Qudus's Evaluation of Dance in Nigeria... QED

If we get to place Nigeria on a scale against West Africa as a whole, it is clear that the scale could balance at point zero, not just because Nigeria being the most populous nation in Africa with an estimate of 140 million, which is already more than a half of west Africa, nor for her political impact and economic puissance that plays a significant role in the region, but also for its cultural diversity that gives birth to 36 states (if we want to talk in terms of political boundary, if not, we can as well say it is made up of over 250 ethnic groupings).

Qd's Evaluation of DANCE. QED Naija version

Due to this brief intro, which is more like stating the obvious, we will then have no need for further effort in getting anyone convinced that there is a strong need for a network development in such a “monster” nation, and certainly this network can lead to a “Dance boom” that the whole of the African continent and the dance world can also benefit from. However, it is quite a sorry thing to say that there is very little or no single connectivity amongst these various states apart from the highways that links one to the other. In terms of the art scene, apart from mega cities like Lagos who has arrived at dominating and capitalize the Nigerian dance economy, which tends to be the unofficial headquarters for showbiz, there is no concrete exchange or viable relationship that flows amongst the local players of these states, the funny thing about it all is the fact that, it is not even the whole of Lagos that has a share in this monopoly, but a very small league of "local champions" who got the exposure and capital to invest in the industry. 

If we decide to go deeper into the concept of using what we have in place to make things happen, at the same time creating more alternative spaces for freedom and expression. The dance industry in Nigeria is still in its primitive stage with quite a lot of untapped initiations, it is only these “local champions” that rotates themselves around same horizons. What are making out of our differences, complexity and diversity? how do we make use of the existing 36 states? make use of the ATAS(Association of Theatre art students) that exists in over a hundred universities and polytechnics across the nation? of what better use can we make of the state councils of arts and culture that exists practically in all states? how more can we make a functional use of the Dance guild of Nigeria that has affiliates in several states? there are for sure better advantageous means of making use of the ready made network of the French cultural centres that exist in major cities in Nigeria, as well as the molecules of other micro cultural operators and professionals that spread all across the nation. 

I think i have found my own one word answers to this complicated questions, yes its the 3D, we sincerely need to multiply, with aim of “De-individualizing” the isolated operators that is rather being squashed by the massive weight of their one man shows, by means of multiplication and displacement, diverse combination and intra-exchange on a national level, that bonds a chain of network units within each states first before opening up to blocs in the regions, which must however be backed by other possible measures of “De-centralizing” and “De-concentrating” the attention of other secondary operators from the main regions that harbours the centre players. 

Move departments of the large markets, such in Lagos, Abuja, Port-Harcourt or Calabar, away from a single administrative centre to other locations, granting them some degree of autonomy, which will later reduce the crowd of bush league that overpopulates the limited chances for the real players. More so, bringing all these individual forces to form an alliance of cultural operators, whereby they come together with a collaborative force, which does not exclude students, journalists, critics, scholars and professionals all around Nigeria, and by so doing, the so called local champions that flock around the unofficial headquarters will have other doors at which they can disseminate their energy, by constantly giving helping hands to smaller operators in other states to develop a sustainable dance market, and unconsciously, there will be a massive network that boasts of its weight even in the world stage, and tell me, for what reason will there not be a conducive environment for our existence at home?

I believe that at this present point of our encounters, after some years of exchange of sight and several hand shakes with the west, it is high time we got to start concentrating on internal issues, now that we got enough technology and professionals present on the soil, we only need to appropriate all this ready made elements as our own means and apparatus, as well as using maximized effort to culture the monetized art face and divert the sluggish and negative energy that flows around the nation like virus into a steady and positive change reaction.
The first edition of the bi-annual Ewa Bami'jo then becomes a wonderful and perfect platform where we bring few targeted alliance into a bond, while the initiation of a similar project like “do we need cola-cola to dance” for a national tour becomes a weapon for us to drill further into the nation, to scavenge for possible encounters with our supposed groupies, thereby the second edition of Ewa Bami'jo becomes the beginning of a concrete alliance that will only get to increase with time and as the word continues to go around.

Benefits of putting 3D into consideration includes possible mobility and artistic initiations among different region. since there are no concrete publication or agencies that provides us with such information of how many professionals, organisations and exhibition venues exist in the country, such initiation then unconsciously develops an accurate statistic and census of the industry, which then become a guide for easy access of the various regions for national and trans-national exchange.

