NANTAP condemns Plateau killings, Commiserates with Victims of Lagos inferno

NANTAP Condemns Plateau Killings, Commiserate with Victims of Lagos Inferno

Nigerian theatre and allied arts practitioners, under the auspices of the National Association of Nigerian Theatre Arts Practitioners (NANTAP), has condemned the recent attack on 11 Plateau villages which reportedly resulted in the death of well over 200 persons.

In a statement signed by the National President of NANTAP, Mr. Israel Eboh on behalf of the association and other practitioners in the allied art industry including the Actors Guild of Nigeria (AGN), Guild of Nigerian Dancers (GOND), Screenwriters Guild of Nigeria (SGN) and the Director’s Guild of Nigeria (DGN), the associations stated that the spate of killings around the country, which has become almost a norm, should no longer be tolerated. Eboh who in the statement described the killing in Jos as  ‘’one killing too many’’ called on the Federal Government to rise up to the occasion by putting a halt to the wanton waste of innocent lives. ‘’The President and Commander-in-Chief of the Armed Forces, President Muhammudu Buhari, as the Chief Security Officer of the nation must live up to his promise to ensure security of lives and properties of all Nigerian citizens’’ the NANTAP President said.

“The farmers-herders crisis is an avoidable crisis if handled with objectivity and sense of purpose, unfortunately, this crisis is already making Nigeria a laughing stock in the committee of nations. We must bring the perpetrators of this evil acts to book before the entire nation is engulfed in uncontrollable crisis as a result of bad handling” Mr. Eboh added.

Also, he said “on behalf of our associations, we send our heartfelt condolences to the people of Plateau State, the governor and families of the victims of the June 23 massacre and pray for the repose of the soul of the departed. While also commiserating with Mr. President as the father of the nation, we wish to commend him for the prompt manner in which the government has responded to the Plateau killings, with the visit to the affected villages by the Vice President, Professor Yemi Osibanjo; followed by the President’s visit the very next day. This is encouraging and it shows the seriousness the FG attached to this security breach.”

The association also extended condolences to the Lagos State Government, people and families of victims of the Otedola bridge inferno of which left scores of death in its trail.  “This is an avoidable incident and one which brings to fore the age-long debate about banishing petrol tankers and other heavy duty lorries to ply the roads only in the night. It is a simple case of lawlessness and one which must be brought to book” he lamented.

The NANTAP President then urged practitioners and government to continue to use theatre and entertainment as a catalyst for peace, unity and economic prosperity.


Israel Eboh fta.
President NANTAP.

NIGERIA'S THEATRE- We stayed too long on the dung heap!

The buzzing of flies recklessly pervading the air, spitting and stinging, distracting the squatting anuses whose bowels need to offload excreta have become deafening! These singsongs are coalition of rumors in the culture ministry and among practitioners. These rumors are becoming potent and reasonable. These rumors are obviously becoming a source of concern to all associations involved with the ministry, particularly the theatre related ones.

How do I approach this? Okay, let me first relay some of the rumors going round in the sector, then we shall attempt to make meaning out of it regarding some actions taken or non of it by authorities involved. This I believe would in turn help our analysis in juxtaposition to the supposed growth in the entertainment industry. Let me warn though, that this write-up is not an attempt to cast aspersions on anybody or institution(s), be it government or private individual(s). This is just to intuitively ascertain what could be going wrong with the sector in order to tackle the seemingly stubborn stains of shame that has become the National Theatre's lot anytime leadership appointments are made or to be made.

Shortly before Mr. Kabiru Yar'Adua, the immediate former General Manager (or Director General?) retired, rumors had it that he was having issues with the then Minister of Tourism, Arts and Culture, High Chief Edem Duke over the alleged proposed sale of the edifice. That both men were struggling over who should have the right to bring the customer(s)... Well, like I warned earlier, it was a rumor. Anyway, some of us believed that was what stalled the proposed sale of the National Theatre and not the protests against it. Because the deal to sell it off as one of the biggest malls to come into Africa was signed and sealed in Dubai according to some newspaper/online (Castles lifestyle 2015 etc) reports.

Finally Kabir retired, and according to the rules in the civil service, he handed over to the most senior officer to take charge pending when the new minister of the opposition party, the All Progressive Congress- APC that won the national elections by majority votes, appoints a new GM for the National Theatre. At this time, Engineer Nwogu of the engineering department and some other 3 senior officers were on level 17 according to the civil service grading but obviously on different steps. According to the rumor, Nwogu was steps ahead of all others officially, but professionally, one of the other 3 was more qualified... Well, between those four, there was wrangling, backstabbing and backbiting and all-whatnot even though it was Nwogu that Kabir handed over to.

