Artistically Talking with Ola Rotimi's Holding Talks

By Sunday Edum

Preamble

Live theatre serves as a reflective mirror of society, capturing its complexities, disparities, and struggles on stage. In Nigeria, a nation grappling with profound inequality, high unemployment, and widespread poverty, artistic expression emerges as a voice for the marginalized and a platform for critical dialogue. Ola Rotimi's seminal work, "Holding Talks," performed at the esteemed University of Port Harcourt's Arts Theatre (The Crab), embodies this fusion of artistry and social commentary.

The politically charged atmosphere of Nigeria, marked by deep-seated disparities and systemic injustices, provides fertile ground for artistic exploration and introspection. The diverse audience, comprising political figures, business leaders, students, and academics, eagerly gathered at The Crab to witness the artistic spectacle orchestrated by the visionary cast and crew under the astute direction of Kelvin Melvin. 

 

In Rotimi's evocative narrative, unfolding within the confines of a humble barbershop, the struggles of society manifest through the vulnerable and impoverished barber. The entrance of the privileged man catalyzes a succession of tragic events stemming from a fatal bet on the barber's trembling hand, symbolizing hunger. As the barber succumbs to starvation and neglect, the man's diversion to petty arguments with the apprentice epitomizes societal apathy towards pressing issues. The futile interventions of journalists and the police further underscore systemic failures and societal indifference, unveiling layers of corruption, poverty, and leadership shortcomings entrenched in Nigerian society.

 

Holding Talks in Performance:

The directorial finesse of Melvin Kelvin in staging Ola Rotimi's Holding Talks is a testament to the electrifying contributions that shaped the artistic landscape of the production. Kelvin's meticulous use of space and movement demonstrated the expertise of a skilled director, enriching the visual narrative and the overall impact of the play. The thoughtful choreography of actors within the space created dynamic and visually compelling scenes that captivated the audience, breathing life into Rotimi's narrative.

Kelvin's adept control over picturization and composition added depth and richness to the storytelling, offering an immersive experience for spectators. The atmospheric lighting design further accentuated the mood and tone of the production, setting the stage for the exploration of corruption, poverty, and societal indifference. The incorporation of a chorus, using appropriate and inappropriate songs to set the mood, elevated the entertainment value of the play and engaged the audience on an emotional level. The chorus not only enriched the narrative but also heightened the entertainment aspect, delivering a unique and immersive experience for the audience.

The portrayal of characters in Ola Rotimi's performance was a masterclass in immersive and believable acting, breathing life into the poignant narrative of corruption, poverty, and societal indifference. Joseph Alaibe's portrayal of Man, the philosophical character, was nothing short of captivating. His embodiment of philosophical depth and nuances was a testament to his mastery of the craft. Alaibe's adept use of voice modulation, body language, and utilization of the performance space showcased a profound connection with the essence of theatre, engaging both co-actors and the audience seamlessly. His comic delivery and profound understanding of philosophy added layers to the character, resonating with Constantine Stanislavsky's Method acting principles. Similarly, Akoko Ezekiel Digha's portrayal of the character of Apprentice exhibited a mechanical and exploitative demeanour, adding complexity to the character's interpretation. Although his portrayal was forceful and engaging, it was almost overshadowed by the commanding stage presence of Joseph Nnana Alaibe, highlighting the dynamics between the characters. Digha's psychic aura, complexion, and physicality added depth to the character, creating a palpable contrast within the ensemble. Abraham Nnamdi Chika's dramatization of Barber brought forth a fitting representation of the role, embodying vulnerability and societal struggles effectively. His makeup and costume choices enhanced the character's contrast with Man, the capitalist figure, underscoring the socio-economic themes of the play. However, Chika failed to maintain breath control from when he collapsed to the production's conclusion, which is a call for improvement in his dedication to the performance. 

