Ekiti ANA, federal university, Oye Ekiti to host Wale Okediran…Read full details

Dr. Wale Okediran

The Association of Nigerian Authors (ANA), Ekiti State Chapter, in conjunction with the Federal University, Oye Ekiti, has set aside Thursday, February 16, 2017 to host former ANA National President, Dr. Wale Okediran, as Guest Writer for its February 2017 Monthly Book Reading. According to the State Coordinator and the Scribe of ANA Ekiti Chapter, Akogun Tai Oguntayo and Dr. Olumide Ogunrotimi respectively, the event will take place in the University Auditorium at 2pm.

The reading takes place immediately after the state’s first ANA convention, where new leaders will emerge to steer the state chapter for the next two years. It is expected to attract writers, scholars and literary enthusiasts within and outside Ekiti State. Chief host will be the Vice Chancellor of the university, Prof. Kayode Soremekun, while the current ANA National President, Mr. Denja Abdullahi, will be chief guest of honour.

Dr. Wale Okediran, a multiple award-winning author of many novels, is also the founder of Ebedi International Writers Residency, Iseyin, Oyo State. His highly acclaimed novel, Tenants of the House was co-winner of Wole Soyinka African Literature Prize 2012, while his latest short story collection, Keepers of the Tribe, was recently released by Nelson Publishers Plc.

While speaking on the decision of Federal University, Oye Ekiti, to host the author-politician, Prof Soremekun, said, “Apart from our resolve to encourage the dwindling reading culture among our students, it is also our determination to put FUOYE on the front-burner of academic excellence in Nigeria. One of the ways to achieve this is to collaborate with a viable and educative organisation such as ANA, which is a non-political and non-religious organisation.”

Remapping the inter-twinned histories of Nigeria’s ethnic nationalities…Read full details

In recent newspaper articles, which resulted from disputes about kingship in Yorubaland, Ife and Benin, it was stated by a royal contributor to the debate that the practice of burying the bodies of the Obas of Benin at Ile Ife stopped in 1914 – a statement which has raised questions about its author’s familiarity and accuracy with the issues raised.

This is because the Benin historian, Jacob Egharevba, in his description of the ritual involved had written: ‘The head of the royal corpse was exhumed and taken to the royal ancestral grave in Ife, but this was done every third reign.’

Oba Ovonramwen, the king involved in the 1914 incident was not buried in Benin. He was buried in Calabar, where he had died in exile after the British Expedition of 1897 and a trial. The possibility of a burial of the royal corpse at Ile Ife was, however, remote for other reasons.

The Orun Oba Ado at Ile Ife (where-it is claimed that the Obas of Benin are buried after death), when excavated, had produced no skull, The excuse for the absence of a skull given by Frank Willett, the British archaeologist who had worked and lived in Nigeria in the 1960s and 1970s, was that only the hair and fingernails of the deceased were buried as a token in lieu of his body. It is however clear from our experience that the contradictions and incongruities encountered in historical reconstruction in Nigeria were self-inflicted and stemmed from a tendency by both indigenous and expatriate historians responsible for them to ignore documentary and archaeological evidence, which best accord with existing knowledge.

In Professor Thurstan Shaw’s essay on radiocarbon dating in Nigeria, charcoal from burial pits 11 and six at Orun Oba Ado was dated A.D. 560 and A.D. 900 respectively. These dates conflict with the date in Egharevba’s book of Oranmiyan’s arrival in Benin from Ife. According to the radiocarbon dating of pit 6, this pit would have been functioning as the burial place of Benin kings two hundred and seventy years before Orun Oba Ado came into being and three hundred years before the first king of Benin to qualify for burial there, Oba Eweka I, was crowned!

As regards pit 11, its A.D. 560 dating means that the burial place of Benin Obas at Ile-Ife was already in existence before even Oduduwa, Oba Eweka’s grandfather or great grandfather himself was born! Even more astounding, this would have been 240 years before the 800 A.D. dating by Frank Willett for Ile Ife itself!!!

The experience, which the archaeologist had had with Orun Oba Ado, was repeated with the Opa Oranyan. (Oranyan staff whose physical reconstruction in 1953 had been preceded by a thorough excavation of the area around its new and older sites. This excavation has disproved the tradition that the Opa Oranyan monolith at Ile-Ife marks the site of Oranmiyan’s grave.

According to Professor Fela Sowande, Ile Ife is not the Ife to which Yoruba oral traditions refer. Also in the words of Professor Wande Abimbola, the seven sites of Ife mentioned by Ifa are Ife Oodaye, the first and possibly the original one, Ife Nleere, Ife Ooyelagbomoro, Ife Wara, Otu Ife, Ife Oore and Ife Oojo’.