Shenanigans and all! The new minister of Information, Tourism and Culture- Alhaji Lai Mohammed, seconded Mr. George Ufot, a Director of Culture in the ministry from Abuja to come and save the silent stinking rancor that was openly gravitating to become a 'civil war' that was to engulf the National Theatre in Lagos. The new Acting GM was himself not a rookie in the affairs of the National theatre or cultural matters in the nation. As a junior officer in those days (1980s),  Mr. George Ufot went from Lagos to Abuja, climbing the ladder successfully until he rose to become a Director in the ministry. Now he was back at 'home' as the Acting boss in charge, the GM. Although, his retirement was just some months away, we heard.

As soon as Mr. Ufot touched down in Lagos, having inherited a well refurbished theatre from Kabir, with all formerly delapidated cinema halls now oozing with cooling breeze of several air conditioners and all newly and well carpeted floors and other appurtenances, Ufot engineered meetings with both staff members and interfaced with private professional stakeholders... One thing the ardent followers of the National Theatre events would not forget in a hurry is the legacy Mallam Kabir Yar'Adua left behind. He totally refurbished the venue, kept the surrounding neat, flowers cultured and constantly ensured that the vast surrounding lawns were grazed. He stepped up security operations around the venue... But he then strangely launched policies that drove content providers and would be customers away from using the venue and he wasn't repentant about it. Yet National Theatre management is not empowered to have/generate provisions or budget to build content within. It only depended/depends on halls rental income from private individuals with programs or drama/cinema events. We then wonder why he had to spend that huge budget on refurbishing the empty venue in the first place.

Though rumor has it that he refurbished the venue so to attract better offer during negotiation to sell the soon-to-become-biggest mall in Africa edifice to Mulk Holdings, the United Arab Emirate UAE based multinational conglomerate. And on the other hand, the venue was kept empty despite the refurbishment to push home the arguement of the Government that the venue was obsolete for its original intent of use- the arts and culture events (or THEATRE ARTS?) If this postulations were true, then Mallam Yar'Adua kept a fine balance until his retirement.

Mr. George Ufot was lucky to have arrived duty at a time when Lagos State was nearing the completion of her one year long display of bizarre cultural activities all around town in celebration of her 50 years birthday. Which other venue in Lagos could be more grandiose to close the events by end of May 2017 other than the National Theatre? So the Lagos State government was quick to come into collaboration with the Federal government in this regard, especially that politically, both Lagos and the Federal government are now from same political party- APC. It was easy for the Ambode led Lagos government to announce to the world that she'll be helping the National Theatre fix its main-bowl auditorium: the only surviving rot of the lot that Kabir refurbished. 

This, the Lagos government said, was her bit in fulfilling her part of the collaboration agreement with the National Theatre. For Mr. Ufot and his new team of management staff, it was a good omen for their renewed effort at ensuring that cultural event owners returned to patronize the once abandoned Mallam Yar'Adua's refurbished-but-empty-space, National Theatre. So the barrage of play productions/festivals and film shows from production companies and organizations like Thespian Family Theatre (TFT), Crown Troupe of Africa, QDance company, Theatre And Movie Producers Association of Nigeria- TAMPAN e.t.c and the celebration of World Theatre Day and World Dance Day 2017 by National Association of Nigerian Theatre Arts Practitioners- NANTAP and Dance Guild of Nigeria- GOND, were a rare testimony that indeed, "after a long dark night, the morning shall surely come"

Just when our Acting GM, Mr. Ufot had not settled in office beyond four months, the Abuja list of appointments and appointees into the culture sector of the ministry surfaced in the newspapers. "Showman" Tar Ukor (the exponent of "Mambisa") had been appointed as the new substantive GM of National Theatre and National Troupe of Nigeria to replace Mr. Ufot's Acting slot of only National Theatre.  Even the surrounding breeze in the corridors of National Theatre was quiet when the news broke. The workers in the ministry in Abuja murmured their confusion to high heavens, so much so it filtered through the thousands kilometers of travel to tingle our eardrums in Lagos and beyond. Professional practitioners' surprises became worries as to who, why, where, when and what happened... About then, another two distinctive classical rumors dropped, and our lull became quieter until it grew to morbid silence.

The rumor-mill continued to spew confounding logic. One of which was that the Minister, Alhaji Lai Mohammed confided in some close associates that Mr. Tar Ukor's name was not part of the list he sent to President Muhammed Buhari for approval into the parastatal. On equal strength, we heard former President Olusegun Obasanjo was the one who recommended Mr. Tar Ukor to the Presidency for the slot... Even if these rumors were true, it was obvious that the industry players had become tired of complaining or protesting against government appointees into this office with the way stakeholders got disinterested in ordinary discussion concerning the appointment, talk more of newspaper interviews. Even if it is to abuse, non came forth. Except "hun, ha, oh..." SO, WHO PUT TAR UKOR NAME FOR LIST?

Obviously this is not about the question above! It's about the seeming uncertainty that pervades the usage of the establishment and the nag of government appointees to not always fit the stakeholders' expectations from time immemorial. Is it possible that the government is operating on the basis that the National Theatre is a cultural events venue and rightly so? And the stakeholders agitations over the years are based on the assumption that the venue is an ARTS theatre? If these questions suffice, then the government and the stakeholders need to do a roundtable conference, and commonly agree on what purpose the building is meant to serve beyond the original reason it was established for the great Festival of Arts and Culture- FESTAC in 1977. That way, the industry players will stop denigrating the government they are meant to work with for better result both for the industry workers and Nigeria at large.

