shaped the actions and policies of a die-hard pan-Africanist, who had an uncanny ability to read and predict exactly outcomes of diverse political and economic actions of the ruling elite years ahead of most of his fellow countrymen”.
  In this wise, Erhabor has provided an insider knowledge of Fela’s music empire, the goings on, who did what and why and Fela’s responses to most things. In diairic fashion, Erhabor records daily occurrences in the empire, the police raids, how Fela lived with his wives, who they actually were and how they related to each other, the band members, the musical tours within Africa and in Europe and America.
  Indeed, Erhabor’s Kalakuta Dairies is vintage, perch reading of the workings of Fela’s vast commune, of the sane and insane, and how, from this seemingly incongruous, contradicting setting, was to emerge the most unflagging cultural philosophy and political vision ever espoused, an unmatched rereading and reappraisal of a much maligned continent that has severally been raped raw both its own children in collusion with white foreigners!
  Like Fela, Erhabor’s book dispenses with the need for a table of content, even though Kalakuta Dairies has four chapters with an introduction. In Chapter 1, titled ‘Roots, Radicalism, Music and Mysticism’, Erhabor gives background to the Fela phenomenon, from his studies abroad to his musical journey till the discovery of Afrobeat that was to define him, with his activist mother as prompter to his musical direction. Erhabor refutes claims that Fela originally enrolled to study music and not medicine as has become the popular lore.
  In Chapter 2, ‘The Talisman: Origins and Journey into Kalakuta’, the author narrates his encounter with Fela in Benin City and how he came to be part of the inimitable republic. Here, he plays up the role of Fela’s late younger brother, Dr. Beko Ransome-Kuti in Fela’s life. Beko pulled a lot of strings behind the scenes just as Lagos lawyer, Femi Falana also played a significant role in Fela’s legal tussle with the autorities he frequently dared. But in retrospect, Fela it was who played a defining role in the legal career of Mr. Falana, with a Fela who was already established as a musical superstar. Fela’s brush with the authority gave Falana moments to shine.
  ‘Peoples and Personalities in the Last Empire’ is how Chapter 3 is entitled. Here, Erhabor gives Fela’s musical itinerary and the personalities that made it thick and those that gave it a bad name. He also gives the biodata of Fela’s wives and almost everyone that worked with Fela, particularly their temperaments and how their many intrigues plagued the great one’s empire. Chapter 4 Erhabor titles ‘Tours: The Sweet, The Sour, The Political’ and continues on the tour strain peppered with other communal life details at the republic until the last days with Fela finally succumbing to the dreaded diseases, for which the author strongly holds two ladies responsible, a lady of dubious reputation whom Erhabor simply calls Jq, through whom Fela’s increasing spiritual quest finally found outlet…
  Erhabor’s Kalakuta Dairies is an insider’s expose and makes for delightful reading. Fela’s life would always excite, and coming from an insider like Erhabor makes it all the more stimulating.
  However, Kalakuta Dairies is badly edited. Indeed, the book needs rewriting entirely to make it a truly great narrative, especially as it is about a man of the stature of Fela. Poor grammar and poor narrative flow mare an otherwise serious writing. It’s hoped that the author will take advantage of a reissue to remove these inhibiting errors so the book can truly warm its way into the hearts of the many lovers of Fela. Indeed, Erhabor’s Kalakuta Dairies is a commendable book waiting to be properly written!

When Clerics Kill… women chart path to peace in the face of religious, tribal violence