In Benin tradition, Oranmiyan’s route from Ife to Benin in 1170 A. D had taken him via the Osse River (known as the Ovia in Benin) to Ughoton (referred to in many maps as Gwato) where a traveller to Benin City disembarked and completed his journey on foot. In this tradition, Oranmiyan had been preceded by two brothers who had each been drowned at the Ughoton crossing where the ferrymen had been bribed and instructed by the opposition in Benin to prevent visitors from Ife from getting to Benin.

Ife’s site in 1485, according to d’Aveiro in Portuguese accounts of the 15th century (Ryder 1965) lay north of Benin City and was the seat of Ogane, the spiritual suzerain of the Oba of Benin said to be the Ooni of Ife. His emissary or messenger was represented in Benin brass casting with cat’s whiskers facial marks and wore a cross round his neck. The Igala, who also had cat’s whiskers facial marks, also lived to Benin’s north as did the Yagba and Ijumu who also had the same facial marks.

The Portuguese priests who, according to the late Chief Fabunmi of Ile Ife had come from Benin in the 16th century to convert Ife to Christianity and had baptized its Ooni and built a Cathedral at a place called Oke Ileri, had also used this route which was the route to the Ife of Oranmiyan and the Ogane referred to in d’Aveiro’s accounts.

A linguistic and heritage mapping of Nigeria’s cultural space and a rationalization of its myths, legends natural and cultural heritage is of great essence if we must stop the howlers that continue to crop up every time we discuss our past.

Between God and Man: Meaning and Essence in Nigerian Traditional Festivals advocates a multi-dimensional, transdisciplinary approach for dealing with its content to remove the distortions, self-contradiction and deficient ethnography to which it is often subjected.

A thinking, which restricts Igbo existence in Nigeria only to the east of the Niger, is misconceived in the amalgram, which is Nigeria. It will not help us explain how we have for example, nine places called Onicha in a local government of Imo State close to a cluster of six places called ‘Ife’ in the same local government; as well as an Ife close to Eket in Akwa Ibom State and an Onitsha Igo in Kogi State. Such a thinking would not provide answers to our problems of inequity, diversity and peaceful co-existence.

The ichi is a striking feature of Nri life and a mark of distinction associated with the Ozo institution and title – taking. The classical ichi, which according to Jeffereys is known as ‘the wings of the eagle’, stretches across the forehead. According to Shaw, the V-shaped ichi is also classical and found on the forehead ending at the bridge of the nose.

The ‘wings of the eagle’ ichi mark has been found on soapstone figures at Esie in Kwara State west of the Niger. Esie is an Igbomina centre whose name suggests an etimological connection with the Igbo. The v-shaped ichi has also been found at Egbejoda, 38km from Ile Ife in Osun State on terra cotta, which is not naturalistic like the typical Ife sculpture. A full face marking has been found at Esie as well as in a shrine at Ile Ife on a soapstone carving described as a representation of Obatala, the Yoruba creation god, who in otua meji of Ifa is described as Oosa Igbo (the deity of the Igbo).

Benin mythology and history have also had links with the Igbo. For example, Oba Orhogbua of Benin on his return from Lagos (Eko) in the 16th century had sent messengers to an Igbo king near the Niger who killed them and attracted the Oba’s anger and revenge, which were captured on trophy plaques. The Igbo captives in the war which Orhogbua had won are shown in the plaques with what look like the ichi without the forehead marking – slanting marks on the face across the cheek. The Igbo king was on a horse and his facial marks were similar to those on his captured subjects.

Benin also has a myth which features Oghene (God), Olukumi (Yoruba), Idu (Benin), Igbon (Igbo) and Uzon (Ijo). The children of Oghene were let down a chain to a temple, which they built at Uhe (Ife), which the children of Idu who had died, left because they had been ill-treated by Olukumi, their uncle. They had wandered around for two centuries (from 800 A.D) and were ruled by Ogisos (Ogie; king and Iso: from the sky). The last Ogiso was Owodo, whose son Ekaladerhan had left Benin and had found himself in flight from Benin pursuers. He had ended up at Ife, where his name changed to Oduduwa. He dethroned Ife’s king, Obatala and drove the Igbo into the neighbouring forests. This is when the Moremi-Igbo encounter took place. Igbo attackers dressed like supernatural beings had harassed Ife with success until Moremi married their chief to find out their secret, which she passed on to her Ife people who thereafter needed only firebrands to fight and defeat the Igbo. Moremi became an Ife heroine and had since been celebrated in the annual Edi festival of Ile Ife.

Ife was converted to Christianity in the 16th century. Unfortunately, its baptized king, Thomas John, died suddenly and his mysterious death was blamed on Christianity and the Christians who became target of a pogrom which led to Ife’s relocation. This explains why whereas in 1485, Ife was described as lying north or north-east of Benin City, Ile Ife the centre of Ife patrimony today lies west of Benin City.