Yours,

ALANI ON'TABA.

When a 'Nationhood' was about- KAKADU.

When a 'Nationhood' was about - KAKADU (Series 1)

KAKADU, a true manifestation of a mirror play, and a bare reconnaissance of our understanding in the true sense of the word- RECONCILIATION.

To know that kakadu once existed pushes my thought deeper into the abyss and I could only continue to ask, when was a nation? Was it the geographical location, the people, their reasoning, language or sense of being? These are questions beyond whatever answers we dimmed fit but, a true starting point for a nation truthfully willing to take the lessons of KAKADU, as one that is potent enough to unravel the missing link between the starting point, the gulf, and the rot we scurry in like a pig, having a filled day in an extremely meshy mud.

Once upon a time, there was a commercial social gathering spot where all that counted was just your coming in... as a matter of fact, when you get to the entrance you drop your worries, enter, and enjoy a new sense of being! That was all that was required of you.

Everybody looked forward to this sense of being every weekend. KAKADU felt like heaven on earth. A true nation irrespective of our boundaries was forming. Language or where you were coming from was not a passport to enjoying and sharing in the merriment that was the hallmark of the spot. All that mattered was get dropped at the motor park, enquire about the location of the spot, come in and the rest is not necessary... then fire struck, and KAKADU vanished, even with its own kind of people.

Those left behind are just historians who would not see the sense in the ideological existence of KAKADU even though fire had burnt the real one. Rather, they retell the story with pain such that it keeps the divide so strange and wide apart: they have refused to stomach kakadu, instead, they regurgitate  it and cut everyone off the real sense of being.

KAKADU is a musical piece that hopes to give true meaning to what reconciliation between two people(s), nations, continents etc. is all about, all else we will continue as mere historians who can only relate the story as we saw it and not necessarily as it was.

Makinde Adeniran

Experts not Politicians destroy Nigeria's growth

It is becoming worrisome the level at which workers’ strikes happen in Nigeria. What the strikes are meant for is obvious. But why is strike the only measure to make government listen? Often, ultimatums jump out of the dailies, and then the strikes begin without looking at the larger picture. The larger picture referred to here is the masses. It is almost certain that these Unions get into this mode one after another thereby halting the country. 

Now, the questions are; is it only the responsibility of government to safeguard the day to day running of the economy of a nation? Or are Experts’ Unions becoming pseudo-Political Parties? Governor Adams Oshiomole’s case is a good reference point (He transited from a very active, almost anti- government labour leader to being a politician).

If this reference point suffices, then it is time the nation began to make a proper assessment on what and where the people’s power to bring government to answer to questions lay. Instead of relying on group of experts’ unions who are masquerading as the saviors of the nation but in the real sense, they are just bunch of orchestrated Areaboys asking the government for their share of the loot. The Politicians are the ‘devils’ known to us but what about these ‘saints’ we are yet to know... I smell a rat.

If you have read Wole Soyinka’s (WS) “Beatification of Areaboy”, you would understand what the experts’ unions across the globe especially the one from within Nigeria are doing to retard Nigeria’s growth. But in case you have not, we shall clinically go through situations that would describe the experts’ area-boys attitude in the making or marring of the Nigeria nation.

Area-boys are the popular streets’  urchins you find in every cosmopolitan city in the world. They are a character of socio-cultural failure; a product of societal weakness merged with economical woes, such as most developing nations or continents are reeling in now. They are a barometer of a sort for every society they exist in. The level at which they operate and go scot-free and continuously so, go a long way to tell the laxity in security and execution of law, if any, in such country. They represent the face of failure in every society.

However, they could be put to use by the rich or intellectuals in the society, especially when such people have ulterior motive. All these depend on understanding their language of acceptance – money or power. Of course, they get the power for you, you buy it with money. If well organized, they could grow to become a powerful group of outstanding networks just like the Boko-haram group, the Al-queada, and every other militia groups across the globe.

In the case of WS’s play – Beatification of Area-boy; it is Sanda, a university dropout who feels so aggrieved of his society that took to putting to use these street urchins. Sanda is a security man at the plaza, yet oversees the running of a parking lot. The area-boys give receipt to willing vehicle owners or drivers who come to park in their parking lot. They expect some specified token in return. These monies go to Sanya. But what is fascinating about their operation is that every driver or owner of vehicles who come to park in this parking lot is a potential customer to be defrauded by these area-boys.

These area-boys have two or three different groups who will come in turn to give receipt to the same vehicle and they expect you to pay them, and when you make to argue it, they are ready to fight and beat you up then impound your vehicle. Yet you cannot move your vehicle except you pay. This scenario I am sure will be familiar to most Nigerians by now. This orchestration to some degree, negatively though, has some level of cohesiveness. At least they are providing the services; keeping the parking lot intact, defending its parameters, sure security for vehicles, securing the space with land allocation institution even if it means sharing their profit with the government agency responsible for allocating lands every month. The point is, they work at it. In some cases they even commit their lives to it.

