At Gowon’s Family House

Wusasa. The road in front of Pa Yohanna Gowon’s House

Kaduna seems to throw up more interesting discoveries during every visit. The first time I was there, in the summer of 2010, I had visited the old city of Zaria as well as the church at Wusasa, St. Bartholomew’s, which has the reputation of being the oldest surviving church building in Northern Nigeria, and whose history is tied to that of the region in terms of development.

On returning to the church in Wusasa again this last July, this time in the company of my wife and Kinna Likimani, a writer friend from Ghana, I discovered something else; something I’d known was there, but never had the chance or the guts to discover: the Gowon Family House.  Both my guests and I were hearing of these two historical structures for the very first time.

General Yakubu Gowon is known primarily as the Nigeria’s longest-serving military Head-of-state under whom the Nigerian Civil War was fought from 1967 to 1970. Not much else about him has entered popular culture, with the exception, perhaps, of the fact that he was also the youngest leader. He was a bachelor by the time he assumed office in 1966. He got married in 1969. The general, as they know him in Wusasa, was actually born in Plateau State, but was brought, along with other siblings and family members, to this small missionary town when his father, Pa Yohanna Gowon was transferred there.

It is the story of his father that I have found quite remarkable.

Pa Yohanna Gowon (r) and his wife, Ma Saraya Kuryan.

Born in about 1889 in Lur, a famous Ngas town southwest of Jos, in Plateau State, Pa Yohanna, the crown prince of a prominent chief became interested in missionary work after meeting with the first foreign missionaries that settled in his community in 1907. Christianity, and in the knowledge that these alien settlers brought, fascinated him enough to give up the life of a crown prince and become an evangelist, becoming one of the first to be recruited in his hometown.

In April 1923, he got married and started a family with the daughter of another chief. Missionary work at the time was not very well-paying so he struggled and persevered. But thirteen years later, in 1936, new changes were being made to the structures of the church. One of the changes included the new rule that evangelists would no longer expect a stipend, and would now work as volunteers. He and a number of other Ngas evangelists protested. Some even left evangelical work and moved into the civil service. Pa Yohanna, disillusioned, decided to move his family to Wusasa Zaria, where a newly established mission station had been established outside the Muslim city of Zaria. It presented new opportunities. The Christians in the town had been evicted from the Muslim city of Zaria because of the threat their proselytism posed to the emirate. But at Wusasa, where they were considered outcasts, they would be able to make new Christian converts made up of the rejects of society, the sick, the uneducated, and those not considered worthy enough to live in the city.

It was there in Wusasa that Yohanna’s work as a Christian missionary, and reputation as a fervent and passionate Christian earned him a place in the people’s heart. Although his grasp of Hausa was tenuous, as observed by the people among whom he lived, he continued to work relentlessly as an evangelist until he was finally relieved of his job. But because he still worked for the missionaries sinking wells, digging pit toilets, digging graves etc, he was able to secure scholarships for his children from the Christian mission. He also took up farming, and thrived enough to acquire land right beside the St. Bartholomew’s Church, and build a family house. He died in 1973.

The gravesite of Pa Yohanna Gowon (1882-1973)

When I returned to Wusasa this time, I was content to spend just a little time at the church where, in any case, no one was around to show us around. But I was curious about the Gowon house so I headed there. A small gate led out of St. Bartholomew’s Church onto a small tarred road.  Across from the road was the house I had heard so much about. Painted yellow, the sprawling edifice appeared both modest and tastefully ostentatious at the same time. But its short fence suggested that whoever built it cared as much about openness and accessibility as about aesthetics.

I had never been there before. I did not even know if anyone lived there. The compound was empty and the gates were open, so I helped myself in. My wife didn’t think it was a good idea.

To the left of the entrance was the gravesite of Pa Yohanna. His date of birth and death were written on the gravestones. The silence around the premises didn’t convince me that anyone lived there.