Conclusion.

The existence of this article will not be justified or well interpreted if we demand of Artistes or cultural operators to instigate a movement of reform and revolution as proposed by this analysis. The individual is a product of symbols, imagery and reality, which further explain why the practicality of this theory is not a proposition for all... So to avoid irrationality and invalidity of this analyses, what we need to do is to discover authentic professionals either practitioners or scholars who have the willpower, the ability and the vision, of course such people are rare, if they have the vision and the mechanized ability, perhaps they don't have the economic ability, or their creative temperament will not concur to the lure of managing such affair that can't avoid the romance of politics in all form of it, it is then the duty of those amongst us who are matured enough to initiate such projects, those who are ready to rub both minds and hands with our generous benefactors and the state, to lead the way in their discovery and create such atmosphere conducive for such revolution. 

(c) Qudus Onikeku. for Yk Projects.

The Fascist in ME.

Few months ago, i wrote a note stating my Analyst told me I got an ego problem, I sat back, I was tranquil, fixed my gaze on him and I see smiles forcing their way out of my upper lips, I watched his lips dangle with passion, like a performer of rap music, but this is a full grown man that knows his onion, meanwhile, I was long gone in my world of thoughts, I felt so high, I even touched the sky...

These days i have constantly noticed that everybody want to prove to every other person that they are right and that the other is wrong, they want the other to know that they have their own point of view (a.k.a. POV), so they begin to analyze, they begin to argue, they argue about everything and most especially about why they think others are wrong and trying to analyze who the other is. Meanwhile no one can actually tell you who you are, but who they think you are or want you to be. Some tell me at times "Qudus, do you know you can't be always right" so fuck it, i know i'm not always "right", i will even say i'm often "wrong", but i have got the right to contradict myself isn't it? Perhaps that is the schizophrenic part of me manifesting itself. To realize my fault and accept it or not, is up to me as an individual to deal with. 

I'm used to arguing about everything as well, but it is not about who is right or wrong, its about laying my point of view (POV) side by side as a mean of juxtaposition against yours, to weigh my understanding with yours, perhaps i might take one out of my worn out mind and add one of your fresh ones to mine at the end, so i have learnt something from you, so fucking what? but you won't be shocked, when you see me tomorrow and i engage you in the same argument we had yesterday, perhaps i have updated my POV last night. 

Everyday, every night, returning to my self contained apartment, i undo my buttons, unzip my trousers, take off my shoes, remove my socks and empty my mind. I place them all randomly on the floor, before going to bed i decide on which one of them i will still put on for another day, i take a quick recap of the day, i change my underwear, refresh my thoughts, synchronize it with my reality, update my reasoning and say good night to myself, hence, there is no reason for not saying good morning in a different tone the next time i meet myself again. 

The next day is another sympathetic day, i'm filled with profound love and affection even for the guy that took my last argument with him as a brutal attack without pity, i reduce myself to my proper humility after a night filled with intensive wave. I take on my daily journey without a name, without identity which could drift my purpose below my measures, for all i got right now is a point of view, driven by passion and underlined with truth. Constantly scrutinizing myself, cleansing my soul and skin off the fascist in ME, in my head, in my everyday behaviour, the fascist that causes me to love power, fame, money and lust, to desire the very thing that dominates and exploits me. 

I stop here to take a deep breath before i drill further into this philosophical pit, as i am aware that my blog is silently mutating into a public forum and an alternative space for reflection, so if you are thinking right now that i can "HELP" you, then stick to me until you rot away as i continue my journey, i will not like to sway my readers without them being aware of this manipulation, and ultimately win them over against their own will power. This is the weapon of the "Fascist". The Fascist we all are conversant with, might perhaps be the term used of the 20th century totalitarian right-wing nationalist regime of Mussolini in italy, or the regimes of the Nazis in Germany and Franco in Spain, the Fascism that tends to include a belief in the supremacy of one nationals or ethnic group, a contempt for democracy, an insistence on obedience to a powerful leader with a strong demagogic approach. 

