The colours of ‘Mr. President’

HOW did Acting President, Goodluck Jonathan, affect our affections that we have secretly adopted his style and colour? Open any paper and there he is, welcoming everybody to his style.
Mr. ‘President’ has managed to entice everybody into his corner with his rich Ijaw regalia, without any crinkled look of a worried man, even though the load on his head is very heavy — economy, dilapidated infrastructure, lack of social amenities, crisis upon crisis, crises, so to say.
There’s a popular saying that he has patience, no pun intended, Patience is his wife’s name, and so he has been able to mark himself out as a man of style and colour.
Accessories and ornament complete an outfit and help to personalize a person’s look. For the acting president, it’s the jewel-encrusted buttons on his long robes, which have made dramatic statements for him.
Writing in Smashin’ fashion, thewashingtonmistress.com, the acting president’s style was described as vertical. The fine striped shirt (by Rocawear) reveals his sense of style. “Everyone knows stripes are the way to go, but how often do you see them rocked in such vertical proportions! Yes, the black sewed-down shirt with white vertical stripes might be a fashion sin for most, but not for Goodluck Jonathan. In fact it only complements his gold string…thing…with…circular things on it…”
The hat is an essential part of his fashion ensemble! The solid black Fedora, a low, soft felt hat with a curled brim and the crown creased lengthwise, never leaves his head is a statement all on its own.
So the fedora, like his striped shirt, has helped him appear hip, hot, and intimidating, no matter what anybody says.

Charly Boy... Oh Gawd!!!! I Am Pissed Off...

Recently, maverick Charly Boy embarked on his six-year old dream of publishing. His magazine Charly Boy is in its third edition come April 2010; and the multi-skilled artiste told Anote Ajeluorou recntly in Lagos that th new project is all in the process of consolidating the Charly Boy Brand. Lagos. Excerpts:

How has the experience as a publisher been?
It’s been most profound. Like I always say, we will continue to be students in the school in life as we indulge in different experiences, and because of the people who have come before, people like Kunle Bakare, Mayor Akinpelu, Seye (Kehinde); because of their tenacity, I’m inspired. And, I have always known one thing: no matter how a thing might appear, no matter the stumbling blocks, the obstacles you encounter, that if you are consistent, you will definitely come out tops.
So it’s been challenging; the magazine or publishing business is not a child’s play but like you know, I have always been somebody that will never run away from challenges. I’m facing it squarely; in fact, a lot of people who have seen the magazine get back to me to say it’s a good start. And if it’s a good start, it can also get better. They like the quality, and they like the direction. What is left is by my staying power and how I approach matters.

What exactly is the direction?
Well, it’s geared towards the upwardly mobile, young Nigerians; for the first time, it’s not a masses thing I’m doing. It’s for those between the age range of 18 and 40. The magazine represents all the values that the brand Charly Boy stands for —doggedness, consistency, humble beginning.
It doesn’t matter what background you are coming from, whether it’s the most wretched background, as long as you believe in your dreams and follow your dreams with doggedness and consistency and you remain focused, then whatever your dreams may be, you’re likely to succeed. So failure should never be an excuse.
The magazine seeks to find young, enterprising people who, from nowhere, through hardwork and initiative, are carving a niche for themselves.
We want something to inspire, we want something to motivate; and you know that the reading culture in Nigeria has dwindled so badly. So our style, our approach is a little laid-back; it doesn’t look too serious. It looks playful, which is my forte. I don’t take myself seriously even with deep and profound things. I like to do them from a very playful perspective; so that is what you have in the magazine.
The approach is very visual from one page to another; it has pictures and an outlay that will hold your attention and we don’t want to make it too wordy; very few words but very deep content because Nigerians don’t have that discipline. So this is what the magazine represents.
Those are the people we are targeting and, so far so good.

There is a column titled ‘Pissed’ and there is another ‘Street University’. What are they about?
Ok ‘Pissed’; the column is run by me. It’s about all the stuff that upset me about Nigeria and being Nigerian. They are the things that piss me off about living in this country, about being part of a system that is not working. I’ve given so much to the development of this country; I’ve done so much yet I don’t understand why I feel I am useless.
I have said so much but I don’t understand why nobody is listening to me. I have been behind so many campaigns, and I have fought so many wars yet I don’t understand why I feel I have done nothing. So I’m pissed. It’s my anger about being a Nigerian living in Nigeria that is on that page and, I think to a great extent, it expresses a lot of people’s anger because we are angry at the same things.
We are angry that you and me should be better off than what we are today if we have an enabling environment. But the point is that we don’t have an enabling environment, and why don’t we have an enabling environment? Is it your fault or my fault? No; it’s the leadership fault. But then again, does that exonerate us? We are all guilty of inaction and the little action that I have done, I don’t know whether it is worth anything and so it keeps me wanting to do more.
Some of the people you have addressed with the project are alsocurrently local government chairmen, members in Houses of Assembly, and even governors. And they have also failed.

So where does that leave this bracket of vibrant Nigerians for whom you collaborate?
You see that is what I’m saying. Sometimes I feel I haven’t done anything. I don’t know why I keep feeling there is nobody listening. I don’t know why each time I turn around, the few people that I think I can trust, who I think can hold the candle, and do the right thing, suddenly go bad just because they got into the system and they have been corrupted by the system, they have been polluted by the system.
And I’m thinking, Is it going to happen to all of us? I’m trying to hold my own but I do know that I have met a few exceptional Nigerians, who have held their own and have insisted that unless you come and kill them, they will not change from their position from what they know is right.
Now, I don’t know how this is going to happen but I know that one thing they are building is to keep reinforcing the call for followership because Charlie Boy has moved from just being a celebrity or a very popular person to some kind of iconic image. Now what to do with that is to keep building that followership not because I want to run for anything but because as an agent of change, I’m also involved in the politics of change. I know and I pray that at one point or the other, we will get our own Obama.
How, I don’t know but when he does come we will be ready and I have an army of youths to fall behind him. Or we will get our own Jerry Rawlings. How, I don’t know but I think a Jerry Rawlings will be better now because a lot of people need to be lined up and shot for the atrocities they have committed against the youth of my generation, the youth of this country. They have stolen their future; so imagine the kind of youth we will be breeding in the next 15 years. They will have been affected and polluted by the system. Our values have derailed; everybody now is in the mad quest for money. We are all acting like we are all bewitched.

Back to your magazine, was there a shock in transiting from music to magazine, and have you abandoned music as well?
I have never really been a musician!

What? So what have you been doing in music?
I have never really been a musician. I believe a musician is someone who plays, reads and interprets music. I cannot do any of that; so, I’m not qualified to be called a musician. I’m an entertainer! I just use different media, different fora to express myself. I’m a communicator, and a good one at that. So I use different media. I use the medium of music but that doesn’t qualify me to be a musician. I don’t believe I’m a singer. I can open my mouth and hold some notes. I can’t play any instrument so I can’t claim to be a musician because I’m not.
But then again, it’s all about communicating. And who is my audience; my audience is the youth and music is part of what we do to keep that brand on top because that was how the brand started and that was how people identified that brand as a musician. So that doesn’t qualify me as a musician; that is a great injustice. It’s more than that; it’s gone way beyond that.
You published your book biography a few years ago. How was it received?
I don’t do things to judge how people will receive it and I don’t do things because of patronage I’m going to receive for it. I do things because my spirit tells me that it is the appropriate time to do something. Just like some people asking me, how is your new album with Dr. Alban?
For some people, there is a cost factor for them. But I’m not a business person; maybe that’s probable why I can never be rich. And, I don’t want to be rich; I just want to comfortable enough in life to pay my bills, and finish training my children and that is it; and have a small cubicle to retire to.
I’m not driven by money. So when I say, which one is my own, it’s not because I’m stupid. It’s just that I’m not wired as a business person, and I don’t think business. I’m a creative soul and I want to remain like that but I thank God that He has managed to put in my path things to sustain the things I do.