 

The dynamic performances of Joseph Alaibe, Akoko Ezekiel Digha, Abraham Nnamdi Chika, Jaja Godspower as photographer, Njoku Favour as policewoman, Njoku Christine Nmesoma Nkechinyereugo, and Chukwusa Ruth Onari, as reporters in Melvin Kelvin’s interpretation of Rotimi’s 'Holding Talks', exemplified a synergy of talent, dedication, and artistic vision, bringing to life the complexities of Rotimi's narrative. Their adept portrayal of characters, commitment to their roles, and ability to evoke profound emotions within the audience underscored the power of live theatre in provoking thought, sparking dialogue, and resonating with the human experience.

 

Conclusion 

The synergy of talent, dedication, and artistic vision displayed by the cast in Melvin Kelvin's interpretation of Rotimi's Holding Talks transcended the boundaries of mere entertainment, offering a profound social critique that spurred introspection and dialogue. The rich tapestry of storytelling, augmented by nuanced character portrayals and seamless interactions, immersed the audience in a world of social commentary and reflection, underscoring the transformative power of live theatre in provoking thought and inciting change within society. As the actors breathed life into Rotimi's timeless narrative, they left an indelible impact on the audience, fostering a collective call for societal empathy, justice, and progress in the face of adversity.

 

Dr. Sunday Edum

Senior Lecturer

Department of Theatre and Film Studies

Associate Dean, Student Affairs

University of Port Harcourt, Nigeria

Ijaw Initiatives Lagos celebrates Ijaw Nation Day Festival

By Perekeme Odon

The Ijaw community in Lagos, southwest Nigeria, confidently came together to exuberantly celebrate their rich tradition and culture during the second annual Ijaw Festival Day.

 

The Ijaw Initiatives held the three-day festival from March 7th to March 9th, 2024, at the Bics Garden Boat Club in Lekki, Phase 1, Lagos State,, with the theme "promoting Ijaw pride." This festival was the first of its kind and was attended by many distinguished and well-meaning Ijaw individuals, along with their associates and friends, who gathered to witness the magnificent display of their cultural and traditional performances. The Ijaw people in the diaspora recognized the importance of preserving their cultural heritage, and this festival was a testament to their unwavering commitment to their roots.

The various tribes belonging to the Ijaw ethnic group residing in Lagos, Nigeria, have made it a tradition to showcase their diverse cultural practices every year to celebrate and share the rich cultural legacy of the Ijaw people with the rest of the world.

Taribio Walson-Oweifawari, the undisputed globally renowned master of ceremonies, voice-over artist, and presenter of Bayelsa State Glory FM 97.1, skillfully hosted an absolutely amazing festival alongside MC Sharp, who was the perfect co-host, adding to the overall thrill and enjoyment of the festival. 

The festival showcased an impressive array of cultural dances, traditional music performances, boat regattas, masquerade performances, traditional wrestling competitions, arts and crafts exhibitions, an extensive range of traditional Ijaw cuisine, and an awards and gala night.

One of the most colourful aspects of the event was the presence of the president, the Ijaw National Congress (INC), Professor Benjamin Okaba, and the ever-bubbling Comrade Joseph Evah during the presentation of the Ijaw people's centuries-old war boat regatta, much to the delight of the audience.

Convener, Kuro Fapohunda and INC President, Prof Benjamin Okaba

 

 
In his keynote address, the President of the IJaw National Congress welcomed all the attendees and expressed his gratitude to the Ijaws in Lagos for their unwavering support and determination in organizing the event and praised their fearless step in showcasing our power in unity
away from our numerous communities.

“We are very happy and proud of you too. The Ijaw National Congress is here to support and identify with the progress made by this association in advancing and revitalising the Ijaw culture. The INC National Publicity Secretary, Engr. Ezonebi Oyakemeagbegha and I decided to come personally for two reasons. First, a lot of people started raising questions as to the authenticity of this programme, even here in Lagos, questioning if it’s an Ijaw programme and who gave them the authorization and permission to have this programme. Some people even passed rude disclaimers. Secondly, I want to inform all of us gathered here that the Ijaw Initiative is an affiliation body of the Ijaw National Congress. On behalf of 40 million Ijaw people, this programme is endorsed to promote the Ijaw cause to greater heights. He affirmed.