Well that might be correct in political or encyclopedic terms, but the fascist i am referring to here is a phenomenon that took place elsewhere, something that could only happen to others, but not to us, its their problem, so here is why my POV refuses nationality or identity, is fascism really a problem for others to deal with? We often want to be the one who seek security and a peaceful life, security even in where we allow our minds thought to visit, making us seem like the man who chop off his limbs in order to get an artificial ones, for he desperately need a life free of pain and troubles, the metal dream of a tranquil and conflict free existence, wanting to be so real that we set fire on reality itself. What about the fascist that is based on the desire to be led, to give a complete authority of our lives to someone else to legislate, the one that awards us every reason not to voice out our pains, even when we are pushed to the wall.

How then do revolutionaries, activists, critics and other militants deal carefully with this same fascisizing element we all carry along with us? how do we rid our speech and our acts, our hearts and our pleasure, of fascism? religious moralists sought to rid us of the fascism hidden somewhere in our soul, while these militants pursue the slightest trace of the fascism in the body, that leads them to state why the other is evil (a fascist, a capitalist, a communist) or what moral values should be, and hence, does that award them a righteous life? does that make them a judge? However the modest fellow loves hiding places, secret path and back doors, everything that seems far away from him entices him as his world, his security, his refreshment; he understands how to keep silent and wait, how to complain and dream, how to be self deprecating and humble, how to survive by sanctifying every lie he has been fed with. This is the realm of the silent majority who has become the apparatus at which the powerful ones behind the closed doors use to express the fascist in them.

The powerful, at which we the silent majority awards the legislation of our lives to, has endless time, whether we whine, howl, beg, weep, cajole, pray or curse - he listens. He is just a big ear minus a sympathetic nervous system and nothing touches him but the TRUTH. When we deceive ourselves on the notion of making the world a better place, we are prompted by an instinct of self affirmation and self preservation that cares little about affirming or preserving life. What constitutes our sickness today? is it not the absence of fresh air where it smells bad? When we do the diagnosis, won't we see the need to cure ourselves of the cure itself?...

OK LET ME DIGEST THIS ONE FIRST, I SHALL CONTINUE WHEN NEXT I GET THE ANOINTING... lol

Qudus Speaks his mind with SWITCHED MAGAZINE

PHOTO CREDIT: EMEKA OKEREKE,

Qudus Onikeku is a graduate of The National Higher School of Circus arts, France as a Dancer and Acrobat. For more than a decade, he has been present in the choreographic scene of Lagos. He is part of the new generation creators springing up from Africa. Known in Europe, in the USA and the Caribbean for his solo pieces, his participation in the works of Heddy Maalem and remarkable with his artistic research and teachings across the globe, Qudus is an Omonaija representing and carrying a message, everywhere he goes. His mission is to influence at lease one out of every 2 people he meets and who wont go on stage if he didn’t feel he could add some form of value to at least 1 person out of the audience, would love to be remembered for his words. According to him, his words are around and alive as the wind, the sea and even “Indomie” (lol). From talks about his profession, to that of change for the Nigerian youth and their thinking and even to his views about life, success and mindset of individuals, this Dance artist cum writer chats with the Switched On Team, baring all and revealing the depth, intelligence, passion and creativity in his dance, his writing and his message. HANG ON!! You’re about to join us on this roller coaster ride of deep, intense, “political” and creative words of a Nigerian who speaks with his mind, his hands…and his feet!

Basic question. How did you get started?

It was all like a kid's stuff, you know when we were young, we recognized those things that make us happy, especially in a society like Lagos. The definition of love was not so much in connection with the universal dictionary, and the strong wind that blows around just want you to do things that you associate more with. Coincidentally, mine was dance, but it all started from the kind of kid I was, very agile, stubborn and hyper. During high school, I took dance very serious, so when I graduated, I decided to move it to the next level, because I didn't believed so much in traditional forms of educational institution. I later headed for alternative learning that could support my creative temperament. As for my writing, I think it was just a way of relaying my mind’s thoughts because there is usually no one to say my mind or thoughts to especially in those days, when on tour and in my little apartment as a student. So, basically, it was just a way of retaining my sanity. I must say that I write everything, I don't have a secret. I think that's all I can tell you guys.

You started YK Projects. What is this about?