Most garage touts fall into these area-boys category. So they form the bulk of the National Union of Road Transport Workers (NURTW). Anytime they venture into strike mode for whatever reason, the union will always provide some lee-way out for the masses. Is either they make it half day or they never go beyond a week. Even when there are fuel shortages in the country, they are always committed to serving the masses. Though some of us refer to them as never-do-well of the society, but in so many cases, they are always very creative at making their demands even from government. They also know when to back off. The NURTW successfully went into agreement with the government of Babatunde Fashola in Lagos state when they knew it was the wise thing to do. Lagosians were surprised at the solemn marriage between ‘Areaboys’ and the Government. The relationship which eventually produced the Bus Rapid Transport popularly known as BRT. The masses are the one enjoying the fruit of that relationship today. That is the way a country works; Ability to engage ourselves constructively and be the better for it.

No country will work under the “wrong, you must die and win, I control” posture most of these Experts’ unions take. All these unions have perfected the act of holding government to ransom while the country suffers. Or how do we explain the situation where a union asks for everything yet they never give anything in return except for basking in the euphoria of once-upon-a-time. The one that horrifies most is when these unions begin to compare themselves with their contemporary in the west. They forget that in the west, things are done according to lay down rules. Government will not have to come after you before you contribute your bit to the economy.

These unions are quick to say the government is bad, YES, but no government everywhere in the world is good. The professionals in my view are responsible for each segment as they make-up a country. So, whichever section is failing, the blame rests square on both the government and most particularly the professionals in that section. To push all failures in a society on government is as equal as saying rulers drop from heaven. But believe me, rulers are born.

Makinde Adeniran

Nigerian Home Video: Market or Industry?

The home video saga in Nigeria is already phenomenal all over the world. But let us take time out to straighten out some thoughts and taught. Given the quantity of problems Nigeria faced since independence, especially in the last 15years, there is need absolutely for the Nigeria people to be excessively dynamic. Breaking all necessary barriers of economic norms and processes, Nigerians have emerged a new economical order, especially in the Movie Industry sector tagged "Home Video Film".

The business of film making in Nigeria, like many other African countries, dated back to Pre-colonial rule, when Government used filmmaking as political propaganda. Given the period (economically), the British who were the masters; and being one of the first world countries, the minutiae for filmmaking were astute, the expertise were superb-rate for that period. From this propagandist point of view, some Nigerians had learnt the business of filmmaking for a more pleasurable, educational and informative reasons. So it was a bit easy for some Nigerians to join the rest of the advanced countries in filmmaking almost immediately after we got independence in 1960.

After due exhaustive live performances, and theatre on the wheels. The likes of late Afolabi Afolayan (a.k.a. Ade-love), late Hubert Ogunde, and Moses Olaiya (a.k.a. Baba Sala) came on the scene as filmmakers, and all their films were shot on 35mm. It was an excessive boom because the culture of patronizing the Cinema theatres was still the in-thing. Because the boom was obvious, the banks and other such institutions of investors could rely on the film investment for gains, trust the industry and then could accept a "feeble" for collateral. Consequent upon this, other generation of filmmakers who had studied filming abroad came on the scene; (Ola Balogun, Eddy Ugbomah, etc.) until mid '80s when the collapse of the Nigerian ruling system and its economical values became imminent.

This fall reflected grossly on other sub-sectors, NGOs, Associations etc. down to the common individuals on the streets. And naturally, people began to invent other means of survival positively or otherwise. The film sector dwindled until gradual shot down of notable Cinema theatres; entertainment generally became a non-starting event. Those in the film industry who could not but continue to produce film, even when it was obvious that it is almost impossible sake of financial implications, lack of security for people to go to Cinema theatres, training facilities in country dropped, etc. resorted to producing Home Video.

The Home Video producing idea started as a one-man business. It was an import and export merchant Chris Rapu, who needed to sell his loads of empty VHS tapes brought into Nigeria who resorted to recording an enactment of an Igbo story of a man who because of money, signs a pact with the devil. Before this time, Mr. Nnebue (a.k.a. NEC) had been doing some recording of some Yoruba films, also shot with a VHS camera but only for pleasure, until Chris Rapu came with this hit. This success opened up the Home Video film business dominantly to other Igbo marketers of electronics.

Then some of the newly trained and old filmmakers (Tunde Kelani, Femi Lasode, Amaka Igwe 'Ladi Ladebo and even Moses Olaiya a.k.a. Baba Sala) who had left the industry out of frustration, came back and began to attempt the use of beta-cam, and some, DV-cam. As critics grew, production output increased from 2 a week to 7 a week and more. The marketing strategy for Home-video in Nigeria is a "bric a brac" style, relying solely on Idumota local market in Lagos, Onitsha and Aba in the Southeast. Structure and regulations were not considered, as many weren't thinking of an industry but what they could milk out of the system. Because the Marketers are the strong hold of the business, Home Video film became an all-comers affair. The marketers dictate what they want to the Professionals. And so, they could call for a recess (from March to early April) when they needed it. But the recess was only to empty their stalls of too many unsold films.