The classical, naturalistic art associated with it came to an abrupt end and its people moved, so to say, bag and baggage – and bronze and terra cotta (many of which were damaged). They replicated with great skill and ingenuity in their new location their cults, shrines, practices and institutions. But the treasures, which were of great excellence had secrets which must be studied and understood.

According to William Fagg, hardly any of the supposedly ancient shrines from which these treasures were dug up at Ile Ife ‘appeared to have had more than a century or so of age-being secondary sites with all the implications of discontinuities: although found at Ile Ife, they in fact came from elsewhere.

Distinguished ladies and gentlemen, the opportunities and prospects which have been revealed in the books we are presenting today had been made possible by the J. P. Clark Centre of the Faculty of Art, University of Lagos and constitute a wonderful example of collaboration between town and gown which must be sustained.

My appreciation goes to Ford Foundation, which funded the countrywide study tour, which completed my research on the books.My appreciation and gratitude go to Aigboje, my son, Bolaji my son-in-law and Robert Tung of the Wempco Group who provided the funds for printing the books. I am grateful to God for their assistance and support and the wonderful opportunity they have provided me.
Thank you very much.

• Frank Aig-Imuokhuede was a former Federal Director of Culture. He made this address at the presentation of his books: A Calendar of Traditional Nigerian Festivals and Between God and Man: Meaning and Essence in Nigerian Traditional Festivals on Thursday, February 2, 2017 at Julius Berger Hall, University of Lagos.

African art galleries converge on New York…Read full details

More than 60 contemporary artists, who are described as of emerging and established profile, will be represented by art galleries from Africa and other parts of the world at 2017 New York edition of 1:54 Contemporary African Art Fair, holding from May 5–7.

Each year, 1:54 aims to welcome a carefully selected roster of galleries that are dedicated to promoting a diverse set of African perspectives from across the world. This year, the fair will welcome nine new galleries to further broadening perspectives from and in relation to the continent.
 
Among the exhibitors are 19 galleries from Angola, Côte d’Ivoire, France, Ghana, Italy, Kenya, Morocco, the UK, the US and South Africa. Participating Galleries include (S)ITOR, Sitor Senghor, Paris, France 50 Golborne, London, U.K. AFRONOVA, Johannesburg, South Africa ARTLabAfrica, Nairobi, Kenya, David Krut Projects, Johannesburg, South Africa and New York, USA

Ed Cross Fine Art, London, U.K., Galerie Cécile Fakhoury, Abidjan, Côte d’Ivoire Gallery 1957, Accra, Ghana, Jack Bell Gallery, London, U.K., MAGNIN-A, Paris, France, MOV’ART Gallery, Luanda, Angola, Officine dell’Immagine, Milan, Italy, ROOM Gallery & Projects, Johannesburg, South Africa, Rosenfeld Porcini, London, U.K., TAFETA, London, U.K., Taymour Grahne Gallery, New York, U.S., Tyburn Gallery, London, U.K.,Vigo Gallery, London, U.K., VOICE Gallery, Marrakech, Morocco.

The schedule for the year include October 5–8, 2017, Somerset House, London. “For the third year in a row, 1:54 New York will be accompanied by FORUM, the fair’s critical talks and events programme, including artist talks, keynote lectures and panel discussions with international curators, artists, scholars and critics. FORUM is curated by Koyo Kouoh, Artistic Director of RAW Material Company, Dakar. The full FORUM programme will be announced in March.

“This year’s fair will also include an expanded collateral programme of Special Projects, 1:54 non-profit section, with further details to be announced close to 1:54’s opening in Spring.
 

 

Nigeria to host Pan-African literacy for all conference in August…Read full details

Mrs. Irene C. Mbanefo<br />

Reading Association of Nigeria (RAN), a literate body, will host 2017 Pan-African Literacy For All (PALFA) conference, scheduled from August 27 through 31, 2017, in Abuja. With the theme ‘Connecting and Engaging with Literacy: Systems and Structures for sustainable Development,’ it comes every two years in countries, where local affiliate organisations are in place in partnership with the International Literacy Association (ILA).

National President of RAN, Mrs. Irene C. Mbanefo, told The Guardian that the biennial literacy conference has assumed an unprecedented scope in bringing together government’s agencies and institutions, researchers and educators.

She also stated, “We are expecting and have invited publishers, librarians, international development workers and donor agencies from across the globe to interface and collaborate on literacy development in Africa. This year’s conference promises to engage Northern Education Initiative, operating under United State of America International Development, which is presenting a colloquium on their educational activities in Bauchi and Sokoto States.”