The Ijaw National Congress President confidently expressed his gratitude to Kuro Fapohunda and her team for their outstanding collaboration in preserving the rich Ijaw culture. He confidently announced that the INC had taken a firm decision to honour the unparalleled Ijaw cultural festival this year, as it stands out as the most distinctive among all Ijaw ethnic groups.

(l-r) Taribio Walson-Oweifawari, Mrs Church-ere Komonibo & Kuro Fapohunda

“Let me use this opportunity to thank the Ijaw communities in Ajegunle and Epe for coming in their numbers to associate with this noble project. The culture of a people is very important, and that is their identity. Let us speak Ijaw always. Let us dance and eat Ijaw. On a day like this, we want to see osun, pulo fia, kiri igina, kekefia”.

The INC President stated that, “In Lagos, we’re seeing beautiful dance steps. In fact, I thought they were imported from Bayelsa, but I never knew they were made in Epe and Ajegunle. I want to promise you that when the INC will be organising its own Ijaw National Congress Day, we will make a special invitation to you to come showcase Ijaw culture in the diaspora. The dance steps were very unique. At some point, they were going Ijaw, and another, Yoruba. That is the product of assimilation, which is normal.”

Kuro Fapohunda thanked the Governor of Bayesla State, INC President, Prof Benjamin Okaba, Comrade Joseph Evah, Taribio Walson-Oweifawari and other Ijaw dignitaries for attending. However, she expressed disappointment over the low turnout and lack of support for the annual Ijaw gathering, and emphasized the need for increased awareness.

"I want to express my appreciation to Admiral Festus Porbeni for leasing his premises for us and his fatherly contributions and advice to the Ijaw Initiative, His Excellency, Sen. Douye Diri, the INC President, Prof. Benjamin Okaba, former Spokesman, Ijaw National Congress and Coordinator, Ijaw Monitoring Group, Comrade Joseph Evah, Mr. Ken Etete, Chief Mrs. Komboye Biakpara-Ishola, Mallam Africa, and other well-meaning Ijaw sons and daughters who have continued to show us love against all the odds to bond and promote the unity of the Ijaws in Lagos.".

"There is a huge level of sensitization needed to be done to create awareness of an annual gathering like this. I appealed for support from all lovers of the Ijaw nation, state governments, leaders, and groups to consider the plight of the Ijaw in diaspora in whatever they are doing. However, we are appealing for any support whatsoever from all lovers of the Ijaw nation, the state government, and groups to come to aid. So we can take this festival to the next level." She stated.

Comrade Joseph Evah, Receiving His Award With Mrs Komonibo and Kuro Fapohunda

Comrade Joseph Evah, the Coordinator of the Ijaw Monitoring Group (IMG), warmly welcomed everyone who attended the ceremony. He highlighted that there is hope for the Ijaw Nation since culture is a dynamic force that brings people together. The Ijaw culture is one of Nigeria's most valuable cultural heritages. The Ijaws are known for their resilience, wealth, diligence, and entrepreneurial spirit. Comrade Evah encouraged the Ijaws to pass on their best qualities to their children and future generations, so that they can create a better tomorrow.

“Our culture, tradition, unity, and love for one another are dying while others are waking up. As we see things in this world, everybody has to mobilize every aspect of their lives. Everybody just went to sleep, forgetting that there is a need for us to mobilize and reawaken ourselves. Young people are the ones reawakening us, not even the elders. We have refused to organize ourselves, but with what is going on, it is like a dream come true. I see hope as our little children are here to witness the event. They’re learning and going to take over from us, as in the next 100 years, we are no more”.

Comrade Evah thanked Ijaw artists, artisans, wrestlers, and cultural performers for their contributions with monetary donations. He also declared that the event would be transformed into a more grandiose spectacle by 2025. 