Between magazine and Charly Boy brand
You tell me! Of course, it’s the most misunderstood brand but who gives a damn really about what people think. It’s about what you believe; and what I believe is pure and wholesome. What I believe is very positive.
So if the brand was set up to shock timid, myopic, backward Nigerian out of their ways, and those Nigerians are still myopic, timid and backward why should I reduce the value of the brand? Sometimes you see me running around with okada people, with area boys, how does he understand their language?
So the beauty of that brand is the fact that it can blend with anything, any situation and with anybody. And, there has never been a brand like that in the history of this country. We know people to stick to one thing and only one thing. But that brand can be used for different things; so I don’t blame people who misunderstand its intention.

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.”

A talk with Funmi, Chris Dada

Funmi on a ride with Area Fada, Charley Boy

BY CHUKS NWANNE
THIS morning, she looked sweet. She’s just had a production meeting and was relaxed. She appeared as sweet as morning angel.
For so many years, she had come to the living room of every NTA watcher with the best of television presentation. Her interviews had drawn many to her side. Suddenly, when the ovation was getting loud, she announced she was quitting the show. Many wondered why.
Was it the end of a dream to see quality talk show? May be yes. May be no.
Suddenly, the news filtered across that Funmi was indeed cooking a new meal. What was it?
Talk With Funmi, which was premiered exclusively on DStv’s Africa Magic channel on February 7, at 7pm.
The first time I called to fix this interview, Funmi Iyanda didn’t take the call that day. Suspecting that she might belong to the growing list of Nigerians, who don’t pick ‘unknown’ mobile phone numbers, I decided to send her a text, detailing clearly my aim of ringing her that early morning.
Few minutes later, my phone rang. Just as I predicted, the broadcaster said.
“I’m really sorry, I’m always careful with unknown phone numbers.” And she adds: “It’s ok, we can do the interview, but I will give you a phone number to call in case there’s any change in plan. I will send you the address right now.”
Just as she promised, we scheduled to meet in two days time, but she added, “I will also like you to speak to the producer of the show (Talk With Funmi); I will get him to be part of the chat.”
Her Maryland, Ikeja, Lagos office, is an insight to the taste of the team; simple but detailed. In fact, if care is not taken, one could easily mistake the well-kept apartment for a home; there was no signpost.
Not long after we stepped into the reception, the secretary ushered us into an office, where Chris Dada, producer of the TV show, Talk With Funmi, was waiting with about two laptops and a desktop system on, ready to show clips of the show; he’s more like a practical guy; no long story.

THE first child of her parents, Funmi was born and bred in Lagos. After her secondary education at the Methodist Girls’ High School, she proceeded to the University of Ibadan for a degree in Geography.
Yes, Funmi studied Geography not broadcasting, though she had a stint with studying International Law and Diplomacy.
Fresh out of university, Funmi explored her deep passion for sports and, for people when, between 1995 and 2003, she became an active member of the NFA. It was during this time that she was consulted to act as chaperon to Nigerian sports legend, Charity Okpara as well as Chioma Ajunwa, who, two years later, went on to win an Olympic gold medal.
She reported the 1999 female World Cup, the All Africa Games in Zimbabwe, as well as the Sydney Olympics in Australia. She also worked on a documentary on the team that participated in the African Cup of Nations in South Africa 1996.
However, with encouragement from the likes of Tunde Kelani and Tunde Agboola, Funmi subsequently took up TV production and presentation, starting with a syndicated programme, Good Morning Nigeria, on NTA. She was a presenter with Saturday Sports, Milo World of Sports and Guinness World of Sports. Funmi had also done Concert Fever, Heart To Heart, and a musical programme that ran for over a year before she moved to MITV, where she presented MITV live for more than two years. Her adventurous spirit soon moved her to leave MITV for the NTA where she anchored the breakfast show, New Dawn On 10, a show that introduced a new era in breakfast television.

AFTER eight years of producing and hosting the acclaimed studio talk show, Funmi announced the end of the New Dawn, with a broadcast of the final show in September last year.
“What I’d like to say though is this: I was done on the Dawn, done with inspiring people (which I never set out to but honoured to have achieved). I am set now to ignite those who would like to come along with me to exciting new possibilities the beginning of which will be a brand new show,” she wrote on her blog.
Funmi’s decision to rest New Dawn was a thing of concern to her fans. But just as many were still wondering if she’s retiring from broadcasting, she returned with yet another show tagged, Talk With Funmi, which was premiered exclusively on DStv’s Africa Magic channel on February 7, 2010 at 7pm.
“When we stopped New Dawn, I thought of what next to do. I wanted something else, but I wasn’t clear on what I wanted to do. I wasn’t sure of what to do, but I knew that the best thing to do was find the right producer and director to work with. You might have a great idea on you mind, but most times, it’s better to find someone who can help actualise those ideas.”
Just as Funmi was still toying with the idea, a close friend linked her up with Chris Dada, who as at then, was based in London.
Chris, a Nigerian born producer had always wanted to return to the country to do some productions and here’s a Funmi, searching for the right partner.
“He flew in from London and we started talking. I had this idea of a road show, but I didn’t really know how it was going to work. How it all started and got this far, is his idea. I wanted to do outdoor, but it wouldn’t have worked without him; I think he wanted to do something similar, I don’t know… Chris talk now,” Funmi busted into laughter, nudging Chris to speak.
“From my point of view, when she came to see me, and we started talking, I thought to myself that the original idea Funmi had in her head was fine. But I kind of wanted her to do more, because she could actually do more. We were seeing a situation where we kind of go out on some road show to bring out things people don’t usually bother to do or show to the world. We talked for three days and then finally arrived at a conclusion. I was like, ‘let’s get rid of the constraints and just go out and meet the people.”
He continued: “I really didn’t know much about Funmi until I met her. But looking at New Dawn… the things that really struck me were the obvious kind of fan base she had built for herself and I told myself, ‘she was worth it and good to work with,” Chris said.
On his own part, Chris had always wanted to tell the stories of those people whose stories don’t normally get told. Meeting Funmi was like a lifeline to that idea.
“I saw her as someone who was doing just that, and that kind of informed the marriage of ideas. It was one of the main things that brought me back to Nigeria and I felt it was a way to get at it.”