Mbanefo further explained, “the PALFA conference is an important event for educationists across Africa, providing unique opportunity for teachers and investigators to come together to share and learn from classroom, country, and regional projects. We aim at improving the quality of literacy education on the African continent by adopting multi-stakeholders dimension in sharing ideas, researches, evidence-based best practices in literacy-related instructional.

“We intend to employ assessment delivery processes and the challenges of literacy acquisition and sustainability in Africa nations. So, we recognise that literacy disputes affecting countries are different and context-specific across gender, age, education and socio-economic levels. The extent to which nations are successful or otherwise is a factor of acquisition and application of functional literacy skills by citizenry.”

RAN President noted that the choice of Abuja conference is inspired by the need to interrogate the systems, policies and structures designed to entrench literacy culture for sustainable development in and among Africans within the backdrop of Sustainable Development Goals, SDGs.
 
To her, SDGs envision a world that is economically empowered, socially inclusive and environmentally sustainable and mandate the provision of lifelong learning opportunities that will help all categories of people to acquire knowledge and skills needed to engage and participate fully in society.

Mbanefo also noted, “This implies questioning some traditional concepts and constructs of reading and literacy and strengthening, and supporting systems and structures, which enhance literature for development in Africa.
 
“We need to think through holistic approaches to providing inclusive and equitable quality education at all levels, especially for the girl child. This is coming with hindsight that many Africans are still unable to apply critical literacy skills to access information to competently use it to address issues.”

‘Why we are honouring Miriam Makeba with Mama Africa’…Read full details

Students of Western Cape Sports School with Alhaji Teju Kareem, Prof Fikeni, Mr. Rotimi Awelewa, Thandi Swaartbooi and their teachers after the show

The 10-day run of Miriam Makeba’s Mama Africa The Musical at Artscape Theatre Centre in Cape Town, South Africa, comes to a glorious close today. Since it opened on February 2 to a full house of enthusiastic audiences, Artscape, with its hundreds of theatre patrons, has indeed been a sort of mecca for patrons, who are genuinely interested in the career and life story of the enigmatic cultural icon and civil rights activist, Miriam Makeba.  
 
The show, which has been adjudged an all-round success by the management of Artscape, is, in a way, an image-repairing project for Nigeria with its sometimes foggy reputations among South Africans, especially in view of recent tension that emerged following the killing of a Nigerian in the hands of some South African security operatives.
 
The musical is written and directed by a Nigerian, Prof. Niyi Coker (Jr), a University of Ife-trained theatre artiste, who has, however, spent over three decades teaching and practising theatre in the United States of America. And though produced by the United Kingdom office of Zmirage Multimedia Company, the executive producer is Lagos-based renowned theatre technician, Wasee Teju Kareem, who is also its Technical Director, and as well Chief Executive Officer of the production company. Also in the crew are no less than 10 other Nigerians working in various departments of the production from technical to administration and communication.

 
It was the second time the musical will be berthing in Cape Town. In fact, it had been borne through a collaboration of the University of West Cape and University of Missouri, St. Louis, where Coker Jnr is the Desmond Lee professor of African and African-American Studies. It was realised through the collaboration of the ZM Makeba Trust. After a successful first run in Cape Town, the show had then moved on to the United States, where it had a total of 10 performances in three states.
 
The current return is through the United kingdom office of the Nigerian company, ZMirage Multimedia Company, led by theatre technician, Kareem, who had secured the franchise for the musical. After Cape Town, the musical will tour the United Kingdom, and later Nigeria before the year ends.
 
At its opening, which had a ceremonial colouration, the Nigerian  professionals were star attractions, as they rubbed shoulders with such distinguished guests as United States Consul-General to Cape Town, Teddy Taylor, the CEO of The Artscape, Marlene LeRoux, Richard T. Moody, Simone Heradien of Artscape amongst others.
 
On Friday, as the production coasts home to its climatic closing this weekend, the 40-man cast and about 12 intercontinental crew members, were full of pride and joy at the impact their sojourn at Artscape had made, especially as they were visibly satisfied at the impression the daily presentations registered in the minds of the hundreds of patrons that had savoured the rich display of resourceful African music, dance, poetry, acting  and so on, amidst sophisticated technical input, supervised by ZMirage.
 
For one, it was a significant statement made even for Artscape, which usually exhibit 90 per cent western-oriented theatre contents for its mostly African audience consumption. Mama Africa was an eye-opener at the drawing power of an all-African cast performance, especially if it enjoys the right mix of story, performance and direction.
 
In a post-performance meeting with the cast and crew after Thursday’s show, the CEO of Artscape Theatre Centre, LeRoux, confessed to have seen the show almost every night since it opened and also seen quite a few people, who have seen the show more than once. LeRouz encouraged the actors to emulate the icon Miriam Makeba and continue to use their versatile talents to speak out for social reformation. Also in attendance at the meeting was Prof. Somadoda Fikeni, a member of parliament, an activist and the Chairperson of Artscape’s Board, who said he was excited about the uniqueness of the musical, as he praised and encouraged the cast and crew.
 