Taribio Walson-Oweifawari and MC Sharp

“I want to greet you all once again. Next year, by the grace of the Almighty God, the crowd here will double. Ijaws in Lagos have the capacity, and come 2025, we are going to see a new innovation in this festival. People will ask questions in 2025. Don’t be discouraged, as we are ready to go the extra mile”. He assured.

The Ijaw Nation Festival, which is organized by Ijaw Initiatives, aims to showcase the importance of preserving our culture in the face of a constantly changing world. We hope that this festival will continue to grow stronger each year and serve as a reminder of the beauty and significance of our cultural roots. The Ijaw Nation Festival Day is a shining example of the unwavering spirit of the Ijaw people in the diaspora, and it is an event that we must look forward to with great anticipation for the future. 

Tonpreye Idowu Umoru In A War Boat Procession

Traditional Wrestlers

Izon War Boat Regatta Acolytes

Chief Mrs. Komboye Biakpara-Ishola and Comrade Joseph Evah

Kuro Fapohunda Flanked By Her Fans

Preye Idowu Umoru

Comrade Joseph Evah Flanked By His Fans

Kuro Fapohunda Presenting An Award to Chief Mrs. Komboye Biakpara-Ishola

Furo and GM, People's FM, Yenagoa

A Cross Section of Guests

The Event

Theatrical Brilliance in Port Harcourt: Unpacking 'Pitakwa Boiz'

By Ovunda Ihunwo

Experiencing live theatre is a transformative journey that transcends mere entertainment. As a seasoned theatre practitioner, I often find solace in relinquishing the directorial reins and immersing myself in the sheer magic of a play as an audience member. Port Harcourt, the capital city of Rivers State in Nigeria, stands as a shining example of the unwavering spirit of creativity amongst its "Theatrepreneurs," despite the daunting challenges posed by the lack of governmental, individual, and corporate support. This sets it apart from its Lagosian counterparts, who are known for having more support and infrastructure.

Nestled amidst this thriving cultural landscape, Rivers State boasts a plethora of theatrical and cinematic talents, although the lack of infrastructure hinders its growth. Even the esteemed University of Port Harcourt, renowned for nurturing globally celebrated icons in theatre and film, lacks a modern theatrical facility. However, there is a glimmer of hope on the horizon. The 9th Vice Chancellor, Prof. Owunari Georgewill, has secured a Tertiary Education Trust Fund (TETFUND) project to construct a new theatre building. This project is expected to significantly impact the theatre scene in the city and the state as a whole.

Despite anticipating this impending transformation, we still seek refuge in the dilapidated confines of the Arts Theatre Building (CRAB), which serves as a temporary home for many theatre productions in Port Harcourt. The CRAB is in dire need of renovation, but it is still the only viable option for many theatre practitioners in the city. Nonetheless, the resilience and creativity of the theatre community in Port Harcourt continue to shine through, and we remain hopeful for the future of live theatre in the city.

According to a famous saying, 'While the pot of beans is still cooking, men will still eat.' Therefore, for now, we have to manage the dilapidated state of CRAB. Recently, I had the privilege of attending an outstanding theatrical extravaganza, 'Pitakwa Boiz,' which was presented from March 5th to March 7th, 2024. I was fortunate enough to witness the final performance, and based on the feedback I received, the energy was just as high as it was on the opening nights. Godspower

Jaja, a talented graduate and postgraduate student of the Department of Theatre and Film Studies, wrote the play. Jaja's narrative masterfully weaves a tapestry of ambition, power struggles, and brotherhood, with 'Downbase' as an evocative metaphor for societal macrocosms. Through the lens of satire, the play takes a piercing look at Nigeria's political landscape, exposing the nefarious grip of electoral malpractice and the pervasive spectre of bad governance.

The play's linguistic cadence is rooted in the rich tapestry of Port Harcourt pidgin, which resonates with an authenticity that captures the essence of the city's spirit. However, beneath the veneer of comedic banter lies a poignant commentary on societal responsibility, encapsulated in Ibiso's impassioned plea to confront adversity rather than succumb to the allure of foreign shores, popularly referred to as "Jakpa." The play's production was skillfully executed, with a creative set design, impressive lighting, and sound effects that transported the audience to the heart of the action. The exceptional actors delivered their lines with precision and emotion, bringing the characters to life and making them relatable to the audience. 

