Browsing the archives for the Literature category.

Magic in Becoming: A Stage Review

by Chukwuemeka Ofoegbu

 

IMG_6013Like a pilgrim at the start of a pilgrimage, I sit in silent reverence, taking in the beautiful stage decor, the all female band fully clad in white and the crowd of excited people chatting as they fill the seats. We are at MUSON Centre’s Agip Recital Hall where the one-time performance of Títílọpẹ́ Ṣónúgà’s Becoming is about to begin. I can tell we all had individual expectations for the night yet somehow we share a communal belief that it will be far from the ordinary.

A few minutes pass before Títílọpẹ́, resplendent in white, walks onto the stage to our warm applause. Teary-eyed she talks a little about her childhood and some of the events that led to this night. The single stage light dims placing us in the right mood for what is to follow. She opens with a piece which questions a history that seems to have shaped society’s expectations of the female child. This is the first in a series of thirteen pieces of a whole poem. Títílọpẹ́ urges us to imagine a world where the girl child isn’t told how to behave. A world where she is adored just as she is the day she’s born, “…and the world is still hers”.

IMG_6016“…(H)eartbreak was just a tongue twisting word”. Her next piece talks about the innocent defiance with which the coming of age girl takes on life, a time before the girl child knows the meaning of a heartbreak, a time she is still bursting with optimism.

In her next piece we listen to events that might occur in the girl child’s life that would mar her. She explores how, growing up, we are taught to be conscious of our sexuality too early as a tool to safeguard us from the evil of strangers. Then she asks what happens when the evil is perpetrated by “…someone we smile that smile only reserved for those we call family, those we love”? What then? It is only when she walks off the stage at this point that I realise she has in the subtlest of manners talked about rape. We are all still in pensive silence when Ọmọlará takes to the stage to sing Asa’s Moving On.

IMG_6021Títílọpẹ́ talks about healing in her fourth piece, advising us against covering up the wounds till they fester and rot but to rather open them up. “Speaking is an act of survival”, she encourages talking about such harrowing experiences as a way of getting past them. She then closes saying once we’re done opening up, we should leave it be and walk away from it. Falana then takes the stage for another powerful musical interlude.

Musical siren Ruby Gyang takes the stage during one of the musical interludes. Ruby tells us how to handle breakups singing her popular song Okay. We sing along, some of us caught in fits of laughter as she brings the comedy while passing across the heavy message of stacking the bullshit and tossing it out the window cause it doesn’t matter.

IMG_6042By the time Títílọpẹ́ delivers the next piece the white outfit has transformed into a stunning pink variation which seems to mark the end of innocence and the birth of passion, strength, love and insight. Now she bears a message for us the men. With rapt attention I listen as Títílọpẹ́ tells us the men “the woman is working and if she finds you working too she just might let you love her”. The message of appreciation for the woman resonates loudly and we nod in agreement, all the while applauding.

Títílọpẹ́’s next few pieces inspire us to new beginnings reminding us that “…even nowhere is a place” and “rock bottom is a perfect location for rebuilding”. Right now I feel she’s speaking directly to me.

She speaks about the issue of following our dreams but having a safety net in place first. How our parents would say, “be anything you want to be but don’t ask me for money”. Títílọpẹ́ identifies with the fear and doubt that hold us back from our dreams and natural inclinations. She also teaches us how to identify the right kind of love saying, “love is kind”.

Fálànà returns before the final piece, this time, however, without her guitar. Backed by the talented all female band she sings a powerful musical number. When she is through I can’t help but notice she’s been completely bare-footed the entire time.

IMG_6027The final piece arrives teaching us to be great, overcoming the seemingly impossible odds we face and being greater than we ever think we will be. With these words, Títílọpẹ́ brings her poem to an end and I’m one of the first to fly out of my seat, applauding like a lunatic.

As the night comes to a musical close, the five-woman cast sing onto the stage the words “I am becoming” one by one, while the ladies of the all female band each play their musical instruments to their names for one of the most heart warming vote of thanks I have experienced.

However, it is truly the icing on the cake when, after loud cheers and a gentle nudge from her cast mates, Títílọpẹ́ takes the microphone one last time to, herself, sing the words “I am becoming” much to my excitement and a standing ovation from the audience.

Society’s expectations of a woman, rape, innocent defiance, healing, strength, breakup, closure and rebirth are many. Títílọpẹ́ employs skill and wit to address these in the many pieces of her whole poem, leaving me with a lot to ruminate over, with musical accompaniment ranging from double bass to piano, guitar and vocals. Her words take flight like magic in the night.

IMG_6062I would be remiss if I fail to mention the importance of the musical interludes which followed each poem. The soulful Ọmọlará, the entertaining Deborah Ohiri, the uniquely talented Fálànà and the siren, comedic, Ruby Gyang, each of them bearing messages in their music reiterating those in Títílọpẹ́’s pieces.