Home Video Film business is a one-man business that has triumphed on the culture of "copy-cat" to spread all over Africa at the detriment of the Professionals and the Profession. The scenarios are quite obvious. The entire Nigeria economical disposition is in juxtaposition to so many other sub-sectors', including the home video industry. All over the world now, the news of the successes of the Nigerian home video is getting aggressive by the day despite the huge short falls - the entire economical wounds, lack of structure and regulations and maladroit machinery of organizations and associations. Nigeria Actor's Guild (NAG), National Association of Nigerian Theatre Arts Practitioners (NANTAP), Independent Television Producers Association of Nigeria (ITPAN), etc. are all a part of this shame.

Democratic dispensation in Nigeria merged with the seeming successes of the Home Video films, from the rabble of decadence from the Military era has again lit the dark corridors of our hearts and streets. People now trudge in numbers to the cinema theatre (National Arts Theatre Iganmu, FSP hall Ikeja, Pen cinema Agege, etc.) on weekends to watch films, mostly Yoruba films. With the teeming rush, special magazines for advertisement of films, TV ad programs for films, the number of films released in every two weeks has risen to 15 films (8 english from Igbo producers, and 7 yoruba)

In comparising to what obtains in the western world, one would readily agree that the whole arrangement is disheartening. Still, as a third world country, there is an obvious opening for the Government to capitalize on. Especially with the spade of unemployment in the country. If the Marketers' Association who cared less about the structure of the industry as far as they are making their profit could be converted through intense formal training in the business of filmmaking, and the Professionals re-organize themselves, Associations get firm to their duties, Censors Board live up to its responsibilities, and the Government providing a practical Policy, it is only then that the Nigeria economy is sure of serious boost in the filming sector.

Makinde Adeniran
2003

National Theatre: We are missing the point

“The artist must prophesy not in the sense that he foretells things to come, but in the sense that he tells his audience, at the risk of their displeasure, the secrets of their own hearts” by R. G. Collingwood.

It is with this mindset that we (arts practitioners/administrators) should know that we have failed not only ourselves, but the entire people of this nation – Nigeria. The degradation has existed for so long amongst the artists here in Nigeria despite constant cries that amongst other qualities that this sector naturally posses. And apart from the huge number of practitioners across the country helping to boost the economy unnoticed though, the arts sector is a potential machinery for employment generation. It is one of the means with which the economy can have a solid base, only if it is giving the due attention by government.

This however, is not entirely government’s fault as we have seen over the years. But of those who are representatives of the art/culture sector (both private and public) for their inability to proof to government that the business is lucrative and it can help a nation like Nigeria to re-engineer her decaying social structure. And this is apart from it being a worthy and rewarding career, hence government’s ignorance on matters of the sector particularly the arts, and consequently the offer for sale, the National Theatre. Or is it a misconception all along that we have an arts theatre?!

Now that the hullabaloo of “for sale” and “don’t sell” of the National Theatre is settling down, good reasoning is pervading through to help sieve the wheat from the chaff. So many artists who thronged the streets for a peaceful march protest against the purported sale or privatization of the edifice to one Infrastructica - a consortium, rarely know that they were protesting for a non-existent institution (an arts theatre). So ignorantly, they vent their anger through the street, marched from the National Theatre premises through MKO Abiola road to Costain bus-stop and back to the National Theatre.

If anger and vituperations or number of protest marches done were meant to solve problems in life, then that of the National Theatre arising from the last purported privatization exercise conducted by Bureau of Public Enterprises (BPE) near the end of 2007, would have been solved giving the number of speeches laced with anger and vituperations that were delivered after the protest march that same day at the National Theatre and thereafter.

However, the National Theatre is now on the list of PPP (Public and Private Partnership) a quasi-BPE as a potential “for sale” property in 2008. Therefore, the question one is left to ask in this regard is; what are we yet to do to safe the life of the National Theatre?

During the reign of late General Sanni Abacha, Jimmy Atte of the Nigerian Television Authority (NTA) was the General Manager of the National Theatre. Concerns were rife against the arbitrary hiring of the halls out for birthday parties, wedding ceremonies etc. by the then management of National Theatre as against cultural activities, particularly drama productions which was not in anyway yielding financial gains. And that argument prompted an interview which was conducted by a journalist (Mr. Bola Adewara, Weekend Times 1997) where Jimmy Atte asserted that the edifice is a National Theatre and not a National Arts theatre as argued by arts practitioners.

As simple or feeble as that may sound, it is mind bugging, especially that the man who made the assertion, Jimmy Atte is not in anyway a small man in the service of government. He had been in the service of government for close to 25 years if not more. Such statement from such an officer (GM) of government should not be mistaken for mere semantics or be ignored! Perhaps it’s the root of our ignorance; our inability to understand the import of that statement might have been our undoing in this regard – mistaken a Multi-purpose event venue for an Arts Theatre (?)

