Marriages Of Past, Present, Future Realities

Reviewed by: Adjekpagbon Blessed Mudiaga Title:- Old And New Inspirations From The Heart; Author:- Uche Nwosu; Publisher:- National Gallery of Art, Abuja, Nigeria; Some people see poets and fine-artists as mystical beings who conjure verses and images from astral realms beyond laymen imagination. This assumption is clearly depicted in the sublimity of Uche Nwosu’s verses and paintings invoked by the strokes of his brushes from various rivers of colours in ‘Old and New Inspirations From The Heart.’ It is an exhibition volume that

contains twelve poems and fifty-seven different types of artistic images of the highly imaginative poet and painter. This affirms the author as not just only a poet but an artist who portrays his feelings more outwardly in streams of colours and brush strokes as a formidable painter with dynamic electricity. In an acrylic on canvas (122cm x 184cm, 2003) painting titled ‘Colonisation,’ one is confronted with the reminiscence of colonialism depicting a grey-haired man seated on a floor with different objects such as Swastika symbol, British/American flags, cabbalistic tetragramaton, telephone handset, rocket launcher, and a host of other insignias that remind the viewer/observer about past, current and future traces of imperialism in our culture, religions, politics and social lifestyles. It is a commendable picture of how Africans are still being colonised by the western world, even though African countries claim to be sovereign states or nations. One other tantalising painting in the collection is titled ‘The Hunter and The Haunted, 1996.’ It is a monochrome of a nude and alluring female figure, with a big man behind her and a small man beside her. Both men are arrested by her charming curves and exposed breasts, as they salaciously focus on her; or perhaps, they could not control their feelings from gazing at her. Though the painting was done a long time (1996) ago, its messages are still as fresh as dawn, which thematically correlate with the message of the painting titled ‘Colonisation.’ But some questions begging for answers are: is it the nude lady that is colonising the two men, or is it the men that are colonising her? Every viewer/observer is entitled to his or her conclusion as regards the questions raised. Having assessed some of the author’s paintings, it is essential to evaluate his verses in the collection too. The first poem among the lot in the exhibition book is titled ‘Come Free,’ in which the painter cum poet muses about identifying the true character of who you are and what you stand for, devoid of pretense. Hence, the poem says: “Right is right / and left is wrong / White is light / and black is dark / Up is high / and down is low / Blue recedes like peace / and readily red approaches /. Know the truth / and its freedoms / Break the rules of enslavement / to the evil judges and / Their armoury of bad laws / I know where I am, here / Where are you? / “i” is me, / Who is “You”? / Now, take back your casket / I am still alive / Keep your religion / I am a believer, already free.” This piece no doubt could evoke different interpretations by different readers, whether from the perspective of religion, culture or politics. The poet says he is ‘already free’ as an enlightened mind, unlike many folks who are still culturally, religiously, politically, and tribally myopic and imprisoned in their ways of reasoning. The poem reminds the reader about Sly Cheney Coker’s poem titled ‘Myopia,’ which ridicules the follies of some so-called educated and civilise people. Another commendable piece in Nwosu’s collection of paintings, mixed media and conceptual works, is a poem titled ‘Memories of Laughter’ which bemoans the good old days when things were working reasonably well in Nigeria, but things are no longer at ease at present. A good example is; in the olden days when the National Electric Power Authority (NEPA) which is now known as Power Holding Company of Nigeria (PHCN) wanted to take off electric power supply, there would be announcement to that effect on radio and television to forewarn folks in any environment to be affected by such power outage. But over a decade till now, the PHCN ceases and restores electric supply abruptly and haphazardly without informing the public; thereby disorganising industrial productivity and as well damaging individuals electrical/electronic home appliances. This type of fall from grace to grass is commonplace in all sectors of Nigeria’s socio-cultural, religious, political, economic, and communal activities. From the foregoing, one could say ‘Memories of Laughter’ is a nostalgic comparison of things in the days of yore and the now upside down civilisation with the smoke of concurrent corruption saturating in the air thus: “I lost my childhood / Vying for a role / The entire caste drunk / Drunk from shame at reality / And a decision to go fake / I sold my soul to the devil / Tied myself to his money / Lost my pride to a woman / Lost my name in the wind / My naivete to a craft in falsehood / And my personality to time / I now stand back and look / Wondering if I’d been right / I lost my mystique to the crowd / That wonders all confused / Now I return, facing Conscious Light / Asking back my laughter / With a vision of joy and loveliness / Aching for the peace of innocence.” What a loss of the good old times when Nigerians were truly Nigerians who cared for the goodness of one another, before the evil spirits of tribalism, ethnicity and Boko-Haramism became more further intensified, and now threatening to split the giant to pieces with osmosis of sorrow. With speeches and images emanating from brushes and colours in the wings of paintings (Fine-Art), married with melancholic tunes of poetic gusts of sad laughter to the wind of change and beyond, Nwosu has stamped his name not just only as a painter but a poet to reckon with in the footsteps of time; till sun, stars and moon may cease to smile. His verses are as deep and emotive like the images of his paintings embedded with mystical conjurations woven with past, present and futuristic interlinks in the voices of colours and brushes. Uche Nwosu studied Fine and Applied Arts at the University of Nigeria Nsukka (South-Eastern Nigeria) between 1986-1991. He specialises in Painting. He has participated in several local and international arts exhibitions. He is a contributor of reviews to the Guardian Newspaper, Lagos, and works at the National Gallery of Arts as a Chief Research Officer. He is also a former Secretary of Association of Nigeria Authors (ANA), Lagos chapter.