One of the guests on Thursday night, who, on seeing school children who had come to see the play, stated categorically that Mama Africa The Musical is the way to teach history, especially to the younger generation so that they can connect better with their roots.
 
Several audience members had come out of the hall at the end of each show wiping tears as the performance evoked a lot of emotions and roused in some the will to stand up even more for their rights.
  
There was a particularly instructive incident on Friday, when some crew members – all wearing the Mama Africa t-shirt – paid a visit to Robben Island, where Nelson Mandela was imprisoned for most of his 27-year incarceration. An ex-political prisoner, now tour guide at the Robben Island, Mr. Sipho Msomi, on sighting the t-shirts with Miriam Makeba face embossed on them could not help talking about Mama Africa’s exploits as a musician and activist during the Apartheid era. He encouraged other members of the visiting group to see the play to better understand the travails of those who were incarcerated on Robben Island.
 
THROUGHOUT its run, Mama Africa’s main attraction for most media workers at the opening performance and subsequent shows, and one of their often-repeated question to the producers and director of the show was, “…but what is your interest in honouring Makeba?” Perhaps, the question was motivated by the fact that Makeba, in spite of her global acclaim, did not really enjoy much celebration among her fellow South African countrymen and women, especially the artistic community. In various statements, however, the top production crew members gave reasons why they embarked on the project.
Teju Kareem (Executive Producer): “Undertaking this project that reenacts the life of Miriam Zenzi Makeba cannot be counted or quantified in rands, naira or in dollars and cents.  Essentially it was not adopted as a production based on any monetary consideration.  It is the kind of social conscious theme we at ZMirage promote. Africa, in particular, needs to tell its own stories. We can no longer leave this assignment to outsiders to define the accomplishment of our own heroes.
  
True-to-life stories that deal with struggles and overcoming the hurdles and obstacles that have been presented to us as Africans due to history and circumstances must be re-iterated to our people and the next generation. This is even more urgent as the world gets more connected via social media and we witness a cultural colonization in action.  We need to have more stories of our people, who have overcome adversity and triumphed with the interest of the African continent at the centre and the core of their thought and actions.  More so, this is a musical story centred on an African woman. She is the subject, not the object or the sidekick.  To date, there have been no musicals that centre on the power and contributions of African women. Here is one and ZMirage is proud to share it with our youth, so they see and dream about new possibilities, and to share it with the world.
 
“I joined the creative team of Mama Africa the musical as Associate Lighting Designer/Technical Director in 2016 at the invitation of the director, Niyi Coker Jnr. in furtherance of a technical theatre experiment we started several years earlier. From Cape Town to St. Louis, the production, which was made possible by funding from several organisations, educational and theatrical bodies under the auspices of the University of Western Cape and University of Missouri St. Louis, was a resounding success and it opened my eyes to the genius and humanity of the icon, Miriam Zenzi Makeba, whose life, music and activism it celebrates.

 
“After the run, we all felt a compulsion to propel the production into a wider international market in order to keep alive the inspirational story of a humble yet world renowned singer, who inspired the revolution that destroyed apartheid and resulted in the release of Nelson Mandela after he served 27 years in prison. Generations yet unborn deserve to know the true story behind the myth of one of South Africa’s most iconic singers and Mama Africa The Musical uses music, dance, chants and other theatrical elements to tell a colourful and impactful story.  
 
“I have always relished a professional challenge. So, when I was given the opportunity to executive produce Mama Africa The Musical, I was exhilarated even knowing that it would be an uphill task to raise the funding required to take the production from its ancestral home in South Africa to Nigeria in West Africa and further to London in Europe. The going is tough, no doubt, but with support from the admirable and hardworking creative team, as well as the immensely talented and dedicated cast, I know that for years to come, Mama Africa The Musical will be in theatres around the world delighting, inspiring and engaging music enthusiasts.”

Niyi Coker Jr (Writer/Director): “Working on this original musical theatre rendition on the life and contributions of this great woman and global icon (not simply South African) has been a thoroughly humbling experience.  From the research to the writing and directing, with particular focus on intricate aspects of indigenous South African traditions, has been quite educational. The added gift of exploring her non-western discography in relation to the growth and experiences of Mama Miriam Makeba has been doubly indescribable.

 

Ofala Festival 2016… Triple celebration in Ogbunike Kingdom…Read full details

HRM, Igwe John Ositadimma Umenyiora (Ezedioramma 1 of Ogbunike) making his first outing at the 2016 Ofala Festival

Though Ofala Festival is not new to the people of Ogbunike in Oyi local council of Anambra State and its neighbouring communities, the last edition of the cultural fiesta that held on December 26, 2016, remains talk of the town; it was class personified.