CHRIS left Nigeria many years ago, working in the production sector. He had toyed with the idea of bringing back his wealth of experience back home and Talk With Funmi did just that.
“It was strange, everything was happening at the same time and within a week, I got a phone call. I knew that she (Funmi) is somebody, who shared my ideas and I could confidently work with,” Chris said.
No doubt, there’s so much life in the show.
“Its not like the Nigerian thing where people take stuff for granted. We are looking at a situation where people will meet us, watch and hear things about themselves and have the ability to pick up the next question and not be emotional,” Chris said.
“I think that was also a joint effort thing,” Funmi added. “I remember when we started talking in the house and I said I wanted to know what Joel (her gateman) thinks, what the baba next door thinks, what Umoru thinks and what’s going on in their own world. At a time with New Dawn, I just wanted to hear from everybody; everyone was important.”
The idea of featuring Charly Boy on the show was actually by accident.
“I actually wanted to do Okada in Lagos and someone said, ‘ha, Charly Boy, Area Fada of Okada riders.’ That was how the idea came and we followed up. The principle behind it is to give a voice to everyone, especially those without a voice; usually not heard. I sat in the studio for years talking to politicians and celebrities. No matter how skillful you are, there is something they are not going to tell you, even sometimes, they have an agenda and they want to come and use you to push such agenda. It’s all well and good. I also want to hear from those who don’t have anything to lose in their mind,” Funmi said.

TO prove that the show is actually for all no matter the social class, Talk With Funmi was also in Ajegunle. Till date, a lot of people still wonder how Funmi and group coped in that jungle part of Lagos.
“We had finished Lagos and gone to other states and he (Chris) was like objecting. Initially, Ajegunle wasn’t in our plan, but he kept saying we have to shoot Ajegunle. Even Ifee (my assistant producer) kept talking about Ajegunle; the different dancing styles that have evolved from there and the creativity of the people from that locality.”
“At a point, you discover that much of the talent of Nigeria have evolved from that locality,” Chris said. “At least, five of the national football stars are from there. You talk about their music, their life style … I just wanted to show these beautiful people to the world. It was a burning dream. For example, the reigning alanta dance, I heard evolved from there and has its origin by reason of many mosquitoes in the area. You know the steps and how you kill mosquitoes,” he said with laughter.
You might think that Ajegunle residents are hostile, but Talk With Funmi has a different story having recorded in that location.
“The people are also friendly,” Funmi quipped. “I remember in 1995 when we went there; some boys came together to form a vigilante group and we had gone to film in the night. They saw us and started shooting at us. I didn’t know what Ajegunle was like then, but what followed was interesting then. I grew up in Mile 2, so, I know much about AJ,” Funmi disclosed.
“Even in their poverty and unhealthy environment, they are some of the most happy Nigerians and are always happy to be doing what they are doing,” Chris observed. “I remember a situation in which we had to go there to record at the football field, a jolly young fellow brought her wine. He opened it and was so happy to be entertaining us; it’s amazing the kind of life you experienced when you go there.”
To Funmi, Ajegunle is a place full of strength.
“The women are always so cool in their gele. Every Sunday, you see them proud and happy not minding the slum and swamp. I remember this girl I had an encounter with, so pretty, looking beautiful in her dress and I was like, ‘where did you get this dress from.’ She said, ‘na Okrika, second hand now, from boundary market.’ The pride and dignity with which she said it alone was amazing. I attend a lot of celebrity parties and the women there in all their affluence and wealth don’t exhibit the kind of carriage you see these poor Ajegunle women exhibit. I think we ought to do an urban renewal of that community. It also reminds me of the story of Nigeria where the average people are the most inspiring and hard working.”
According to Chris, the show, which is currently running on DSTV, will definitely get to terrestrial TV stations.
“It’s in our plan, we will definitely show it on TV stations across the country. We are still talking to them, but expect it on either NTA or AIT.”
“If we have our way, we will put the show in all the TV stations in the country,” Funmi said. “We want everyone to see the show because it’s for the people.”
For your information, this is not a re-branding Nigeria project.
“Before the government came up with the idea, we had already started conceptualizing the programme. We are interested in telling the true story of Nigeria to the world. When you travel out of Nigeria, you see proud Nigerians working hard. Nigeria is not about bad news; there are more good people here than bad ones. You can’t believe the development in some of the states we’ve visited just because of this show. This is not re-branding Nigeria; we are just telling the true story of Nigeria.”
For those who are excited about the show so far, just fasten your seat belt; the best is yet to come.
“I don’t even know where the show is going; we can’t say now. But what we are promising is quality and interesting productions,” Funmi said.

Tope’s drum of a life

BY OMIKO AWA
Obanikoro Street in the suburb of Lagos is roused from its serenity by sounds filtering out of the Breath of Life Church auditorium, venue of the Wonder drums Live-In-Concert.
I’m ushered into an empty seat in the almost filled hall, as the sound from the drum sets on stage continues to enchant the audience; watching the drummer hit the gadget in a tutored rhythm.
Within seconds, “pam, pam, gre…gre…gree…greee… pam, pam, pam” and a lady springs up from behind the drums.
“You are welcome to my show,” she says gasps for breath as a result of exhaustion.
“I am Tope Odebiyi (a. k. a. Topsticks) of Wonder Drums; with me in live-in-concert is Emeka on keyboard and Philips on bass,” she informs, bowing in obeisance.
Her last word, which is not far from ‘thank you’, is drowned by applauses that sends her off the stage for another performer to step in. Topsticks’ performance is almost cyclic, as she comes on and off stage giving room to other invited upcoming artistes performing.
“I feel so great, so good that the event was a success,” she says after the concert. “Putting things like this together was not easy for me with my limited resources.”
She adds, “I thank God for the audience, I never knew the turn-out would be this much even with the little publicity given to it.”

TOPE’s joy reflects on the way she responds to greetings. She hugs some, shakes hands with others and almost kneeling to acknowledge the greetings of an elderly woman.
What’s next with this outing?
“I cannot say for now, but definitely there is going to be another outing before the year runs out,” she says looking satisfied with the just concluded one.
“I look forward to having an all-female band, where all the instruments would be played by ladies; though I have not started putting things together in that direction, I must mention that it has been penciled as one of the things to do this year.”
As if not satisfied with her response to the question, Tope in emotion-laden voice reveals her other plans.
“I also want to mentor upcoming drummers to play the instrument better and to tutor interested youths, who want to come into this aspect of the art form.”

WHAT is your relationship with ( K-Sticks), Kunle Ponmiloye?
“He is my mentor and coach. He advises and directs me on drums, and I hold him in high regards. He is like a father, a teacher and mentor. He is all put together,” Tope says with a giggle
But people say he is your secret lover.
“No-o-o-o! Our relationship does not go beyond mentoring. He is more experienced than I am, and guides me professionally. Besides, the gap between us is too wide for him to descend so low, to be involved in extra-marital affairs with me. Please, it is not true.” Her otherwise happy mood is changing already.
And the men, are they coming?
Tope, drummer girl, not yet recovered from the last question, says, “let’s keep that for now. “They have been coming and God in His infinite mercy has been giving me the wisdom to handle them because I can’t give everybody a chance. It is not that I do not want to marry, but I want to use this period to concentrate and acquire more musical skills, so, that I could be firmly established, like some of the men, in the field.”