Títílọpẹ́’s Becoming reminds me why she is easily considered a master of her craft. And although the cast of the show might have taken a bow tonight, their words will linger in my heart and mind for many days to come. It truly was a magical experience, and, from this writer, congratulations are in order. Thank you Títílọpẹ́ Ṣónúgà for a night I will not forget in a long while.

__Chucks_______

Emeka is a retiring bibliophile and a blue-moon writer. His hobbies include reading books as research material on how to write and daydreaming about actually writing. He enjoys good music and poetry. He also studies medicine.

EVENT: Writing a New Nigeria

Representations of Nigeria in contemporary fiction and poetry

  • Time: Saturday 14 November 2015, 4pm – 5.30pm
  • Venue: Freedom Park, Museum Building
  • Admission: Free

Panelists

  • Elnathan John, author of Born on a Tuesday
  • Abubakar Adam Ibrahim, author of Season of Crimson Blossoms and The Whispering Trees
  • Jumoke Verissimo, poet and author of I Am Memory and The Birth of Illusion
  • Dami Ajayi, poet and author of Clinical Blues
  • Toni Kan, author of Nights of the Creaking Bed and the forthcoming Carnivorous City
  • Kólá Túbòsún, linguist and writer, author of Attempted Speech & Other Fatherhood Poems 

Moderator

  • Wana Udobang, journalist, writer and poet

wanaA selection of celebrated contemporary writers and poets discuss representations of Nigeria in fiction and poetry. The panelists will consider how writers are reflecting the issues and concerns of Nigeria today and their role in holding politicians and society to account. They will debate how Nigerians navigate by language, slipping in and out of character, dialect and language according to the circumstances, and the importance of writing and publishing in languages other than English.

The significance of identity and place will be discussed, with two authors bringing a perspective from Northern Nigeria and another who says he couldn’t live – or write –anywhere but Lagos. There will be an opportunity to hear authors read from their works – and for audience discussion.

‘Writing a New Nigeria’ is a 2-part BBC Radio 4 documentary giving a portrait of Nigeria, seen through the eyes of a new generation of writers and poets, presented by Wana Udobang and including contributions from our panelists. Produced in partnership with the British Council as part of UK/Nigeria 2015–16, it will be available on www.bbc.co.uk/radio4 from 28th November 2015.

___

Photo from Lovenwords.com

At Strathmore School, Nairobi

IMG_0307 On Wednesday, October 14, 2015, I was a guest of the Strathmore School, a private school in a suburb of Nairobi called Lavington. It is a sister school to Whitesands School in Lagos where I currently work. They are both founded on a similar academic/religious philosophy, both cater to singular sex students, and both are day schools with members of staff, and students, from different religious and cultural backgrounds, and both offer the educational curriculum of the host countries. Strathmore is the first multiracial school in Kenya, founded in 1961 to bring together a young country towards a set goal of a more egalitarian future. Similar sister schools that cater to girl children are the Lagoon School in Lagos and the Kianda School in Nairobi. The name, according to the history of the school, comes from the Scottish word for valley, “strath”.

IMG_0372My visit to the school was engineered by my employers in Lagos as a way to share ideas between the two schools, giving me a chance to compare the students and school environment in the two cities, and finally to provide a chance to interact with the students especially on issues of career, talent, and passion. After all, I was visiting Kenya as a blogger finalist of a prestigious journalism award. Wouldn’t it be nice to give a talk to the students about how I got to where I am, how I’ve navigated my own life and vocations, and how they can also develop their talents and passions towards the future? I had looked forward to it all through my stay in Kenya, so finding myself on the campus a day before my departure was quite appropriately gratifying. It would have been equally nice, had there been enough time, to visit the Strathmore University which I’d also heard great things about. But it was located at a different part of town and time wasn’t sufficient.

IMG_0331The school surprised in the size of its campus, the school bus, the lush and extended vegetation, and the number of trophies won over the years for many athletic and swimming competitions, the relaxed confidence of the students, the huge and spacious library, but not very much else. The teaching environment, staff camaraderie, healthy eating cafeteria, voluntary mid-day Mass, boisterous, mischievous, but very confident students, and a range of teaching staff who love their work all reminds of Whitesands and the teaching and working culture there. Most of the differences are differences between Kenyan and Nigerian educational systems. In Kenya, for instance, the system is a 8-4-4 as opposed to our 6-6-4 system. In Kenya, the primary school lasts for eight years, although many people have been advocating for it to change. There’s one other notable difference though, which I’ll remember for a while: Swahili is taught as a subject, and is also used by students (and staff) in the school premises without raising any elitist eyebrows.