From a rigorous one-year planning period that resulted in an alluring celebration, with eye-catching decorations that got the entire Round Palace glittering, the beautiful balloon work at the foyer, masquerades’ displays, colourful exhibition of dances, culture and tradition of Ogbunike people, the last Ofala Festival will definitely go down in history as one of the best.

Generally in Igboland, Ofala Festival occupies a unique place in the annual calendar. Usually celebrated in Ogbunike on December 26, aside from being a day of celebration and merrymaking, it is also a day when sons, daughters and friends of the community would gather to thank God for keeping them alive.

Derived from two Igbo words ofo (authority) and ala (land), the ceremony also serves as rites of renewal of the Igwe, a time for the royal father to give account of his stewardship in the outgoing year in preparation for the New Year. On the other hand, it is also a day when deserving members of the community and their friends, who have contributed to the development of the community, are specially rewarded with awards and chieftaincy titles.

Though Ogbunike belongs to Umu-Iguedo clan, the geographical location of the town has made it susceptible to influences of other cultures, some of which have made a lasting impact on the people. However, there still exist close ties among the Umu Iguedo clan (Ogbunike, Akwuzu, Umueri and Nando), with Ogbunike as okpala Iguedo (first son of Iguedo).

In Ogbunike, Ofala celebration is the sole responsibility of the traditional ruler as the custodian of custom, culture and tradition of the people. It epitomises the conceptualisation of generational values, lifestyle history and anthropological origin. The ceremony brings people together and re-unites His Majesty with his subjects and well-wishers, and the peace, love and harmony that radiate during the festival rejuvenates the willingness for development, progress and unity.

But unlike previous editions, the 2016 Ofala Festival in Ogbunke was special in the sense that it marked the 75th birthday of the traditional ruler of Ogbunike, HRM Igwe John Ositadimma Umenyiora (Ezedioramma 1) and it also coincided with his 40 years on the throne. In other words, it was a triple celebration for Ogbunike Kingdom. Being one of the longest serving traditional rulers in the state, a bumper package was expected. Indeed, it was a gathering of who is who in Igboland.

From the Chairman of Anambra State Council of Traditional Rulers, Igwe Alfred Nnaemeka Achebe (Obi of Onitsha), who led other traditional rulers, to former Vice President Dr. Alex Ekwueme, business mogul Chief Arthur Eze, Minister for Labour and Employment, Dr. Chris Ngige, former governor of old Anambra State, Chief Jim Nwobodo, former Deputy Speaker of the House of Representatives, Hon. Chibudom Nwuche; Senator Ben Obi, Bishop Mike Okonwo of TREM; Chief Ifeanyi Uba, Chief ABC Orjiakor of SEPLAT… it was an impressive gathering of guests.

Meanwhile, the governor of Anambra State, Chief Willie Obiano, who was to be the Special Guest of Honour at the festival, couldn’t make it. Secretary to State Government (SSG), Mr. Solo Chukwulobelu, represented him. Obiano, who is an in-law of ndi Ogbunike, was said to be attending a traditional marriage elsewhere.

As early as 9am, all roads led to the Round Palace, with guests trickling into the Ofala ground in their beautiful outfits and uniforms, while traditional dance troupes and ceremonial masquerades entertained guests at different locations. However, the arena came alive when Igwe Umenyiora, dressed in his full ceremonial regalia, rolled into the arena in his black Lincoln Limousine car, with the traditional Igba Eze providing beats. That was after he conferred chieftaincy titles on some deserving members of the community and friends. Also on the procession were members of the igwe’s inner cabinet and traditional chiefs dressed in colourful regalia.

CLUTCHING the Ofo (the sacred symbol of truth, justice, law and authority) in his left hand, chanting of ‘Igweeeeeeee’ rented the air, as the flamboyant king and business mogul made his way into the arena for his first outing. In fact, the security men had their hands full, as they battled to control the paparazzi and the obviously excited crowd that struggled to catch a glimpse of the philanthropist, who has played a vital role in the growth and development of the community. As soon as the procession got to the ufie stand, His Majesty spent a few minutes dancing to the ufie music as tradition demands, before returning back to the throne.

When he returned for his second outing, he was clad in a different robe and crown to match, as he acknowledged cheers from his subjects and visitors. But by the time he retuned to the arena for the third outing, the atmosphere became fully charged. His third outing usually marks the beginning of Ofala proper in the arena.

After the breaking of kola nuts, which was presented by the Iguedo (Queen of Ogbunike), traditional music rented the air, as different dance troupes, women groups and age grades took to the arena to pay homage to the king and entertain guests; masquerade groups also got slots to display to the admiration of visitors.