To buttress Jimmy Atte’s suspicious semantic, a look at the internal architectural design of the National Theatre would also reveal a lot more. The design favours a Multi-purpose event venue more than being an Arts Theatre. The 2 halls that are presently being used for stage productions or performances are originally meant for cinema shows hence its names (appellation), Cinema halls 1 & 2. One of the cinema halls was first manipulated for a stage performance of late Wale Ogunyemi’s “The divorce” when it was to be staged at the National Theatre and it was obvious that the Main-bowl auditorium which is the only original stage performance space in the entire design of the building is extremely too big for such dramas as The divorce. Apart from drama productions, the Main-bowl could also be used for sporting activities such as, boxing, wrestling, basketball, etc. the other spaces provided in the building are Exhibitions hall, Conference banquet hall, Art Gallery and other spaces for other events (not necessarily arts oriented)

With all the aforementioned, it is obvious that the idea of a National Theatre and FESTAC town came when Nigeria was to host the Festival of Arts and Culture in 1977 (FESTAC ‘77) just like the Nigerian government did with the 8th All Africa Games 2003 (COJA 2003). But in this regard, President Obasanjo who was also the military Head of States who hosted FESTAC ‘77 was wiser, so immediately after COJA 2003, he directed that the Games village in Abuja, the lush apartments that were built specifically for all athletes who participated in the games be sold to willing buyers. Obviously President Obasanjo had learnt from the decadence we have made of the National Theatre immediately after FESTAC. All these are a pointer to that salient fact that the National Theatre was not planned to carry-on as an Arts Theatre but money spinning Multi-purpose event venue as Jimmy Atte had tried to warn.

Yes, the expected redundancy of the National Theatre may have helped in the springing up of a government committee on cultural policy which was drawn after FESTAC. An arts practice of a people is the expertise fragment of their culture therefore the cultural policy does not necessarily translate to an arts theatre policy, it only helps to create an avenue for us to begin to agitate for an arts theatre institution within the stipulations of the cultural policy. With obvious reasons, one national arts theatre will definitely translate to so many because competent practitioners abound.

The only attempt ever at having a theatre arts institution to be professionally run and to be supported by government was the “Ososa Experiment” organized by late Hubert Adedeji Ogunde which end result was going to be a physical structure for the practice of theatre arts and its appurtenances, but was only able to transit to what is today known as the National Troupe of Nigeria because Ogunde died when it was least expected. As soon as Ogunde died in 1990, the beginning of the killing of the idea of a National Arts Theatre began. Because some of those appointed by government to takeover the job could not understand, or they chose to kill the dream deliberately or ignorantly for selfish reasons and unnecessary sentiments. For this set of top government workers, they have confused the National Theatre for a National Arts Theatre, and they have led the battle against an institutional arts theatre in Nigeria ever since for only one purpose, self aggrandizements.

So, now that the common practitioners have been brought into the fracas between the government and its administrators when the former declared its intention to privatize the National Theatre, the practitioners should be careful and be intuitive if it must take sides. Because if there is any group that has been shortchanged or fooled in this matter, it has largely been the arts practitioners. Therefore, the practitioners should resist incitement by these administrators and its agents in whatever guise because it is only government and these administrators that knows the rules under which they have been operating over the years. Rather, the practitioners should seek to know, as written in the books, the real purpose for which the National Theatre was built apart from what we were made to believe and the reason why the National Troupe of Nigeria was created again knowing that there existed a National Theatre, if truly it’s a National Arts Theatre, which one of its very concern should be to create a national troupe rather than it being a separate parastatal under the same Ministry (attempt is on though to merge the two parastatal, National Theatre / National Troupe of Nigeria). It is only when all this questions are answered adequately that we would know in what direction to go.

Surrealist Joan Miro once asserted that “You don't gain even a centimeter of freedom from art that's governed by cold formulas. You only get your freedom by sweating for it, by an inner struggle”.

This is where the Arts associations as proliferated, would come in. These associations in my view are supposed to be an appendage to, even though informally, the federal legislative committees on culture/arts matters. It is their duty therefore, to put into force its internal machinery that would ensure that proper theatre arts policy for institutional practice is forwarded for legislation so that it would enhance the practice of theatre arts and consequently help to invigorate the study of dramatic arts or its equivalent in the universities. For any country to make provision for a course of study in her universities, that is a pointer to the fact that that government is ready to cater for that course of study professionally and it is this point that is germane in this case.

Therefore, taking practical steps (proper legislation and execution) that are devoid of sentiments would help a great deal in resolving the quagmire. Whereas the proper legislation would boost the level of private and corporate support in the down-stream sector and improve level of competitiveness amongst practitioners, the status quo or the Infrastructica idea would keep them, as it is now, in the trashcan. This is the reason the government administrators could manipulate the parastatal the way they do and consequently, the live theatre’s fortunes and other arts businesses are dwindling by the minutes.