As Bruce Onobrakpeya Ages, Are There Younger Artists To Take Over From Him?

By Adjekpagbon Blessed Mudiaga

Although Fine-Art is taught as a course at various higher institutions of learning, there are some people who are naturally gifted and did not go to any institution to learn the art of sculpturing or painting. During a discussion recently with some arts-lovers, some were concerned about the issue of younger sculptors and painters that would take over the great scenes of fine arts created by the likes of Bruce Onobrakpeya and the late Ben Enwowu, especially now that Onobrakpeya is getting much older every day, and may not be actively involved in sculpturing and painting like before. Though nature has a way of restocking itself as the law of diminishing returns take place in every human society, it is only when good facilities are made available and are used to train younger ones about techniques and culture of doing certain things, that they could be preserved and passed from one generation to another by those in charge. In spite of the fact that some people are naturally gifted sculptors and painters, Fine Art has its own techniques which can be acquired through learning at any good institution that teaches the rudiments of the profession. It is in this vein that one could appreciate the idea behind The Bruce Onobrakpeya Foundation (BOF) which is a non-governmental organization formed in 1989. Its mission is to promote the growth of art and culture through the provision of avenues for artists to improve themselves through skills acquisition and empowerment. It is also aimed at promoting and developing public interest in the visual arts by creating awareness for the intrinsic values of African art and its benefits to society. The Bruce Onobrakpeya Foundation has been an enduring player in the visual arts scene since its inception in Nigeria. It has organised the Amos Tutuola Show, Lagos (2000), the Annual Harmattan Workshop since 1998, and participated at the Commonwealth Heads of State and Government Meeting (CHOGM) Exhibition, Abuja (2003), Art & Democracy Exhibition, Asaba, Delta State (2004), and the Harvest of the Harmattan Retreat Exhibition organised in collaboration with the Pan African University, Lagos (2004) amongst other programmes. In May 2012, BOF featured the works of 20 artists at the Exhibition Bruce Onobrakpeya and Harmattan Workshop Experiment at Kajinol Station in Dakar, Senegal during the 2012 Dakar Biennale, among others. However, the question is, are there other emerging artists who would occupy the fine-art stage, that could be recognized and keep on creating the awareness that Onobrakpeya and late Ben Enwowu brought to the profession? The answer is not farfetched. Nigeria is blessed with many young talented and trained fine-artists that have been making waves in their own areas of fine arts specialisation too. Some of such younger and notable Fine Artists that are readily stepping into the shoes of the older generation Fine-Artists include Chuka Nnabuife (a painter/poet), who was the former Arts Editor of Compass Newspaper; Uche G. Nwosu (a painter/poet), who studied Fine and Applied Arts at the University of Nigeria Nsukka (South-Eastern Nigeria) between 1986 - 1991. Nwosu specialises in painting. He has participated in several local and international arts exhibitions, and works at present with the National Gallery of Arts as a Chief Research Officer. Nonetheless, in terms of younger Nigerian sculptors who have been making their marks in the field, there are people like Felix Eboigbe Collection of Fine Art African Sculpture; Bright Eke and Clement Onyekadi, just to mention a few. Eke is seen in some quarters as perhaps the most outstanding of young Nigerian artists who have engaged with environmental/climatic change using materials and objects of daily use. Just like Eke, Onyekadi’s method of drawing attention to crucial issues concerning our natural environment is straight to the point and lucid. He uses newspapers, ‘condemned’ motor oil, cellophane sheets and other petro-chemical products and employs other related materials in giving meaning to his installations. This is another dimension of sculptural fine arts (paper mashie) which is a direct opposite to wood carving which Onabrakpeya is well known for. By and large, Nigerian folk art is made of different dimensions such as ivory carvings, wall decoration and body painting. As regards modern wood carving in Nigeria, wood carvers make portraits, masks and figures for corporate organisations and shrines. Artists cast sculptures in bronze and brass, produce glass and metal work, and make quality leather work and calabash (gourd) carvings. Nigerians arts works are highly valued globally. And it is a great thing of joy that the pioneers of Fine Art promotion in the persons of Onabrakpeya and Enwowu have impacted much of their skills on many younger generation artists which would help to keep the profession relevant for ages.