Nollywood was represented by the likes of Chiwetalu Agu, a traditional chief in Ogbunike, and Ngozi Ezenonu, an indigene of the community. But the highpoint of the event was the releasing of thousands of helium-inflated balloons in celebration of His Majesty’s 75th birthday and 40 years on the throne.

“I can’t really explain it,” Igwe Umenyiora said excitedly. “It’s something I never expected to happen the way it’s happening today. I think I’m very happy with it; I’m very proud about it.”

On his 40-year journey on the throne of Ogbunike, the royal father said, “You see, it’s not an easy thing. When we were in school, we used to say, ‘uneasy lies the head that wears the crown.’ But I didn’t understand the meaning until the crown came on my head; that was the time I realised the meaning of that statement. I went through a lot of things and I believe I’ve learnt a lot in the past 40 years.”

Igwe Umenyiora also used the opportunity of his celebration to call on government at all levels to come up with policies that would alleviation the economic hardship being experienced by ordinary Nigerians. He also decried the state of roads across the country, particularly the South-East, and urged government to live up to its responsibilities.

“Roads in some parts of the country are more than deplorable,” he said, “the conditions have been epileptic. In about September-October 2016, some roads became impassable and there had to be emergency palliative measures to ease the sufferings of the citizens. Government should device means of tackling the network of roads, which will facilitate the transportation of people, goods and services from the rural areas to the urban centres.”

Though ofala has different names in different communities, no matter the nomenclature, the festival has come to define a way of life of a people. It has become a platform for tourism and community development in Igboland.

Ogbunike is located on longitude 6.40°E and the latitude 6.20°N, and lies between kilometres 11.3 and 14.5 along old Onitsha-Enugu Road. The new Onitsha-Enugu expressway cuts through the northern border. Ogbunike is made up of six villages: Ukalor, Osile, Amawa, Ifite, Umueri and Azu. With an uneven landscape, sufficient rainfall and fertile soil, the community, as an agrarian one, produces food all year round.

Bounded on the East by Umudioka in Idemili Local Government Area, on the north-east by Umunya in Oyi Local Government Area and on the North by Nkwelle-Ezunaka also in Oyi Local Government Area, Ogbunike shares her boundary on the west and south with Ogidi in Idemili Local Government Area.

Edo-Osagie wins 2017 DOAMF Charity Championship…See full details

Board Chairman, DOAM Foundation, Prof. Obinnaya Chukwu (left); former Board Chairman, DOAM Foundation, Mr. Sam Ayininuola; Arik Air representative, Diana Ekpenyong and the winner of DOAMF 2017 Charity Golf Tournament, Mr. Iwinosa Edo Osagie at the end of the competition held at the Ikoyi Club… last weekend.

Iwinosa Edo-Osagie, an 18-handicapper, posted a 69 nett score to win the 2017 Daniel Ogechi Memorial Foundation Golf Tournament, which ended last weekend at the Golf Section of Ikoyi Club 1938 in Lagos.

The competition, which produced some of the best plays in recent times at the Ikoyi Club Golf Section, saw Tokunboh Adebesin finishing two strokes behind him to pick the runner-up spot, while Kunle Ball, who also finished two strokes behind, was the second runner-up on count-back.

Edo-Osage, with his win, wnet home not only with the much coveted winner’s trophy, but also an ArikAir business class return ticket to any international destination of his choice flown by the airline.

“It is a great honour to win the event, as one of the most coveted titles at the Club. I am glad to have achieved this. I give kudos to the team at DOAM Foundation for the quality of organisation and impact they are making with donations from this event.”

Funke Majekodunmi emerged the overall winner in the ladies’ category with a 68 nett score. She beat Lynda Obieze, the runner–up, by four strokes, with Meenakshi Kumar taking the second runner-up position.

Majekodunmi, in addition to the ladies’ trophy, was rewarded with an AirFrance return ticket to any international destination of her choice flown by the airline.

The event, which teed-off at 6:40 am on Saturday, February 4, 2017, featured a record 192 players in a strong show of support for the tournament.

Other winners at the event included Tim Ayomike, who shot 78 to pick the best gross prize, beating Lanre Tanimowo and Uwem Udoh, who finished in second and third places respectively.

Sunday Areola scored 69 nett to beat Sebastian Owuama to the title in the veteran category.

Ayomike was also rewarded with a KLM return ticket to any international destination of his choice flown by the airline.

DSS detains five personnel over FGGC Calabar invasion (Read full details)

Five personnel of the Department of State Services (DSS) have been detained over an alleged brutality on the teachers of Federal Government Girls College (FGGC), Calabar.