THE queen of drums, a product of Olabisi Onabanjo University, Ago Iwoye, Ogun State, is not in a hurry to be joined in matrimony, in fact, she is more interested in building her musical career and mentoring the youths than settling down to make babies.
So, when would the bell ring for you?
“I will let you know when the time comes,” she says amidst laughs.
And your leisure
“I enjoy listening to music or being around drums. I hardly go out to leisure places on my own, except to shows. I’m always thrilled by music, especially the sound of drums.”
Just like always wanting the best for herself, Tope is not in a haste for the market…
“I am not in a haste to bring out a CD, I am taking my time and as soon as the guys working on it is through, I will push it to the market. Surely very soon,” she enthuses.
Your parents”
“Oh! I have their backings for all I do as you can see that they came to cheer me up. When I started, they never supported me because they found it difficult to see their daughter drumming, but seeing my dedication and success, they, especially my father, had no choice than to support me.”
Talking to the parents, the elated father the father, Odebiyi, an engineer, says, “I was not willing to allow Tope to take to drumming as a career because nobody in my family does that. But with what I saw this evening, she has won my heart, I never knew she has gone this far; her confidence, prowess and following are what I never expected. I’m happy because she has made me and my family proud.”

A day with mama ACCA

BY GREGORY AUSTIN NWAKUNOR
IT is raining. The thunder rolls into far distance. Rain pours down like a deluge. It is a stormy afternoon. Fat drops of rain continue to smear the ground. After some minutes, the noise of the rain ceases, but flashes of lightning attract attention.
There’s a gentle knock on the door. “Come in,” the lady inside answers.
Standing up and curtseying is Toyin Ademola, Country Manager, Association of Chartered Certified Accountants (ACCA). She is a middle-aged lady with a graceful figure and look. Her complexion is fair and brilliant. Her eyes? Bright and sparkling. Pains cannot trace a line, or grief shadow in the sweet face. I’m a bit stuck. The thought of how she manages her career bubbles in my heart.
“I have to give glory to God because he is one that gives me the wisdom and ability to manage the home. I will also give a lot of thumbs up for my husband because he is very understanding and supportive,” the ACCA boss mutters. She runs her eyes on the files to be treated. She rises from behind the broad desk, crosses to the other side where some pictures are displayed. She points, “when I was offered this ACCA job, he knew about it. From the very beginning, he knew about it, even when I was asked to prepare the presentation, my husband was involved in every aspect of it. Not that he wrote it, but I would tell him this is the presentation I’m going to make, what do you think about it? Even when I went for the interview, there were three stages, he was always calling to ask, how was it? What did they ask and what did you say? When I eventually got the job, we sat down to discuss the advantages and disadvantages we discovered there will be a lot of travelling involved and everything.”
Leaning her back on the seat, Ademola does not waste words, adding: “I think it is more of a lot of organisation, prayers and communication.”
She checks her daily diary appointment book, and then confirms what happens next. She says, “I always communicate to my husband this is what we are doing, so, I’m going to be in the office late. But ultimately, he would have known that we are doing it because I always put him in the know: the way we talk on phones and all that. I think that what ruins most marriages is that most partners don’t know what the other person is doing. If everybody is open, this is what I’m doing and this is what he is doing, you know the right hand not knowing what the left is doing, everybody going different ways.”

SHE lifts the switch of the intercom and presses a number. She calls an aid to bring a bottle of table water. She looks at me again and gives a friendly smile. She says couples should have things they share together. She snorts, “what are the things we have together? We have the same values, beliefs, and ultimately, we have the same goals. As long as we know what we are trying to achieve, there won’t be any problem.”
She adds, “I talk a lot about football. When we first got married, I wasn’t use to talking about football. My husband insisted that I must like something that he likes so that we could share it together. And I remember the first match I ever watch was the first time DStv came to Nigeria. And they were showing the match at Pyramid. The match was between Manchester United and Liverpool. Half of the people there did not like Manchester United, because at that point in time, Andy Cole had just moved over to the club. And they were abusing his every move, and I felt for him. I then said I’m going to support his team. And it happened that Man U won, that was how I got into football. I don’t like cricket, but I find myself watching it because he will sit down, watching it so. I think that couples should think of mutual things they can do together and also, like together. If a man likes to play golf and his woman doesn’t, it wouldn’t help the home. This, however, does not mean that they should choke each other. A man should have the things he wants to do by himself and she also should have those things she wants to do by herself. They should look for the things that they do together that they enjoy.
Ademola stares out at the now inky sky and says, “inform him that we are going to be late. I don’t even drop it on him, say, tomorrow. I give him notice. While we are there, he will call; I will call, because of his upbringing as well, he is a very communicative person. He likes tapping in at information. He likes asking questions. He will ask me questions, and I will do likewise.”
She warns: “Job will come and go, but your family will be there for you and with you.” There is an air of hope in her face as she speaks. “Even when my mother was a career woman, she was always at home before my father got back, so, when I got married, she would tell me, Toyin, there is no basis for you to go out at 9pm or at night and leaving your husband at home.”

ADEMOLA smiles as if at fond memories of her growing up. With gleam concentration in her eyes, she gushes encouraging tones. “My parents are in their 70s and are still together. There was no way I could just say I’m going out at night or for a party and my husband would just be at home. The way I was brought up, the family comes first. For me, I wouldn’t have taken the job if he had not been okay with it, to be honest with you. Like I said, I grew up in a home where the family comes first before career. Ultimately, if I had a career that is threatening my family life, I will leave it. It is not because we are extremely rich or whatever, but for me, the job will come and go. Even if you’re very good, at one point they will tell you that you’re either too big, or they will sack you or whatever. For me, your family will always be there for you and with you. For me, family life is the key. Maybe because of how I grow up, my mother compromised a lot for her family, I know she would have had positions in her field, onshore or offshore, and she didn’t take it. I remember vividly when the woman was being posted to America, and she turned it down. Let me tell you, they will even call me at home and ask me, what are you doing?

SHE’s the central character in ACCA’s mission to get more Nigerians certified. So, when she is not in the office discussing strategy, Ademola is to be found doing interviews, holding talks in the accounting body. She’s unflinching about why she transited from the arts to the numeric. She actually read French in school. She speaks without a caveat. “The association is the global body for professional accountants and is guided by high principles of integrity. It offers business-relevant, first-choice qualifications to people of application, ability and ambition around the world who seek a rewarding career in accountancy, finance and management.”
The Career Day Celebration, which held recently, is part of the corporate social responsibility of the body. “It is part of our strategy to give youths opportunity to meet with career experts and certified professionals who will guide them on right career paths.”

THE ACCA office, which was opened in 2006, is meant to serve the interest of it trainees in Nigeria who want to become certified professional in their field by learning and cultivating global standards and principles in the accounting profession.
“ACCA trainees can now register, pay for their tuition, receive lectures and conveniently write their exams right here in Nigeria, through our office without necessarily having to travel to the UK,” she discloses.
As part of the ACCA activities in Nigeria, Ademola discloses that her organisation engages in a continuous professional development programme, where members have the opportunity to get updated on current global developments in the accounting profession. Members also use the forum to listen to experts and technocrats in the accounting field, and they have time to network among themselves
ACCA Nigeria also partners other organisations in the country on a continuous basis to facilitate programmes that will edify and add value to their professional career.