“Now that you’ve seen it. Can we leave now?” Said my wife from the safety of the road that separated the house from the church compound.

My friend Kinna Likimani, a boy, and Henry Nor.

“I think there might be someone inside.” I responded, half in jest. “Won’t it be nice to be able to talk to them?”

“I don’t think that’s a good idea!”

But there was indeed someone in the house. Our loud conversations going back and forth over the house fence must have caught someone’s attention, and a young boy came out to inquire what we wanted.

I explained myself in the best way I could without seeming threatening. He suggested that there was another person indoors that we might want to talk to. I was more than willing, but my guests were a little wary.

We walked through a small parking garage into a clearing where we were met by a young man, a soft-spoken man of certainly younger than forty.

His name was Henry.

Henry’s mother was General Yakubu Gowon’s sister who had now passed. He had lived in this house for a long time, maintaining it as a labour of love. He was also very conscious of his grandfather’s legacy in the town and was willing to talk when we told him why we had come.

He informed us that the building we saw as soon as we entered the compound wasn’t the house built by Pa Yohanna. That one came much later, perhaps after Yakubu Gowon became the Head of State, and had the means to build a more befitting edifice. Behind the modern edifice that welcomes the guest is the original building, made of mud and other traditional building materials.

Like the Bartholomew’s Church, the Gowon House exhibited a kind of originality in both style and component. Sitting in it felt relaxing. It was about two o clock in the afternoon, with a scorching sun outside, yet the inside of the house felt perfectly insulated. And it had been standing at this spot for decades, with just a few cracks on the ceiling as proof of its advancement in age.

“The general himself comes here often, you know.” Henry told us. “And he also prefers to relax here in the back house and not in the main one. This feels more comfortable, you know.”

The general and a family mask.

On the wall of the house is a painting of Pa Yohanna. On the doorpost is a framed photo of the general himself, looking like the Head of State he was for nine long years.

We sat and chatted with Henry for what seemed like eternity, but was for shorter than thirty minutes. He appreciated our coming, and was very generous with details and stories of his nuclear and extended families. He is currently an art dealer, he said. A couple of the artworks he once took to the National Museum in Jos, obtained from his family collection, were declared lost and never paid for. “I have taken them to court,” he said, and showed me the documents. When I told him that I intend to write a travel piece about my visit to this historical place, he was glad to encourage me to mention how badly he had been treated by the National Museum. “I think they stole my art, sold it, and kept the money to themselves. Maybe calling them out will let them take me more seriously.”

Yet, for someone this upset at what appeared to be a slap in the face by a more powerful institution, he spoke with such soft and unassuming demeanour, matching the image I have in my head of General Gowon himself, and perhaps Pa Yohanna, the patriarch, whose evangelical vocation brought the whole family to this location.

“I will do what I can,” I said. “But what you have here is a historical property. I’m glad that you are here, and that the family cares enough to preserve Pa Yohanna’s memory by ensuring that his story continues to be told.”

“More needs to be done.” He conceded as we headed out towards our driver who was waiting for us within the compound of the church. “Writing about what you have seen is a good first step.”

“I will be back,” I promised. I hope you’ll still be here.

 

A Visit to Ojukwu’s Bunker

with Arinzechukwu Patrick

In 1968, in the second year of the Nigerian Civil War, the military leadership of Nigeria successfully repelled the Biafran government from Enugu where the new country’s headquarters had earlier been located. Desperate for a new staging post, the Biafran Army secured a building in Umuahia and built an underground bunker to be used for strategy and coordination, and a new HQ of the rebel government. It also became, in time, the location of Radio Biafra, a mouthpiece of the administration.