"Pitakwa Boiz" is a theatrical production that goes beyond mere entertainment. It encompasses all the aspects of theatre, such as well-defined blocking and movement, beautifully choreographed dances, profound character interpretations, and a harmonious orchestra. This accurately captures the essence of Richard Wagner's theory of artistic synthesis, also known as Gesamtkunstwerk. The concept aimed to unite all the arts into a single, immersive whole. Wagner popularized this term in his ground-breaking essay "The Artwork of the Future" (1849), where he argued for a "consummate artwork of the future" that would integrate all the arts, including music, drama, poetry, and theatrical arts. I must commend the director, Sampson Kelvin Melvin, who has continually proven to be a creative and imaginative choreographer and director. Kelvin's dedication to the arts has opened his horizons to great exploits. I have worked with him on many projects in and out of the country, and it is a joy to see that he has learned much about the craft through humility and determination.

The indomitable talents of Precious Okuro, Clarkson Okah, Donatus Akande, Antoinette Obichukwu, Chiamaka Njoku, Deborah Okeukwu, Blessing Anyika, Martha Okafor, Esther Onyekwelu, and Sophia Obisike, just to mention a few, deliver a tour de force performance that is nothing short of spectacular. Their nuanced and dynamic acting, intricate choreography, and soulful music create an unforgettable experience that leaves the audience spellbound.

As the final curtain falls, one cannot help but feel a renewed sense of optimism for the future of theatre in Port Harcourt. The play showcases the actors’ incredible talent and highlights the transcendent power of storytelling to bridge divides and kindles the flames of cultural exchange.

In the company of colleagues and luminaries such as Walter Anga, a stalwart of Nollywood and a former student of the department, one is reminded of the importance of preserving and promoting cultural heritage through the arts. "Pitakwa Boiz" is not just a play; it is a testament to the resilience of the human spirit and the enduring legacy of artistic expression.

In conclusion, I implore fellow enthusiasts to rally behind the burgeoning theatrical renaissance in Port Harcourt. Let us ensure that the vibrant tapestry of our cultural heritage continues to flourish and captivate audiences both near and far. The success of "Pitakwa Boiz" is a testament to the incredible talent and dedication of the artists involved, and it is a harbinger of great things to come in the world of theatre.

Dr. Ovunda Ihunwo, FTA

Associate Professor of Performing and Film Aesthetics,

Department of Theatre and Film Studies,

University of Port Harcourt

Chairman, National Association of Nigerian Theatre Arts Practitioners (NANTAP), Rivers State Chapter

Governor Umo Eno Appoints DGN Moses Eskor, SA Entertainment

The Directors’ Guild of Nigeria (DGN) congratulates Mr. Moses Eskor, an innovative Ibiono Ibom Nollywood filmmaker and Chairman, of the Akwa-Cross Chapter of the DGN, on his appointment as Special Assistant on Entertainment by His Excellency, Pastor Umo Eno, the Governor of Akwa Ibom State.

Mr. Moses Eskor

The announcement, which was contained in a release on 07 March 2024, signed by the Secretary to the State Government, Prince Enobong Uwah, takes immediate effect.

 

Dr. Victor Okhai, the President of the DGN, commended Mr. Eskor's appointment and said it was "well deserved," noting that he had earned it through his contribution to the Akwa Ibom people and Nigeria.

 

"Congratulations on being appointed the Governor's Special Assistant for Entertainment. As the Akwa-Cross Chairman, you have led by example, shown exceptional leadership qualities by providing service, and helped the state's entertainment industry flourish in response to members' needs. I do not doubt that your influence will keep promoting our cherished legacy of diligence and commitment. I am very glad that you have been acknowledged for your success on this new task”. Stated Okhai.