Family Threatens Gbagada General Hospital's Morgue Management With Court Action After Recovering Missing Corpse

Adjekpagbon Blessed Mudiaga

The family of late Mrs. Mary Ayoka Olugbenga, a former evangelist of the Mountain of Fire and Miracle Ministry, who was worshipping at the church’s headquarters, Iwaya, Lagos has threatened to take legal action against TOS Funeral’s management, operating a morgue at the Gbagada General Hospital, Lagos, Nigeria. The deceased was said to have died at about 9pm in her car on the 14th of October in Mile 12 area, while being taken to a health centre for treatment after a protracted illness. According to Comrade F. Tugbobo, National Planning Officer of Community Surveillance Patrol of Nigeria, Lagos Command, “The late Mrs. Olugbenga was my very good friend. The unfortunate incident happened as she was being carried to where she could be treated. “Her body was deposited in a morgue at Gbagada General Hospital the very day she died. Few days later, the family went to collect the corpse only to find out that it has been released to a different family for burial. After frantic efforts and serious arguments, it was discovered that the corpse was wrongly tagged and given to a man who had also deposited his late wife’s corpse on the 14th of October. The man who received the corpse thinking that it was his late wife’s, had buried her at Matori Cemetery, Mushin, Lagos. “It was after the pictures of his late wife which was still in the morgue, and that of my late friend were taken to the bereaved man that he knew that a wrong corpse was the one he buried as his wife. His children also corroborated that the body given to their father as that of their late mother was not hers, but their father did not believe, until the family of my late friend traced him through his phone number and address he had presented at the morgue.” The body of late Mrs. Olugbenga was later exhumed and handed over to her family members for proper burial. However, Folorunsho Adeoluwa, a relative of late Mrs. Olugbenga was quoted to have threatened to take legal action against the morgue’s owners and staff. Nonetheless, Comrade Tugbobo laments the poor state of health facilities and lackadaisical attitude of many Lagos state General Hospitals health workers. She added that “I am displeased by this type of negligence in many public health centres being operated by the Lagos state government. The government should be up and doing by disciplining all erring staff working in the state owned hospitals and other sectors where carelessness has been their routine. “The most annoying part is that, the phone of a family member of my late friend was smashed to smithereens by the TOS Funerals / Gbagada General Hospital morgue attendants to cover up their negligence, when they were exhuming the corpse and it was being recorded with the phone’s video. “If the family of my late friend had wasted much time before going to claim her corpse, that is how she could have not been traced for reburial. Such negligence has been a common practice among many Lagos state health centre staff.” In this vein. Comrade Tugbobo also said, Comrade Olayinka Obigbesan, Commandant General of the Community Surveillance Patrol of Nigeria, and other members of the association are vigorously surveying several negative practices going on in various sectors of the state, to enlighten the state government for immediate action and improvement.