I visited this bunker during the week to see for myself what it looked like and to, in a way, relive the experience of what it must have been like during those precarious times. The building still stands, at Michael Opara Drive, Umuahia, a street so-named because the building used to belong to Sir. Michael Iheonukara Okpara, the first Premier of Eastern Nigeria. For many years, the building had been managed as an extension of the Nigerian War Museum. But today, it has fallen into the hands of those who call themselves the Indigenous People of Biafra, headed by Nnamdi Kanu. Much of the building has endured, including the famous bunker where photos of Biafran heroes of those times now line the wall. In front of the building are busts of Ojukwu and Michael Okpara.

With five hundred naira, a visitor gets a tour of the premises and the bunker itself. A video of the tour can be found here (courtesy of Naij.com). More photos from this twitter thread.

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Arinzechukwu Patrick is a reader and a writer, when he isn’t writing or reading he’s hawking gala to fund his lifestyle and survive the harsh economy. He tweets at @nofstnme and blogs at www.rodneypatrick.com

At Titilope’s “Open”

When I lived in Ibadan, there was these jazz sessions at Premier Hotel which took place every weekend (can’t remember now if it was Friday or Sunday nights). It held in a ballroom on the ground floor of the hotel and featured an ensemble that played non-stop for about four hours, late into the night. The music swayed from highlife to jazz, and sometimes to juju, but always within a range of danceability. Guests who sat around the stage in different arrangements often got up from their tables to dance, alone or with their guests. There was always food and drinks.

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I attended a couple of those sessions while I was a student, with friends and colleagues from the university. It always provided a kind of relaxing end to the week. We had nice stimulating conversations, got our fill of good music and food, and exercised the stress away. The location, on top of the hill at Mọ́kọ́lá, also provided not just a beautiful overview of Ìbàdàn at night, but also a very relaxing access to cool breeze. By morning, one felt refreshed and ready to take on the next week.

Yesterday, I had an experience very close to that, which brought the memories back. It was at 16 Kòfó Àbáyọ̀mí Street, Lagos, on the eighth floor of a building I never knew existed there, with a relaxing view of the Lagos Lagoon, and a high-up-enough location to soothe a most exhausted traveller. The event was Títílọpẹ́ Ṣónúgà’s poetry concert event titled “Open”. Gate fee: 5000 naira. It is the first of a three-part performance show slated around venues in Lagos.

I don’t know if “concert” is the right word, because the poet approached it like a soulful conversation between an artist and her audience. But the word still closely captures some of the show’s best aspiration. In a space that felt intimate because of its size, the lighting, and the mood, an artist performed to an audience, and the result was delightful.

I haven’t been to many spoken word concerts. My contacts have been limited to more public spaces like the halls of the June 12 Cultural Center in Abẹ́òkuta where poets from all around the world have performed to a much larger audience during the annual Aké Festival, and to YouTube channels and TED Talk videos, where poets with verve, rhyme, and sass have dazzled with inspirational and stimulating turns of phrase and soulful rendition of their work. There are a few other avenues that have popped up over the years though. I know, at least of Taruwa, which (I believe) featured open mic events for amateur and established spoken word artists to come impress an audience. But this one felt different, perhaps because it also included an element of music necessary to move even the most inexorable skeptic of the beauty or relevance of poetry in performance.

Accompanying Ms. Ṣónúgà last night was a bass guitarist, a pianist, and a man on the drums, along with a certain Naomi Mac whose voice carried the soulfulness demanded of the intimate occasion with ease and grace. With their accompaniment, the show was fully realized not just as a celebration of the power of the word or Ms. Ṣónúga’s poetic capabilities but as a ritual of mass catharsis; an artistic triumph.

The poems performed came from some of Títílọpẹ́’s recent works, a few of which I’d read on other platforms or heard in other places. Perhaps it was deliberate, a way to get the works performed again in a perfect setting of her choice, recorded along with the audience reactions. Some I was hearing for the first time. What united them was the theme of the evening: an openness to possibilities, in love, in life, and in public engagements. Navigating the tale of personal heartbreak, the process of finding love, coming of age, political instability, societal dysfunction, naivete, lust, love, and consent, the poet details her personal artistic response in a voice and style that is as open as it is reserved. (In a notable poem about a seeming first sexual encounter, for instance, the poem ends “he knows the punchline to this joke, and I’ll never tell“).