YK operates between Nigeria and France as a not-for-profit company. It was initially registered as a performing company in Nigeria, but the lack of appreciation of the arts and the disdain which tends to subject Artistes to a hostile environment, informed the coming together of a collective of Youths with legs in different sectors of the arts, amongst which are Performing artistes, Visual artistes and Writers. All have similar intentions of creating an alternative landscape for the local audience to be aware of the art, by projecting contemporary arts (Dance, New Circus and Street Performance) through outside performances, media and publications, just to create a conducive environment for our existence at home.

Tell us about the “Ewa Bami Jo” events?

“Ewa Bami' jo” is a bi-annual convention around contemporary creations, that re-unites different front- line players in the socio-political development project of the African world, under one dance umbrella that brings about conferences, debates, film screening, exhibition and shows. It used to be an annual event, where I try to invite other art forms to come and dance with me, the first edition was in 2005, the 2nd in 2006 and now due to my absence in Nigeria, it is coming back and bigger and better. The next edition will be in Lagos during the month of November 2009, you can visit www.ewabamijo.blogspot.com.

 

 PICTURE: AGNES MYRIAM CHAFEI

In your dance and writing, what is your message?

Hmm, well first, I am not just a dancer or writer, I am also a human being, that cries, smiles, eat, fall in love, hates and go to toilet etc, so I think there is always one or two things to see as inspiration in all of these attributes of a normal human being. So the basis of my art is just to lay before my audience how I express certain things that they might perhaps, have not found easier means of expressing. I don't think I have a particular message; I am not a preacher you know, but I am someone who tries to find simple ways of expressing what I feel deep inside of me. So there might perhaps be a message in that.

Ever gotten questioning looks when performing? How do you react/ deal with this?

Questioning looks? YES, a lot, especially in Nigeria. How I deal with it is simply to explain what i'm trying to do with my art to the curious ones who get interested in entering into my world, that is my duty, but I also try to settle those questions while creating in the studio.

How has your Yoruba tradition influenced your art?

I like proverbs very much, and my childhood is a great inspiration to me as well, so in case you will like to know, I was nothing but a Yoruba boy while growing up.

You reside in France. How regularly do you visit home, Naija?

Before, I used to visit Naija frequently; it was a six month in, six month out sort of arrangement, but since I came to school here, I have learnt to “miss” Naija. (Lol)

You have traveled a lot. How has this played a role in your artistic life?

Before I left Nigeria for the first time, I thought it was only in Nigeria that we speak Yoruba. I thought Lagos was a peaceful city. I didn't even know who Fela was. But now I know. I have learnt many things while visiting places that I couldn't have been interested in if I had read it in a book. Traveling has really enriched my cognizance and point of view to life and that is the basis of my “artistic life”.

Life, they say, is funny and comes with its specific “dishes”. In your view, describe the paradox of life?

You know, in this life there are several paradoxes, some that are mere master plan, put in place by the Almighty, while many we create by ourselves for ourselves. Can you imagine that after all our struggles in life; we still die at the end? We complicate everything for ourselves and now it has become so complicated that no one has a clear solution to our troubles. A civilized man needs to go to school for almost 20 years to understand how to live in his on civilization; to discover the sea; we have to travel on the land. We know hunger by first knowing that there is something like food. When we eat and get overfed during lunch, it won't stop us from getting hungry at dinner, when we pick up our bags, drop the keys and say goodbye to our neighbors, it will surely be followed by welcome and nice to meet you somewhere else, so when we run away from our social responsibilities, will that change our childhood? will it change the fact that we are who we are? Anyway let me stop here before you start reading something else... lol

Human beings are social and unstable “elements”. Animals are too. You wrote a piece “Are we Higher Animals”. In your opinion, do you think humans are no better than animals?

You know in my article “Are we higher Animals?” I wasn't trying to judge who is better nor giving some special attributes to the “lower animals”. Truly we are “higher animals” and that remains a fact that needs no justification. Our ability to ponder over our conditions, thinking before reacting, our reflective ability over whatever we perceive through our sense organs, I mean, this ability to choose - and choose well; to kill the little harmless insect instead of letting it go; ability to have an ocean of dreams, that will soon flood away the efforts of those with just ways and means and leave others with blood on their skins; all these elements that distinguishes man from animals, for me, has later tend to kill our innocence and make us loose our sudden inner impulse that should manifest in all normal animals without premeditation or external stimulus. So it is for the same reasons for which we are "higher" that we are becoming lower than animals. Maybe we need to get rid of some of our "high qualities" so that we can even hope to ascend to a "mere human being". For some of us, we are way too low to even be called animals! Looking back at the article which I wrote while in Congo, it serves to only call to mind the attitude of those who pride themselves in being high, yet, they are the source of the bad vomit which poisons the world today. The article was not condemning a universal truth, but rather questioning those who have used that Truth as a blanket for their shameful nakedness, thereby creating another dimension of that truth - which is an illusion. So your question is like asking if Blacks are better than whites. It’s not a matter of better, but they both exist in their own particularities.