Good legislation is security for good investors/investments. Investors will naturally come forward when there is good legislation on ground. One of the key points of such legislation is the complete autonomy of the National Theatre if it is eventually going to be converted to a National Arts Theatre, though to be regulated by government. So ultimately, the institution would need investors.

Then the logic. To annex the potentials of a good legislation in any giving arrangement, application of logic is essential. Logic in this sense would amount to how the new legislation, when or if done, could have bearing on the operational standards in the running of the National Arts Theatre. Eating your cake and having it is not an essential for compromise. Therefore, all present staff of the National Theatre should re-apply for their jobs. This automatically would cater for a more efficient work-force, and a reorganization of all the departments for effective operation.

It is important to mention therefore, that a strong and unbiased selection of members into committee should be organized to draw-up a good bill for legislation. This group of people should be thoroughly and independently researched by the government, and ensured that they are competent for the assignment and the selection should transcend all cadres in the industry.

It is with such commitment that we stand to benefit as a nation from having a National Arts Theatre that would truly preserve and display the cultural identities of the Nigerian people.

Makinde Adeniran.
Playwright, Director, Arts/Culture Consultant

Dance Empowerment and Integrity: the crux, the challenges and the possible successes

I shall dedicate this paper to Hubert Adedeji Ogundemuren of blessed memory, the first artistic director cum choreographer of the National Troupe of Nigeria who first introduced the contemporary dance art into Nigeria without us taking notice. The popular “fishermen dance” in Nigeria today is not the traditional fishermen dance but the one modernized by Hubert Ogunde himself.

I shall attempt to make this as simple as possible because my immediate target without doubt are the dancers, most importantly, the practicing dancers. The practicing dancers here constitute mostly, the so-called “contemporary dancers” or “dancers of the contemporary age”. Now, before I veer into this excruciating and almost bizarre realm in our cultural failure, I shall first say WELL DONE to “Dance Meets Danse”, its pioneers and the French Cultural Centre for helping us (Nigeria) at least to sustain our cultural heritage even though some believe it is another neo-colonization move by the French. In my view, globalization has helped to empower cultures of the world, the people and consequently, our practices amongst which we have the dance art.

Globalization and Empowerment
It simply translates that the people of the world; races, ethnic groups, tribes etc, etc are one and by virtue of that togetherness, we have become stronger or should have become stronger. My views here may not be entirely right but correct me if am wrong, cultures must be opened up to one another to foster our world today. However, rather than getting stronger, countries in Africa have degenerated into oblivious sentiment termed CONTEMPORARY. Let me step a little further to unwind this discourse. What is contemporary? Contemporary means; TODAY, things in fashion, igba to de or n kan igba tode, and like I mentioned in one of my books, that no fiction can be achieved without its reality lurking around somewhere. If the African cultural institutions had done enough over the years to preserve their culture(s) the right way, the issue of cultural neo-colonization would not have arose. These freelance dancers or dance companies of today are merely reacting to global sensitization. Would it be right then to blame the French or any other European, American or even Asian countries as we have seen lately, of cultural enslavement? For years, African countries have recorded politics and only politics as the only contemporary issue. We have recorded the histories of successive coup-de-tat, step asides and democratic manipulations so well that primary two pupils render them like poetry recitation in our schools but they have done that without consideration for other items of governance especially for the Arts - one of nature’s gifts to humanity. Today, we shout wolf where there are none.

Infrastructural Empowerment
When the necessary tools of work are not available, one is likely not to produce anything. That has been the lot of the practitioners here before now. Therefore, when the FCC came with their anxiety of a new way of dancing or making dance relevant in the world of today tagged CONTEMPORARY DANCE, it was a way of helping to prepare our dancers for what is to come in the cultural sector in Nigeria I suppose. Well, quite rightly, Mr. Frank Ogbewu – the Minister for Culture and Tourism hooked onto it by yielding to the right advice, re-fixing the National Arts theatre. Infrastructure is a basic principle of empowerment: it is simply building a road to success. Let us step away briefly from this patriotism sentiments. The FCC over the years had not only provided infrastructure but also finances too to ensure that their campaign of contemporary dance in Africa is firm. Therefore, the Ministry of Culture and Tourism should not relent in its current bid to revamping the cultural sector by just providing or re-fixing infrastructures as he is doing with the National Arts Theatre presently. The Ministry must also provide the initial funding to initiate good programmation to lure investors both within and outside the country to participate fully and actively in the culture sector. After all, liberalization is the keyword in the investment of culture/arts and tourism. The culture of a people is not a mere commodity of livelihood but life itself and you do not sell your life to correct it. The culture of a people is a veritable organ of governance; therefore, the government must do everything to protect and preserve it and not give it away to “wolves” all in the name of privatization rather, the government should liberalize it while holding on to its nucleus. The recent appointment of a new Chief Executive Officer for the National Arts theatre/National Troupe of Nigeria by government is indeed the right direction to go. To privatize the culture/arts of a people is like giving away the governance of a nation. Privatization is outright sale while liberalization is about making the right policies to open-up and foster the growth of the sector for investment opportunities and funding adequately. Charles Soludo, the governor of The Central Bank of Nigeria came in and helped to empower the Banks. Today, the banks are bracing up to invest in creditable businesses. If the government helps the culture/arts and tourism sector very well to package itself to liberalization, our culture, arts and tourism is worth more than oil I dare say.