Obi Asika, DG NCAC Visits Lagos Zonal Directorate

By Perekeme Odon

Chief Obi Asika, the Director General of the National Council for Arts and Culture (NCAC), paid a visit to the NCAC Zonal Directorate, Lagos, on March 4, 2024, as part of his endeavour to rebrand the NCAC brand. Mr. Francis Oshomegie, the Director and Head of the Lagos Zonal Directorate, and the delighted personnel of the Lagos Zonal Directorate warmly received him.

Chief Obi Asika, DG NCAC

During his briefing, the Director General appreciated the staff of the Lagos Zonal Directorate for their patience since his appointment on Friday, January 12, 2024, and stated that his visit was part of his facilities tour since being appointed by the president. He used the special day to communicate to the staff his aim to improve the quality of the council's content and activities, as well as to promote employee well-being.

Chief Asika urged the Lagos Zonal Directorate staff to be steadfast and committed to the National Council for Arts and Culture's mandate, describing the agency as Nigeria's "crude oil." “I can feel the NCAC has been almost disconnected from the setup. I can imagine there are a lot of challenges. Your work environment is very important to enable you to deliver on your mandate. I can’t expect anybody to deliver at a world-class level if they’re not given the tools and opportunities to do so.” He stated.

A Group Photograph With The DG

The convener of the just concluded inaugural Omniverse summit requested that his staff see him more as their representative, as he will do his best to tell them the truth and cannot guarantee things he does not have, but he did assure them that any issue they are concerned about would be heard at the appropriate level.

Mr. Francis Oshomegie, MBA, FCA, Director/Head NCAC, Lagos Zonal Directorate

He challenged them to take advantage of the position of Lagos as the epicentre of Nigeria and Africa and the mandate and authority given to them to be part of the unlimited Nigerian IP and soft power value chain. He also stated that there are too many major life events taking place in Lagos to keep the staff busy with great content to depict the country in a favourable way and attract foreign direct investment, and they have to look good and on point.

“For you at the Lagos Zonal Directorate, I want to urge you. Please don’t be laid back. Be proactive. Let me tell you what you have. You have the mandate and the authority to push and promote arts, crafts, and culture to create some inspiration and direction by providing leadership into the Nigerian soft power and IP value chain which NCAC is not part of."

A Cross Section Of NCAC Lagos Staff

After a one-on-one discussion with the staff, the DG assured the Lagos Zonal Directorate staff of his commitment to touching people, space, and staff welfare, given the challenges hampering their operations. “I mean the entire value chain in terms of welfare, even your office environment and working conditions. We have to understand that we are on the same team, working together. We will touch people and space, not just be seen and heard in the media spaces. For me to be successful, you have to be successful. If I leave here after my stay and there is no real change, then it means to me that I failed. We have to change the situation, but to do that; I need all of your support and help, which means I need you to be informed about your issues and your challenges. I’m not here to chase any person or any history lessons." He assured.

He identified training, retraining as critical, and a priority in advancing staff’s professional know-how. “You need to get the requisite training. You need to network and understand the global best practices for how this job is done because there are new technologies and opportunities every day.”

He pledged to run an inclusive and open-door administration that would espouse the regulatory and mandatory oversight functions of the Council so we can win together and also expand partnerships with the local and international private sectors to elevate the Council to where it ought to be. "We will bring the private and public sectors closer together and build partnerships, as we may not find all the results we need from governance, but from the private sector and donor organizations who are interested in these works."

A Group Photograph With The DG

The Director and Head of the Lagos Zonal Directorate, Mr. Francis Oshomegie, took the DG on a tour of different sections of the Lagos Directorate, where he met with the various private cultural and artistic groups and troupes on their rehearsal grounds. He acknowledged the challenges noticed and promised to come to their aid. He promised to visit all the zonal offices within the next two months.

Mr. Francis Oshomegie & Chief Obi Asika

Mr. Abdulrazak Explaning The State of The Art Gallery To The DG

(l-r) Mr. Toyin Adedigba, mR. Francis Oshomegia & Chief Obi Asika