Sources in DSS said the affected personnel were arrested same day of the incident as their action was said to be against the rules and regulations of the service and the need to instill sanity in the system.

The sources further stated that their arrest and detention was an indication that the DSS has officially commenced investigations into the matter, in line with its set out standards to check acts of misconduct.

The sources said: “As we speak, five of our security personnel are in detention because we have commenced investigation into the incident that happened in the federal girls school.

“The DSS remains a law-abiding organisation and will never condone any act of lawlessness from any of its men and officers.”The state Director of DSS, Mr. Fubara Duke declined comment on the matter.

Bid to unseat Tambuwal reopens at Abuja high court (Read full details)

Aminu Waziri Tambuwal PHOTO: nationalmirroronline.net

A fresh legal battle to remove Sokoto State Governor, Aminu Tambuwal from office began yesterday at the Federal High Court, Abuja.

This was as an aggrieved governorship aspirant in the December 4, 2014 primaries in Sokoto, Senator Umaru Dahiru (plaintiff), approached the court, seeking an order to nullify the return of Tambuwal as the governorship candidate of the All Progressives Congress (APC) for the 2015 governorship election in the state.

The legal action is in compliance with the Supreme Court judgement of December 9 last year, which disagreed with Tambuwal in his claim that challenging his nomination by APC even after his election and inauguration as Sokoto governor amounted to a mere academic and hypothetical exercise.

The apex court had consequently returned the case file to the Federal High Court for a fresh trial on the ground that there is life in the case in spite of the conduct of the governorship election that produced Tambuwal. It also ordered an accelerated hearing of the matter.

Dahiru, in the instant suit has also applied to the court for an order of subrogation, directing APC to declare him winner of the primary poll, as the person entitled to be sworn-in as the governor.

His argument hinged on the ground that the December 4, 2014, APC primaries was conducted in gross violation of section 87 of the 2010 Electoral Act and the APC 2014 election guideline.

He also sought court’s declaration that it is unlawful for the Independent National Electoral Commission (INEC) to act on a candidate nominated by the APC for the purpose of the general election when such a candidate was elected in violation of the electoral guideline established by APC itself.

Dahiru also asked the court to declare that in the circumstances of the primary election, it was he and not Tambuwal that was entitled to be returned as the governorship candidate of the APC for the election conducted on April 11, 2015.

When the matter came up yesterday, counsel to the plaintiff, Mr. Ikoro Ikoro, informed Justice Gabriel Kolawole that he had filed a motion on January 31, to amend the reliefs being sought in the originating summons.

Subsequently, Justice Kolawole adjourned the matter till February 28 for the determination of the plaintiff’s motion.

SGF appears before Senate, defends N9.88b budget proposal (Read full details)

David Babachir Lawal

• Panel commends FG for adequately funding MDAs
The Secretary to the Government of the Federation (SGF), Babachir David Lawal, yesterday appeared before the Senate Committee on Federal Character and Inter-Governmental Affairs to defend his office’s budget.

Lawal, who was supposed to appear before the committee last week, explained to senators that he was absent because he went to console the Minister of Sports and Youth Development, Solomon Dalung, who lost his wife.

The SGF’s appearance before the committee, which lasted for about 45 minutes, was attended by the Chairman, Senator Tijjani Kaura (APC, Zamfara North), who presided, and his deputy, Senator Suleiman Hunkuyi (APC, Kaduna North).

Lawal said his office proposed a total of N9.882, 782, 935 billion for this year. Out of the said amount, he said the sum of N3, 408, 763, 591, was proposed for payment of personnel costs; N3, 781, 628, 226 for overhead, a figure that showed an increase of N2 billion compared to 2016 appropriation.

According to him, the amount proposed for overheads would be used for funding the activities and programmes of other offices headed by the permanent secretaries in the OSGF, and activities and programmes of political office holders such as the special advisers, and senior special assistants to the President.

He also stated that his office also voted N2, 692, 391, 118 for capital projects for the year 2017, stressing that funds appropriated to the office of the OSGF in the 2016 budget was grossly inadequate to meet some of the responsibilities of the office.

In their separate responses, members of the committee, agreed that the 10 per cent release by the ministry of finance for the SGF’s office in 2016 was insufficient, particularly against the backdrop of what was proposed.
The amount, they said, was an indication that there is a problem between the budget office and ministry of finance that must be tackled.

Vice Chairman of the committee, Senator Suleiman Hunkuyi however, commended the Federal Government for adequate funding of MDAs in 2016, but said the committee would investigate the poor release to the OSGF.

Drawing the attention of the SGF to the non-payment of former presidents, Senator Hunkuyi demanded to know if this was captured in the 2017 budget.

In his response, the SGF disclosed that the allowances for former president were sufficiently covered in the 2017 budget proposal.