Associational Empowerment
It is a shame that none of our professional associations; Dance Guild Of Nigeria – DAGON, National Association of Nigerian Theatre Arts Practitioners – NANTAP of which DAGON is an affiliate is capable of organizing a festival of such consistence that is capable of empowering the individual dance artiste. Rather our associations organize annual festivals for executive show-off; to give impression that they are still in charge. Therefore, the festival has no particular agenda but a fiasco or “gyration” as usually called by the dancers. Once again, I say well-done French Cultural Centre, Lagos, merci monsieur Joel Betrand for helping to organize the idea of these young lads into that which will empower them to serve themselves, the nation and the continent better. However, there are slips, which I believe could easily be taken care of if the members of committee Dance meets Danse are able to suppress their greed for power and unnecessary manipulations, nepotism and all other negative attitude towards developing the dance meets danse festival and at large, the Nigeria dance industry. If our professional association are failing to give the dance practitioners the required integrity yet, those of you who have opportunity of being a part or partners in organizing this mini dance festival, should institutionalize it properly instead of making it look merely like a French Cultural Centre affair. By institutionalizing, I mean, registering the festival with Cooperate Affairs Commission or any other such agency responsible for festival registration in Nigeria.
2. Set up a board of trustee of notable and influential people in Africa.
3. Set up a board of directors of notable practitioners in Nigeria.
4. Identify the group of technical partners of which government agency and French Cultural Centre should be members.
With this arrangement, focusing the festival to empower the nation will be more firm, and to empower a nation is to build the integrity of an individual ultimately. I hope that our associations will take examples from these arrangements to provide adequate security to members, return to our trenches to re-organize ourselves for the challenges of tomorrow and consequently the successes. It is pertinent that we begin to learn how to do things properly without politicking where professional conduct and decisions are required rather than revel in assumptions and mediocrity.

The Dancer
The average dancer in Nigeria and perhaps in Africa is a college dropout presumably. I may sound crude and insulting but this is our reality, and it is better to know the problem in order to know the easiest way to fix it. Dr. Ahmed Yerima once wrote in one of his articles that we were dancing on one leg, but now, I think we are beginning to dance on a toe. I expect that by now, some of the most senior dancers who have gained the opportunity of enough education in theatre/dance and have had the responsibility of helping to organize and train national troupes of other countries outside Nigeria, should have known that the nation needs dance colleges now more than ever. Nigeria is one of the under-developed countries of the world and one of the reasons is illiteracy. In trying to step-up its activities in education sector, the federal government of Nigeria privatized universities and colleges. Now I think is the right time for the likes of Arnold Udoka, Bakare Ojo Rasaki and Peter Badejo who are presently the “achievers” in the dance practice to canvass for a Dance College. To put their resources together to begin to agitate for a formidable dance industry through articulation of the already yearning and ready to learn students of dance as seen with different displays of dance troupes resident at the National Council for Arts and Culture (NCAC) Iganmu Lagos. It is your time to help empower them. Western form of learning is not the only form of education. Dayo Liadi, Abel Utuedor, Aliu and some few others are a typical example of learned fellow in the art of dance through firstly, Muyiwa Oshinaike who later lost focus in dance practice sooner than later. Then they moved on to the Dance School of Choreography in Senegal under the tutelage of the notable Jamine Achone. Today, they are like a brass, come rain, come sun they shine… and before I forget to mention it, to start a dance school would only cost us at the beginning, the registration and a dance studio then other things follow.

Conclusion
The spate of brain drain that has occurred over the years in the art sector particularly the dance industry is heart aching. The Nation has lost notable youths to their assumed green pastures in other countries, they always assume this greener pastures, only for them to get there and find out that those greener pastures they assumed are actually grey and sometimes black pastures. What more then, they turn to clean tables and sweep the street in Europe or sometimes work in some remote farm where their salaries are not paid directly into their own account but into the account of the “slave master” who helped them to cross the red sea into Europe or America. We have seen worst, so many talents, gone! The one that pains more is the illusion of performing abroad under which many dancers are practicing now, and when they finally perform abroad; their pay packs are not commensurate to the work. Therefore, the dancer is forced to make the decision of either running away or come back home and face the shame. Then there are many who impersonate the artistes to seek for visas to travel abroad… this problems are too numerous, but be assured that if everyone of us are ready to do our bits to empower these young lads, these ever promising professional dancers in Nigeria, including the Government agencies, edumare knows, the sky is the limit. Once again, I say happy celebration to you all.

Makinde Adeniran
A paper delivered at Dance meets Danse 2006