FOR Ademola, a perfect weekend for her is the one spent with her family. Who in the world would she like to sit next to go on a long-haul flight?
She looks at me and breathes, “my husband of course. He is my best friend.” She adds, “maybe it is different in this environment, if my husband is having a late meeting; he will call me and tell me. I think what has worked for us is the fact that first, we are friends. We were very good friends and we are still friends now. We gist a lot about things. My husband is my best friend. We talk about everything and sometimes, we realize that we shouldn’t be saying these to each other because we are husband and wife.”

Redeeming the body traders

KETACHUKWU Teena Iroegbu has a humble background. At 13, she lost both parents. This compelled her to muster rare courage that saw her through the trying challenges of life. Today, she is a Communications consultant, working in the Nigerian entertainment industry and beyond. From the Nigerian Music Awards, which she managed for three years to BBC World Service and development communication in rural areas, she has garnered rich experiences that put her in position to mentor young girls to lead good lives. In this interview with ABOSEDE MUSARI, she talks on the entertainment industry and her passion to rehabilitate girls, who have been forced into prostitution.

Background: I am a communication consultant. I’ve been doing this for eight years. I studied Theatre Arts and Mass Communication as a combined course at the University of Ibadan. I write scripts and also serve as a consultant for the BBC World Service. Mostly, I work with NGOs to develop communication strategies, especially, when it has to do with development communication in rural areas. I run an outfit called CultureAfrik, and we handle all aspects of theatre, dance, choreography, stage productions and the like.

Past jobs: We have managed the Nigerian Music Awards in the past three years. We handled the entertainment and logistics. We’ve been working with BBC on World Service Trust. We’ve worked with Society for Family Health and FCDA.

Assessment of Nigerian music industry: The industry has evolved into something great compared to the past, when it was Fela, Sonny Okosuns and a few others. Now, the game has really stepped up and, so far so good, I’m proud to be a Nigerian, when it comes to music. Right now, the artistes are competing favourably in the international scene and they are making us proud.

What about dance? Entertainment generally in Nigeria used to be relegated to the background. It was not something people were proud of, just like football. Once upon a time, football was nothing to be reckoned with. Parents used to beat their children, when they went to play football. But now, every family wants to have a footballer among them. The same way, entertainment is going through a stage, it is still evolving and would surely get there.

Which artistes do you work with? At the last music awards, we worked with Mama Gee, Kween and Djinee. We have worked with Sunny Neji, P-Square, and a number of others.

Your experiences with Nigerian artistes: Many people believe they are saucy because they are stars, however, with me it hasn’t been that way. Maybe it’s the way people relate with them. People have always said Mama Gee is a difficult person. She tried to show it when I met her, but I think what helped me is that we both studied Theatre Arts and there is a kind of discipline we were taught. I was the director and we were taught that the director’s word is final. She had to comply with my instructions. We turned out to be good friends and worked as a team. Another person I enjoy working with is Sunny Neji; he is a levelheaded person. He keeps to time, does his job and leaves. I don’t think, I have had any bad moment with any artiste I have worked with.

Your passion? I am very passionate about the things I do. I have had an independent mind since my early years because I lost both parents at 13 and had four younger ones to take care of. That helped me to develop much faster. I stopped being a child at 13 because I had to be responsible for my siblings. That made me to understand that I had to work extra hard. I had to be creative. I had to start thinking of what I could do to make money. I went into dancing and I was paid for it. I did writing and acting. I washed clothes for people to make extra money. A lot of people in that situation ended as prostitutes, but God’s grace kept me. I have a project to help prostitutes to come out of the situation. In 2007, I interviewed 750 prostitutes in Abuja. I spoke with them one on one. I wanted to know why they were into that kind of business and because of that encounter, many of them made plans to leave the trade.

How far have you gone with that project? I did that research with sponsorship from World Bank through FCT Action Committee on AIDS (FACA). They gave me some money and I employed people that joined me to carry out the research. More than 60 of them were ready to quit and to start a trade, but at that point, the World Bank withdrew the funds and we couldn’t continue.
It was a tough time for me; the girls were calling me because they saw me as someone, who had come to help them. There were so many girls and it would cost about N350, 000 to set each of them up in business. This is because one has to take them out of those slums, to give them descent accommodation to make them change. Then, you pay for them to learn trades. When they finish, you have to arm them with equipment to start business. If you bring them out of prostitution without giving them a decent means of livelihood, they will go back to it. Unfortunately, most of them have gone back because there was no fund to help them through.

Were any of them able to survive on their own? About two of them said they were going back to their hometowns. We interviewed a girl that used to pay men to sleep with her, just for the fun of it. We found out that some were into prostitution because of greed; they wanted to have more than their parents could afford. For others, they were pushed into it by problems. However, the message is that no problem should be enough to drag one into such trade. This was the reason we wanted to help them.

Would you still go on with the project if you find a sponsor? I have gone back to the project already. I am in the process of registering it as an NGO, so that I can get help. I have got an office. I have personally started going back to some of those places, where I met those girls. It is my project and I am going head-on. I believe that with time people will assist me. Right now, I am putting in the little money I have into it. This issue gives me sleepless nights. I have decided not to wait for the big organisation to give me money to start. I have located places around the satellite towns where I can meet them. I met one that was 13 years old. The need for money for family upkeep drove her into prostitution at that young age.

Your programmes for 2010? We want to go into TV production, producing soap operas, films, reality TV and talk shows. We’ve been doing events and theatre, but now we want to go into productions. Also, I want to organise workshops for young women because of my passion for them. People don’t see women as people that can come up with good business ideas. When a young woman goes into an office to discuss business, instead of listening to what she has to say, the man is busy looking at her body and what she could offer in kind. I am going to have workshops to teach women on how to avoid these things.

Dreaming Lagos beauty...

BY GREGORY AUSTIN NWAKUNOR
I’M in a shopping plaza in Lagos Island. I can hear different sounds. Chatter boxes of both refined and crude people sync and out of tune. Sounds of hooting cars, arriving and departing. My ears suffer for the next hour or so. I try to move away from the tone-deaf and rhythmically challenged area, but all to no avail. I can feel the sweat pour down my body. This is one odd place to have an interview, but the show has to go on.
Everybody has come to shop like Queen Lott Onu, managing director of Queenikky International. She looks at me and winks as she sights me from afar.
Clad in a black pant and a halter neck, Lott appears so calm even from afar. She climbs the stair, sinking her shoe on the hard floor gently. She urges me to tag along. She whoops in relief as she almost trips.
In a very gentle tone, that almost seems conspiratorially, she says, “I thank God for giving me the inspiration to imagine and create the Okin Oge Cultural Beauty Pageant.”
Lott gushes in earthly, soulful tunes, as we settle down to a chat. “I also thank Him for making it possible that the pageant received the blessing of the Lagos State government, especially the Ministry of Tourism and Intergovernmental Relationship and also, the Oba of Lagos, His Royal Highness, Oba Rilwan Akiolu 1.”
Her voice cackles in a girly manner. The leggy lady says with delight, “the pageant is well thought out to recreate the soul of pageantry in the country. The focus will be on our cultural values and heritage as a people. It is distinct, rich and creatively designed to be like none at the moment.”
She adds, “it is hoped that the pageant will bring out the intellectual and cultural essence of our young girls, and point them to the path of integrity, enterprise and moral rectitude.”