In the end, it was as much a beautiful intimate gathering as it was a much needed artistic intervention in a city space much in need of a lot more events of this character. We need plenty more.

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More about the last two performances here. Títílọpẹ’s earlier work “Becoming” was reviewed here. Photos 1 and 2 from Titilope Sonuga’s Instagram page.

SIUE Grad Student Launches International Nonprofit Org to Fill West African University Shelves with Textbooks

For Immediate Release (June 5, 2017)

 

A brand-new nonprofit organization initiated by a Southern Illinois University Edwardsville (SIUE) graduate student and a native of Nigeria is filling shelves in African universities with much-needed textbooks donated by faculty and students around the world.

Efiwe, Nigerian Pidgin for “bookworm,” is the charitable organization founded here in Edwardsville with a growing presence at book-drive locations on campuses across the United States. SIUE graduate student Philip Alabi’s fervor for equipping West African post-secondary students with badly-needed textbooks and related resources is resulting in the formation of a 501(c)(3) and two boards of directors, one in Edwardsville and one in Nigeria.  

When Àlàbí first arrived in the U.S. two years ago to begin his master’s of science degree in chemistry at SIUE, he saw first-hand how relatively affordable university-level textbooks are to acquire in the U.S. compared to Nigeria. He also saw stacks of still-relevant textbooks in good condition that were being discarded.

“Even for university instructors, textbooks and relevant resource materials are extremely expensive and difficult to come by in West Africa,” Àlàbí said. “In the U.S., there’s the university bookstore, online academic resources and online vendors such as Amazon.com through which students can access the latest versions of textbooks required for their university courses. Sadly this is not the situation in Nigeria, even at the university level. Hard-copy books for courses are typically outdated and there are not enough to go around. If they are attainable, it is generally only the instructors who have a copy of the text, not the students.”

Adding to the challenges, Nigeria’s sporadic power supply and expensive Internet access makes it nearly impossible for university faculty and students in West Africa to access and download online academic resources, according to Àlàbí. “Our aim through Efiwe is to collect relevant textbooks across U.S. colleges and universities and send the books to university and community college libraries in Western Africa,” he said. “Our organizational mission is to send more than one million textbooks to African universities by the year 2030.”

The mission is ambitious, but Efiwe and its boards of directors, inspired by Àlàbí’s passion, are well on their way. In Spring of 2017, before Efiwe was formally conceived, Alabi and fellow SIUE colleagues launched an on-campus book drive with the same purpose. The results were astounding.

“We thought maybe we’d receive a couple hundred donated textbooks at our initial book drop-off sites on campus at SIUE,” said Àlàbí, who will pursue a doctoral degree in chemistry from Brown University in August. “That initial donation topped 1,000 textbooks in only a few months. We also raised funds to pay for the cost of transporting the books by ship to my home university, Tai Solarin University of Education in Nigeria. We are absolutely confident that we can continue the momentum and tap into the generosity of teachers and learners in the U.S.”

Tai Solarin Deputy University Librarian Jasiliu Kadiri said the donated textbooks would add value to teaching, learning and research work at the university. “We acknowledge with profound thanks the receipt of these volumes of books covering various fields including general and pure sciences, education, social sciences and children’s books,” Kadiri said.

Right now Efiwe is identifying university and community college campuses that are willing to establish a textbook drop-off site on their campuses. Efiwe is also seeking students who will operate and champion book drive initiatives in their respective universities and colleges, Alabi said. Ultimately Efiwe will ask for financial support to pay for the transportation of the books by ship from the U.S. to Nigeria and other West Africa destinations. But for now, the biggest and best way supporters can assist the nonprofit organization is by donating new or gently used textbooks on any and all academic subjects.