IMG_0311Strathmore School also combines the primary and the secondary schools, so students graduating from there only have the university ahead of them. Whitesands, however, is a purely secondary school, catering to just the six years of high school. This allows for a concentrated effort at students within a particular time in their lives. It probably explains the small space needed for all our activities in Lagos, while Strathmore spreads out over many acres of land. The land area accommodates two lawn tennis courts, a grass field wide enough to be divided into three separate standard football fields at any time, an indoor swimming pool, a religious shrine to the Holy Mary, and a number of administrative buildings, including classrooms, a chapel, and a hostel for university students who have nowhere else to stay in town. It also has an extensive parking lot where one can see two to three buses with the name “Strathmore School” written boldly on them, among other staff vehicles. It also has a bicycle rack for members of the administrative staff who want to use it.

IMG_0385My talk to the students went great. I spent some time first with the junior boys who charmed me with many of their curious questions about me, my family, my work, my school, Nigeria, and my language, among many others. Then, at 11am, the senior boys gathered for a talk that I’d put together, tracing the trajectory of my life’s work from early child curiosities to adulthood, Fulbright, writing, teaching, linguistics, and my future plans. Their questions were equally substantive, but also very engaging. They knew of Nollywood and wanted to know if it reflected Nigerian cultural attitudes, they wanted to know my opinion on political issues, they wanted me to share ideas of how to choose a career, they wanted to know more about my blog, photography, writing, etc, and at least one person wondered whether I played basketball. Even after the talk, before I was whisked away to Mass, a few more of them came to me to ask a few more things that bothered them as teenagers trying to navigate the world of career and vocation.

IMG_0337I left the premises of the school by 1pm after a lunch that was both filling and refreshing. One of the many topics I had broached with the students and staff was the benefit of creativity, passion, and persistence. I referred to our publication of students’ creative work called The Sail, and hope that something similar will take root at Strathmore at some point in the future. My experience with the boys show that not only are they capable of doing this and more, they are also willing to try. This, after all, is the most exciting, most creatively energetic, time of their lives when most life skills are first conceived, then honed as time goes on. For students brought up in the legacy of science education, most of them will eventually focus on science and technology. What I made clear however is how experience has shown us that you can be a writer or a creative person in spite of what you study in school.

I’ve now returned to Lagos, and here’s a sentence from an email I received from the principal of the school, a kind and warm host, Mr. John Muthiora, who had been my guest at the CNN gala, and whose help made my visit possible, and pleasant: “Your visit excited quite a bit of interest in writing among the boys and teachers alike.” I know, for a fact, that this is a heartwarming response that will delight me for a very long time to come.

Writer Sightings: Ndinda Kioko

This week: Ndinda Kioko

http://writersightings.tumblr.com/post/131822352375/ndinda-kioko-is-a-current-grantee-of-the-miles

Saworoidẹ Again

IMG_5604Yesterday, at the Lights Camera Africa Film Festival at the Federal Palace Hotel in Lagos, this movie, Saworoidẹ, from the stable of Mainframe Opómúléró, was screened.

It is not a new film. It was released in 1999 (and, according to the director, was premiered during the inauguration ceremony of at least one state government in Nigeria during the transition to civil rule in 1999). It was however a fresh intervention both as a way to look back at the country and where we’ve been, and as a way to contrast today’s movie production to where the industry had been. That was not the stated objective, of course, of the showing. This is my conjecture, purely. The film was screened as part of an exhibition of films at the annual film festival.

For me seeing the movie again for the umpteenth time, and for my family members who were watching the show for the first time, it was a a trip back into a familiar cultural resource. From the regular folk songs strategically placed into parts of the movie to reinforce particular didactic points, to the copious but tasteful use of proverbs and aphorisms, Saworoidẹ delights in ways that can’t be successfully described to a non-Yorùbá speaker. Even for Yorùbá speakers not fully versed in the oral literature, some appreciation of the work might lack in depth, but never completely. The story is well told, well shot, and very well portrayed by the seasoned actors. It’s sad to imagine native speakers of Yorùbá not being able to fully appreciate all of what the work serves to the viewer.

For someone familiar with some of the actors in the film, the showing was also a drive through memory lane. Now deceased Dr. Lárìnde Akinlẹ̀yẹ‘s efficient portrayal of a corrupt chief was and remains a bitter-sweet treasure. The actor and professor died at 56 from injuries sustained in a motor accident in Ibadan in 2004, but not before appearing in a couple of films by Mainframe, including Ó Le Kú (1998), Thunderbolt Magun (2001), among many others.

One question I forgot to ask the director Túndé Kèlání during the Q&A session at the end was how the casting process was like which resulted in a presence of some of the biggest veterans in Nigerian media in many of his movies. Saworoidẹ was written by Professor Akínwùnmí Iṣọ̀lá, and stars as big as names like Adébáyọ̀ Fálétí, Tóyọ̀sí Arígbábuwó, Lérè Pàímọ, Akínwùnmí Iṣọ̀lá, Bukky Wright, a young Kúnlé Afọláyan and a young Kabirat Káfidípẹ̀, among others.