ANCHORED on the premise of promoting Lagos cultural uniqueness and tourism, the pageant aims at further enhancing the image of the state, as the centre of excellence and also bring cultural renaissance and to present the qualities of African beauty and rich cultural heritage.
Another goal of the pageant is promoting self-esteem of contestants. It offers “not just a place, but a particular way and stringently limited terms with which to negotiate a sense of self.”
The cultural beauty pageant is slated to hold on May 29 at Lagos Oriental Hotel, VI; and the qualified contestants will be camped at Vantage Beach hotel and resort by ocean side, Lekki Phase 1.

BEFORE Lott conceived the pageant, she had an undying passion for showbiz, which in fact, led her into modeling, from where she began to organize shows.
Today, she does not only organise shows for corporate bodies, but also manages models for business developments.
With a clientele base that cuts across the country and some African countries, the catwalk queen is also into calendars modeling, billboards, TVC and corporate ushering.
Her dream is for Nigerian models to be treated with respect, dignity and integrity. She also looks forward to the day Nigerian models will work and earn good wages like their counterparts in the western world.
Yet for all her passion, she is so reserved that you wonder if she’s actually aloof. She says softly, “our ultimate goal at Queenikky is to continually provide professional services to our clients. We also crave for a situation where those from both the public and private sectors would always encourage and support models and the industry, because it’s an industry with huge potentials.”
She says wistfully, letting the sentence to hang. “Another of our aim is to build a modeling school soon, thus becoming consultants to affiliated bodies… globally.”
She shrugs when asked the difference between the pageant and a similar one sponsored by the state government. “Our pageant aims to synthesise the functional and symbolic qualities of African beauty embedded in its rich cultural heritage.”
Echoing the thought, which in a way is the feature of the more than one hour conversation, she says, “we intend to redefine the texture and typology of what we mean by beauty from an African perspective. Our desire is to present to the world, our own construct of what an African queen should represent. We want to deepen the definition of beauty from the African root.”
While saying that the event will have cultural dance and rhythm competition, visits to traditional rulers, orphanages and social centres as part of activities lined up for the queens, she stresses that the emerging Okin Oge of Lagos (Ceremonial Queen of Lagos) will be unique in that she will perform a lot of duties.
Lott shakes her head, her face softening, she enthuses, “the emerging winner of the pageant would walk home with a cash reward, trip to Ghana and a brand new car.”
The team behind Okin Oge of Lagos project is fully prepared to take beauty pageant in Nigeria, indeed in Africa to a new and exciting level which would be akin to the Oscar Award in the United States of America, says Lott.

LAST year, she treated children and staff of the Surulere, Lagos-based Heart of Gold Children Hospice to a scintillating Children’s Day party/special visit.
Aside from the cash and several gift items donation, Lott and her team, also came with a popular disc jockey, who spent several hours dishing out good music to the admiration of the elated children and staff. The visit climaxed with a dancing competition.
Lott hinted that the need to show love to the less privileged as well as to formally unveil her foundation, were the reasons for the visit. She further promised to do more for the needy in the society through her Queenikky Foundation.
“This visit really touched my inner most part, and from this day, we have promised to make it a yearly thing. Such children need love and attention. We must continue to show them love, no matter their fate or level of physical challenges.”

PRINCE Kenny Mobolaji Bakare, Project Coordinator says, “the event will be the best of its kind because it will enhance long standing support for Lagos State culture, tourism and youth development drive by empowering our young beautiful ladies who shall showcase beauty with brain during and after the event for a life time opportunity”.
Bakare adds the pageant is going to set a new standard and “this is a heart warming experience for me and my partners as we conceive a package that will entertain, educate and form a social platform for our young and intelligent young ladies to fully express themselves.”
At the grand finale of the pageant, 21 young ladies from all the local councils in the State will showcase their beauty, intellect and social acculturation.
The Okin Oge queen will be crowned by the Oba of Lagos, Oba Rilwan Akiolu and she would be a cultural ambassador that will be the new face of Lagos carrying out social and humanitarian acts that will benefit the society.

The photographer’s life through another lens

BY DANIEL ANAZIA
IT was the singer-song writer, Regina Spektor, who said the real price artists pay for success is the glare it subjects their subsequent works to. Recently, Uche Okpa-Iroha’s works were subjected to such public scrutiny after his success at the African Biennale of Photography Encounters held in Bamako, Mali, where he won the Seydou Keita Grand Prize for Best Photographic Creation.
The venue, La’ Saison Restaurant, Ikoyi, Lagos, was filled to the brims. While some sat, a sizeable number stood and watched the works displayed on screen, including those that won him awards in the past.
In attendance were seasoned artists, photographers, painters and writers such as the Artistic Director of Centre for Contemporary Art (CCA), Bisi Silva; Amaize Ojeikere; Duke Asidere; Chris Nwobu; Uche James-Iroha and members of IB09 Travel Photographers and the Black Box Photography Collective.
There was a discussion on Okpa-Iroha and his art, the origin and usefulness of photography in contemporary art in Nigeria, on which Silva said, “photography has been in existence for a long time. It has been a tool since the colonial era and was used to document the people, their culture and of course, the resources, which the colonialists were out to cart away.”
She noted that the medium, over the years, evolved into an art form, but pointed out that Nigeria has a lot to do to carve a niche for itself in the genre.
She said that among other genres, narrative photography is yet to be explored by Nigerian photographers. “The potential is there but is yet to be utilised,” she said.
According to the curator, photography and video art are veritable tools for contemporary art in Nigeria. “ Nigeria has the best environment for photography and could compete favourably in the world,” she noted.
While commending Okpa-Iroha, who also won the Fondation Blachère Prize for Emerging Artist at the Bamako Encounters, Silva said, “it is good, but he is yet to arrive; he still has a long way to go. With his exhibited drive and passion, he is bound to get there.”
Having won at the Bamako Encounters, Uche will proceed on a residency programme in France soon.

THOUGH born in Enugu, South-east of Nigeria, the 1997 graduate of Food Science and Technology from the Federal University of Technology, Owerri (FUTO), Imo State, became interested in photography in 2004, while under-studying his cousin, Uche James-Iroha, who is an established photo-artist.
His cousin, in company of Amaize and other photographers of Depth of Field (DOF), visited London where he was residing then. He saw their works, got inspired by them and the following day, he went out to get a camera.
He started by photographing ‘moving waters’ including the River Thames.
Back in Nigeria, he continued taking pictures of rivers but was not satisfied doing that, he took up street photography. His break came during an event at the Goethe Institut, Lagos.
“Much like what I experienced with photographing the Thames, I felt this doesn’t make sense to me. Suddenly, I began to take pleasure in street photographing. And this has helped me to appreciate my society and enabled me to create works that are more narrative,” he stated.

SOME of his works that were displayed at the Lagos event include Intrusion — snapped from a cousin’s living room. “The people were not aware, it was like using binoculars to spy on people’s lives,” he explained. “I am still working on the Molue Series and the Unknown Soldiers they are done in silhouette in order to disguise the men engaged in back breaking work.”
He also disclosed how his Me came into existence. He had to wash an aluminum kettle thoroughly so it could reflect very well. “I am the subject here and I had to read the lights well enough to get this shot.”
As for Ghana Vs Guinea, which shows football fans waving their hands, Okpa-Iroha revealed that he captured the image from his television set.
Of the shots he had taken so far, the artist confessed a fondness for Bright, depicting a boy holding a ball.
“I went for a three weeks workshop in Ajegunle, Lagos and this young man named Bright followed me around asking that I took his photograph. I obliged him.” The photograph was used by Farafina Magazine as a cover in one of its editions.
Most of his works, he disclosed are done in series. One of such is Under Bridge Life, which won him the Keita Prize. The judges felt it adequately fitted in with the theme of the festival, Borders.
He stated, “you find people living under the bridge in Lagos while the exotic fast cars move over them. There is this invincible line between the super rich and the super poor in Nigeria, yet these people living under the bridge, just like the rich, are working hard and dreaming of owning a home. Don’t be surprised that there’s a school under the bridge too.”