“We encourage individuals and student associations at community colleges, technical colleges and universities across the Midwestern states who are willing to designate a location on their campus as an Efiwe textbook drop-off site,” Àlàbí said.

Web developers are currently working to create an online book inventory of all the texts and supporting materials that are being donated so recipient universities can order the volumes they need.

For more information on Efiwe, go to Efiwe.org or email info@efiwe.org.

 

Wetin Dey? Nigerian Pidgin and Its Many Pikin

‘Better soup na money kill am’ | Good things don’t come easy

‘E don tey wey nyash dey for back’ | There is nothing new under the sun

‘Cunny man die, cunny man bury am’ | It takes a thief to catch a thief

‘Na condition make crayfish bend’ | Hard times encourage adaptation

Over 500 languages are spoken in Nigeria today, according to most accounts, although many of them are dying, endangered, or extinct. Three major languages spoken more widely than others are Hausa in the north (with about 70 million speakers), Igbo in the east (with about 24 million), and Yorùbá in the west (with about 40 million speakers). Other languages include Edo, Fulfude, Berom, Efik, Ibibio, Isoko, etc. Because of the multiplicity of languages in the country and the need to communicate among different ethnic groups, English, or Nigerian English, has served as a connecting tissue, but only in formal circles: schools, government, courts, etc. In the informal sector, however, where most Nigerians function every day, in the markets, on the streets, at restaurants, Nigerian Pidgin (NP) has emerged as a crucial and important feature.

Nigerian Pidgin doesn’t have its roots in English, but in Portuguese. In about 1456, when the first Portuguese ship reached Senegal via the Gambia river, to Sierra Leone about four years later, and other parts of the region in due time, they made contacts with famous kingdoms like Benin, Ghana, Mali, Songhai, etc. Benin at the time, now in present day Nigeria, was said to be one of the oldest and most highly developed states in the coastal hinterland.

To trade with these kingdoms and establish a cordial relationship beneficial to both parties, a mutually intelligible language had to be employed. It is unclear what kind of Portuguese these sailors spoke, but it is possible (and even likely) that they spoke a crooked and unrefined one, also befitting of that societal class of illiterate seamen. The contact of that pirate-type ship-lingo Portuguese with the language of the coastal Africans resulted in what eventually became Pidgin, and later Nigerian Pidgin.

At the time, however, it was a mere contact language, retaining elements of both cultures, enough to facilitate communication along with hand gestures and other universal signs. But it got the job done and helped cement the relationship between the seafaring Portuguese and the West African kingdoms. So that when the British showed up hundreds of years later, they found it easier to communicate with the indigenes, through a later variation of this language which, likely, had undergone sufficient evolution. This later contact with the British, via the slave trade, missionary invasion and colonialism further improved the intelligibility of the language, with English words added to supplement the earlier Portuguese ones.

The use of the word ‘pidgin’ in identifying the language as it exists in Nigeria today has added some confusion to understanding its current state. To linguists, a language is a pidgin only in the initial state of its creation, when it serves as the lubricating vessel of communication between two strange peoples (in this case, between the early Europeans and Africans). After a generation of contact, the language begins to evolve, with words and phrases from either language and others, introduced to flesh out the skeletons and give the language a unique character. At this stage it stops being just a ‘contact language’ and becomes a living one. We call this stage ‘creolisation’.

The creolisation of Nigerian Pidgin happened gradually, with the adoption of the language not just as a contact lingo with Europeans but as a native language of contact and of trade with other ethnic groups in Nigeria. This is the characteristics of the language that helped it become the most used language in the country by the time it got independence from the British in 1960. By then, coastal communities, though with other native languages of their own, had adopted NP as a full native language and spoken it among themselves and to their children.