By Anote Ajeluorou
 
World renowned novelist Chinua Achebe may have made famous the supremacy of mothers or women in Igbo cosmology in his famous novel Things Fall Apart. But in reality women playing mediatory role in African societies seems a fairly widely used weapon that comes readily when men’s madness has exhausted itself in senseless blood-letting. Playwright and poet Shehu Sani has not failed to employ this potent weapon to ensuring harmonious existence in his new play When Clerics Kill (Kraft Books Ltd, Ibadan; 2012).
  Indeed, the religious ferment in parts of the country, especially in the North, with Jos, Plateau as poster picture, where Islam and Christianity have locked horns in the recent past, with a dose of tribal supremacy thrown in, has provided Sani with potent handle to address salient issues of hate and intolerance as encapsulated in the professions of some of the adherents of these two faiths. Also, the lack of political will by the political class to act decisively to avert the incessant blood-letting just for political capital is brought to the fore. The unsavoury activity of security operatives in further fuelling these crises does not escape Sani’s creative lens.
  Sani’s When Clerics Kill provides a spectrum of views from different segments of society regarding their involvement in the needless religious and tribal crises that soon turn a killing field. Between the Christians and Moslems, there’s growing animosity on the basis of their teachings; this is not helped by the coming into town of fiery clerics from both religions. While Pastor Gatari Ishaya sees the Moslems as settlers in the land of his ancestors who want to forcefully convert them to their religion and should be curtailed, Sheikh Jabbar sees the Christians as infidels who indulge in sinful acts, people that must be converted for the purity of the land. They need a Jihad to rein in the wild excesses of their hosts and everybody else.
  Supporters of both clerics like John and Sagir soon fall for the subversive preaching of these two dangerous clerics. And before long, matters come to a head and violence erupts to shatter the peace that had existed between them. Of course, the arguments are well-worn and Sani has merely provided a dramatic moment to thresh them out once again for those not yet conversant with them. Not least in the line of argument is how government capitalises on the gullibility of the poor to continue to inflict pain on them by not doing enough to provide jobs for the youth that become ready tools for them to use to perpetuate election fraud. Indeed, Sani puts the vulnerability of the entire poor masses in the hands of a mindless political, elite class in the sun to dry. Even their feeble effort to stem the tide of violence is laughable. While the orgy is going, the governor, whose state is on fire, is more concerned about the political implication arresting bigwigs – politicians and clergy - on both sides will have on his re-election bid, as he says: ‘Don’t forget and don’t ignore their political value. They helped us win elections and we have an opposition that is ready to cash in on any crisis. I can’t risk arresting any emir or chief for whatever reason. Just bear this in mind’.
  This response from the governor to one of his aides is typical of the political manipulations or inaction of those in power to crisis situations. The usual thing is to throw more money into such crisis in the name of security. As one of the governor’s aides reminds him, monies meant for education and other infrastructural projects have been diverted to security with the result that more violence is being reaped, with the government looking on and wringing its hands helplessly.
  However, women’s intuitive way of looking at a world perverted by men’s bigotry comes to the fore. Sani deftly employs John and Sagir’s wives as counterpoint to a world made mad by men’s inability to reason properly, especially men with a poor sense of pride and religious zealotry. The two women, one Christian and the other Moslem, after vainly attempting to dissuade their respective husbands from embarking on acts that would erode the peaceful co-existence of the community, team up to act. But John and Sagir are diehard followers of two crazy clerics set on collision course. When violence erupts, John and Sagir have broken heads to show for their foolishness.
  In their final exasperation with the idiocy of their husbands, with the unwarranted violence threatening to disintegrate the community, Martha and Tani summon other elements in the community that abhor violence and take up placards against those inciting violence as last measure to restore peace in the community…
  Sani’s When Clerics Kill presents a sobering, murky account of events that leads up to violence that has origin in religious and tribal bigotry, irresponsible government and security operatives that take laws into their hands. But Sani’s play falls short of a fully realised dramatic piece, with heightened suspense and all. What he succeeds in doing is merely provide a catalogue of arguments for both sides of the feuding parties. Indeed, his arguments are well-worn and no new, fresh insight is provided to give the reader or viewer something to think about except bringing in women as final peacemakers, when men’s back have been broken and put by fireside to heal.
  Also, the play suffers from poor editing. Noticeable are poor sentence structures and grammatical errors that good editing ought to remove. Sometimes, even punctuations are poorly done, with comas being used instead of a full stop. Craft Books Ltd, with its Craftgriots poetry imprint, ought to do better than this in editing and proofreading since it is about the most patronised publishing outfit by creative writers in the country.