Chris steps in from Hollywood

CHRISTOPHER M. Anthony, CEO of Kayfabe Films Ltd., is credited with the role of Visual Effects Director on several Hollywood blockbusters including Harry Potter, Indiana Jones, James Bond: Die Another Day, X-Men 3: The Last Stand, 10,000 SC, V for Vendetta and Sunshine. He shares same birthday with Nigeria. On a recent visit here, he speaks with MICHAEL ORIE on his new film Sole Redemption that will soon hit Nigerian market soon.

Inspiration for the film
My inspiration came from the time I spent as a child in Nigeria, where my father lived and worked. I was inquisitive and I enjoyed exploring and I found that the more I explored, the more beauty I found. As an adult, I realised from seeing Nigeria in the press and on TV that there was too much focus on negative aspects and not enough on the beauty I experienced while there. I felt there was an opportunity to show Nigeria on screen in a much more balanced light. Still within the narrative of a fictional story, I wanted to showcase some of these themes but with a greater emphasis on what isn’t shown; providing a contrasting and balanced view. I wanted to show the prevailing good against the bad. As a director, I’m all about contrast. I think it provides great impact. I felt I could really present some of the beauty of the country that is often missed and show the best qualities of the Nigerian population.
I began looking at everything from the culture and the architecture to the villages and the wildlife. The germ of an idea quickly formed. I found myself remembering feelings, sights and sounds from my own experiences there and thinking about how to convey them on screen to an average audience. I realised that there was so much potential for an adventure story with perils and resolution, emotion and excitement – the recipe for a Hollywood hit.

Why did you choose to shoot the film in Nigeria?
My father introduced me to Nigerian cinema at a young age. My grandmother owned a cinema in Port Harcourt that screened Bollywood and Nollywood films. I cut my teeth early in the movie industry, with an emphasis on big Hollywood blockbusters. My research went from the creative side to the business side and I began to see the potential of the Nigerian film industry — an industry both huge and thriving but seemingly untouched by Hollywood or indeed, any other foreign film crews. I see an industry that is self-sufficient but eager to break out into the global mainstream markets. We could have shot in South Africa – a nation far more established for handling Hollywood films, particularly 35mm but in doing so, we would miss out on the massive amount of positive publicity we could generate from shooting successfully in Nigeria. With my heritage I felt if anyone was going to do this, it would have to be me!

You are shooting 35mm; how will it affect your work?
First, I feel that we still aren’t truly in the digital era. Most of the films in cinemas today are still being shot on film. That is not to say that there isn’t a place for digital… and the trend is to move in that direction. We’ve been shooting on film for over 100 years and shooting digitally for only seven, beginning with George Lucas’ Attack of the Clones. He had a guaranteed audience and most of it was shot in studios with large parts of almost every scene being digitally replaced or enhanced. The same is true for the recent blockbuster, Avatar. Our best film crews were making films when there wasn’t even a digital camera in existence. I believe the look of digital still doesn’t quite match film, particularly in a bright outdoor environment such as Africa. The process of capturing images is fundamentally different and even if digital gets closer, it may never match the organic photochemical reaction of celluloid.
Nigeria’s thriving film industry means that it has many of the grips (camera supports) and lighting equipment that we would require. We may still have to bring in new equipment. Restricting the film to a celluloid release will also help control the illegal distribution, which is something of great importance.

What is your background in the movie industry?
I’ve worked in the industry for many years, as far back as the mid 1990’s. My work has mostly been in film and more recently I’ve stepped into broadcast. Coming from a visual effects background I’ve always been a part of the cutting edge technologies, most commonly as a supervising technical director. I’ve been responsible for directing crews to design and deliver major sequences of blockbuster Hollywood pictures including Harry Potter, James Bond, Indiana Jones and many more.
In the last few years I have also been working as a producer, which is an interesting balance between the creative and the business side of me. Having the strong visual/directing background has made the transition to producing flow very smoothly. The
director in me wants to forget the organising and just spark emotions in audiences world wide. I occasionally sit in cinemas and watch films I’ve worked on just to hear the reaction of the audience. It’s comforting when the reaction is positive which thankfully it has been every time so far!

Transition from visual effects to directing and producing?
I’m happy to say that it’s been a very smooth and natural transition. I’ve gained so much experience over the years in the industry and worked on films with some of the greatest directors – the guys that inspired me as a kid – most notably Steven Spielberg and George Lucas. I’ve always been a part of the creative side of the business and over the years have been responsible for the entire design of a sequence right through to the cinema screen. You learn so much about what it takes to make an image look good on screen and how easy it is to get it wrong from your experiences.
I come from a lineage of mainstream directors who also came from Lucas Film. These include such visionaries as Michael Bay (Transformers), Joe Johnston (Jurassic Park 3), David Fincher (The Curious Case of Benjamin Button) and many more. They all made that transition from VFX because they were people who thought visually and wanted to express that on screen. Directing and producing is about having the ability to keep your cast and crew in line with your vision. Self-belief is vital. You are the captain of the ship and if you don’t believe in your vision, nobody else will!

Nigeria often gets portrayed negatively in the media, how will this affect the production?
It is true that Nigeria is often shown in a poor light. The press focuses on the negative side, but I have lived there and I have seen the other side. Some of my best memories as a child came from my time there. It was my desire to shoot in Nigeria and I have made the necessary connections with my liaisons, HekCentrik.
We must not be afraid to show Nigeria in a familiar light and then introduce the positive aspects through the course of the film. An audience will be more comfortable if they are presented with the familiar and gently introduced to new ideas. Without revealing too much of the plot, I can say that all of the characters evolve. Some even begin with stereotypical views of Nigeria, which changes positively throughout their journey of discovery. Every film must have antagonists and protagonists. To avoid this would be naïve and leave the film flat and dull. What is important is to show that the negatives are in the minority and the positives are in the majority.
There are scenes and interactions depicting Nigerians as educated, thoughtful, courageous and caring people. The lead character, played by Nigerian actor, Oris Erhuero, is looked up to and respected as the head of the group. Other characters seek answers from him. He’s a positive role model. We also need to be conscious of how movies project characters on screen. The press wants to accuse and blame. Movies allow stereotypes to remain on screen and when we leave the cinema we do not carry that judgment. It remains in its fictional context.

How have you approached assemblage of your cast and crew?
We are currently in pre-production and looking at the availabilities of cast and crew. I’ve worked in this industry for many years and on many major films with some talented and experienced actors and crews. I’ve created a network of contacts at the top of the industry. Having worked at major studios around the world, I’m able to choose the best places to do my post-production, which is essential to keeping production value high and help to give confidence to cast and crew.