The syntax of Nigerian Pidgin is similar to the local West African languages than the European ones. That probably explains why it used to be called ‘Broken English’, or ‘Broken’ for short, when it was perceived to be a language of the unschooled, unsophisticated people, a language spoken by those unable to grasp the complexity of English. To say ‘I am leaving’ in NP, one would say ‘I dey go’, which is a lean and simple rendering of that basic action. ‘I will be right back’ is rendered as ‘I dey come’. This simple syntax, covered with the fleshing of English, makes it easy to use by Nigerians who eventually adopted it as a local language.

However, Portguese still has some influence. Words like sabi and pikin, which came from Portuguese ‘saber/sabir’ and ‘pequeno/pequenino’, words for ‘know’ and ‘little child’ respectively, have remained in NP, to mark the true origin of the language. So, for example, ‘You sabi dat pikin?’ means ‘Do you know that child?’ As you’ll notice, the pronunciation has also evolved as well, so that a ‘th’ is pronounced instead as a ‘d’.

There are also many different dialects of Nigerian Pidgin today, depending on where it is spoken. Because words are borrowed from each of the languages that have influenced NP – words like àbí (a question marker) and ṣé are more common in the west, while words like nna and unu come from Igbo in the east. The Niger Delta has the highest concentration of NP speakers and here the version spoken is widely regarded as the most authentic form, sometimes as a first language. Places like Sapele and Benin are regarded as norm-producing communities, where the language has the most root and influence.

And of course, because of the diasporic migration of Nigerians to other parts of the world, there are more refined NPs spoken today across the world, from Peckham to Chicago, Houston to Baltimore. They are not markedly different from the Nigerian versions, except in accent, influenced by their new environments and company.

It is estimated that NP is the most spoken language across the Nigeria today, spoken as a first language by over 30 million people, and as a second language by the rest of the country (about 140 million). However, the language has never enjoyed the respect of the country’s elites. It currently has no official status and is neither used in education, or governance. But in the early 60s, through the efforts of early Nigerian writers in English like Wọlé Ṣóyínká, Chinua Achebe, JP Clark, Ken Saro Wiwa, and Cyprian Ekwensi, fully formed Pidgin-speaking characters were introduced to Nigerian literature. This helped elevate the language a bit more into the mainstream.

In Nigeria today, NP functions in informal capacity, lubricating contact and communication between people of all classes, gender, ethnic groups, and educational status. It is the language of the streets, and of uneducated market women in cosmopolitan cities. The flavour infused in each expression from the speaker’s original ethnic background continues to enrich the character of each individual output.

Where NP has dominated, however, is in the informal sphere of television and radio entertainment, in Nollywood and the Nigerian music industry, which reaches not just all Nigerians, but also most Africans. Fẹlá Kútì, the inventor of Afrobeat, played no small role in mainstreaming Nigerian Pidgin through many of his hits like Follow Follow, Trouble Sleep Yanga Go Wake Am, Teacher Don’t Teach Me Nonsense, etc. On the streets of Nairobi, Johannesburg or Accra today, one is likely to hear ‘Wetin dey?’, ‘Wetin dey happen?’ or ‘How far?’, or any one of NP’s common greetings (meaning: ‘What’s up?’, ‘What’s going on?’, ‘How’re you doing?’) even in the mouths of non-Nigerians. This has happened through the influence of Nigeria’s entertainment industry.

In 2009, a ‘Conference on Nigerian Pidgin’ at the University of Ìbàdàn proposed to drop the name ‘pidgin’ altogether, and call the language ‘Naija’, a nickname once reserved for referring to the country in an endearing way. This has not caught on beyond those academic circles, and it likely never will because of the tension between what the academic intervention represents (stiffness) and what NP truly is (dynamism). It is the jolly playfulness, accessibility and musicality of NP that continues to help convey the convivial spirit of Africa’s most populous country, along with colours and sound, to the rest of the continent.

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First published by the National Theatre, London, as companion to the play Barber Shop Chronicles by Innua Ellams, showing from May 30, 2017. The reference to Ken Saro-Wiwa and Fẹlá Kútì, added later, regretfully did not make it into the original text.

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References