Do you see a risk in filming in Nigeria?
Every film is a risk, especially when shooting on location as so many things can go wrong. Shooting 35mm film in a hot country means special care has to be taken of the film stock. Getting insurance for the film will involve consideration of the safety of transportation of crews and equipment, and will be expensive for Nigeria. A successful shoot could lead to great publicity in foreign press. The cast and crew need to feel confident of the environment and able to concentrate on their work. We will need to ensure that we can send film stock on an almost daily basis back to London and Internet networks set up to receive digital rushes. We are currently assessing the equipment available in Nigeria to ensure that we are able to capture the shots we want.

Future of Nigerian Film Industry
I will love to see the industry expand outside of Africa and to see more and more experienced film crews wanting to work there. I will also like to see the standard of story telling and production value upped. There are great stories to be told in settings that will be fresh to non-African audiences. This is exciting and a necessary route to tapping into the foreign markets. Movie making brings communities together, generates a local buzz and brings significant revenue with it. It can allow other local businesses to flourish even after production wraps.
Continuing to expand Nigeria’s film industry would encourage growth in what is already the second biggest film industry in the world and would help discover new, emerging talent.

Sonia...Honour to Mother in Italy

FROM ANDREW IRO OKUNGBOWA
SUNDAY January 31 will remain a milestone in the life of Sonia Aimiuwu otherwise known as ‘Aimy’ by her teeming fans and admirers in Italy and across Europe.
For the actress, culture activist and now singer, it was a most befitting day to celebrate a dream come true, which has spanned over 14 years in an industry where one can easily remain in the fringes without making any recognisable impact on, or impression in the eyes and minds of the critical audience.
After years of working up the stage and art circuits of Torino in Italy, and major culture centres of Europe, Sonia’s musical career (and in particular, her devotion to the culture industry as an ‘Afro artiste’ has indeed blossomed.
The last occasion, however, was a musical concert that was staged to formally present her debut album, ‘Mother’ to the public.
From the early hours of the night, the crowd had begun to gather in the otherwise modest and historic Maison Musique (Folk Club) in Rivoli, outskirts of Torino Centrale (centre). And with almost a full capacity audience, the show went underway at about 10pm and for close to two hours, Sonia and her band regaled the audience with songs from her 10-track debut album.
It was an electrifying but creatively exerting performance filled with songs, rich costumes, story narration, drama and dances. It was a true presentation of total African theatre, extolling the cultural heritage of the people of the continent. The Bini-born actress and singer drew heavily from the rich repertoire of her culture, and went aheda to tap from other parts of the continent of Africa — Senegal, Gambia and Ghana and others. She anchored the artistic journey, however, on world musical culture.
The combination of rich vocals, choreography, and heavy rhythmic percussion made the entire presentation easy to listen and followed with the audience, which was made of mainly whites, actively involved in the performance.
At the end of the day, it was a highly satisfied and appreciative audience that rose in ecstasy and ululations to applaud Sonia and her team for an enduring and memorable performance.

With her new album, Sonia has announced her presence on the world music stage as an artiste to keep an eye on. This fact was expressed by a legion of her fans and admirers with the Artistic Director of Maison Musique (Folk Club) Davide Valfra and her booking agent, Luisa Parrelli, rating Sonia’s new work world class.
For Davide who had known Sonia for several years, ‘’I think this album is a very good mix of the root she has in Africa — her cultural heritage and musical culture, the rhythm and instruments of Africa and mixed with funk and more of pop, which is easy for European audience to appreciate.’’
Parrelli, who on first contact with Sonia years back, said she noticed that “she was very tied to the root, very opened to the future, pop-rock, to the sound of the Western world; so I think she is a great combination of the heritage of the African and the modern music,’’ and decided to work with her. She described Sonia’s new venture as very “nice, captivating and easy-listening (easy to listen to)”.
According to her, ‘’everybody can enjoy the show of Sonia even without knowing her music. This is very difficult in the world of music because in the world of music you have to know it to get inside the groove but in her case no because it is very strong, open and nice with a lot of rhythm.’’
Rating her as a ‘great artiste’, Parrelli says Sonia can go the distance: “Potentially, she can get anywhere because her product is a business wise product that can easily go in radio or on the TV. It depends on how we can go with the promotion but at the moment the business is bad.’’
However, the booking agent believes that with the right combination of network, it would be easy to “spread the word and captivate a large audience. She can really go anywhere in Europe and the US and wherever, she is an international product; she can’t stay local.’’
Davide pledged the the commitment of her organisation, Vertiage Music, to make the dream of the artiste possible. “My role is to try to book her in many shows as possible. So, I am trying to do this with the festivals, the clubs and with promoters but it is not the easiest moment to sell a show but we will try. This is what we do.”
Of the 10 tracks (Africa, Ise Iya, Mama Africa, Dia Leme, Ase, Bobele Yo, Iye, Fraternal Feeling, Distance and Mbegel), seven of the songs are written by Sonia while one ‘Mbegel’ was co-written by her and another songwriter; and ‘Africa’ and ‘Ise Iya’ written by another songwriter.
Five of the songs have been made into video clips – Ise Iya (eulogies motherhood – filmed in Nigeria and Europe, Mama Africa (English and Yoruba), Africa, Mother and Fraternal feeling (both are combination of studio work and live performances).
The video clip was produced by Paolo Rapalino, an Italian producer who had worked with Sonia for some years on many of projects in Europe.
Prior to the formal presentation on Sunday, Ise Iya had notched two awards in Europe – ‘Vaisusa Film Festival 2009 in nella sezione ciak con gusto and Riace Film Festival 2009 nella sezione and about four nominations at the Lampedusa Film Festival 2009; Visionaria 2009 Siena; Mestre Film Festival 2009; and Rivi (Premio Italino Video clip Indipendente).
It was an obviously an elated and fulfilled Sonia after the energy sapping performance who sat down for an engaging and racy conversation with this reporter on on her new work and career issues.

Coming home... ‘I Am Scared’

Says Sonia of her work, “I am a songwriter and I know that it is not so easy to make your work have so telling an impact on the audience. They are used to certain songs and taste but appreciating what I have done I think is very good for my career. You don’t just go on stage to sing but you have to give the people a message, a value and cultural feel to hold on to. They understand me so well, my expressions, my movements and sensations. It is strange though but it is nice as well because they feel the energy, soul and spirit of my music.”
On how she intends to break into the local Nigerian market, Sonia who is currently in the country for two months to promote the work, says she is was going home February 6, to “launch her work, go on concert tour round the country and then sit” with her Nigerian promoter to strategise on how best to launch her musical career in her fatherland, where she is not too known, having been away in the past two decades.
However, not knowing how she would be received back home, she says scares her. “I am not too confident — to be frank with you. I am quite scared because I have had some horrible experiences before but I can’t stay back here because of that.
“I just want see how it works out. The Nigerians here (Italy) see my music and they encourage and challenge me to go out there. So I am going out there to feel and taste the market. It is my motherland and fatherland but I am a stranger there.’’
Even as she rues her not-too-surefooted reception in motherland, her appeal to the critical mass of Nigerian musical industry is to be given the opportunity to present her work and see how it goes from there. ‘’I am not saying appreciate my music but at least listen to my work and then decide whether to appreciate it or not.’’