What one phrase, book or piece of poetry has inspired you of late?

Of late? Meaning like few weeks ago... I will say Kung fu Panda. I have two lines that I really like in that movie.The first line is “Yesterday is History, Tomorrow is mystery but today is a gift, that is why it is called PRESENT” and the second is “The secret ingredient of my secret ingredient soup is ... NOTHING, there is no secret ingredient, to make something special you just have to believe its special” Your favorite writer is? Why? Wole Soyinka of course! That man is a genius who has arrived at putting all his energy into one. So, in his works you can't separate talent from passion, politics from art and yet he has his own way of making you laugh. Now for me, that is 100%

Your Philosophy of life is.......

I found a new one in a cartoon (can you imagine) that “Yesterday is really a History, Tomorrow is mystery but today is a gift, that is why it is called PRESENT”. In this great future you can't forget your past and you cannot separate today from tomorrow though, they are very much linked. So, if you decide to see today and not foresee the mystery tomorrow promises, then you are getting one side of the picture.

Performing arts are your specialties. How would you rate your “feet” on a club dance floor?

On a club dance floor, you don't want to try me “Mo Gbona feli feli”... LOL

Lol..What does success mean to you?

Hmm success, you know I did a project in 2007 titled “DO WE NEED COLA-COLA TO DANCE?” While in places like Bariga, Eleko beach, in townships in Cairo, in Maputo, at Soweto, at Mathare slum in Nairobi, and other places like that, no one paid to see my show. It was outside in the dirts, but seeing those kids coming around and smiling after my show, was a “biggggg” success. I was able to successfully add to the experiences of those guys that stopped or came out to see my show. That is one of my most successful performances; more successful than the positive critics I got in New York Times or for my numerous performances around the globe, because that one really touched my sincere purpose as an artiste I think.

Art whether poetic, visual or performing, in Nigeria is worrisome though improving. Do you think Nigerians are ready for this kind of art?

What do you mean ready? Nigerians are human beings and I am also a Nigerian, and that's where it has to start from. I think the question should be “AM I READY TO MEET NIGERIANS AT THEIR POINT OF HUNGER?” You see, I have studied the capitalist way of thinking, even if I don't really agree with it, but I think that it is the language my people understand the most. I just have to learn how to speak it fluently, but keeping my purpose and core values intact of course. Are we ever ready for those adverts and billboards we are bombarded with everyday? Do we even know what we are ready for when we haven't seen it? SEEING IS BELIEVING MY BROTHER; I think it’s time pure art began to claim ownership to what the common man refers to as “mainstream”. That is when all these general misunderstandings will be settled. A sincere example is Soyinka. So many Nigerians don't know this guy for real; they don't even know what he really means to the world, but his name has become a cool reference in the intellectual mainstream. When a Nigerian sees your pix with Soyinka or Soyinka in front of a magazine, it means much more than a D'banj or ASA for Nigerians, you know. That is what I am out for. So, I think Nigerians are in a state where all they cry for everyday is that six letter word C.H.A.N.G.E.

What is the one thing that can put a smile on your face when you’re down?

A flash or SMS from my woman would do.

More importantly what are your fears concerning the Nigerian youth of today?

I think my fears about the Nigerian youth doesn't exclude myself, so I will prefer to use WE. Our attraction to vanity is scary. We want a better life, so it overshadows our morality. The new culture we imbibe is very scary as well. I like the new culture; don't get me wrong, but what is the speed limit? Globalization, is it about exchanging what you have, for what you don't have or mere adding one to what you already have? What’s up with this cultural assimilation? How are we refusing hegemony? How much reference are we taking from our past? We need to structure a future at which we can't forget our past. I also like D'banj you know, just as I like iPhone, but what is the value of my iPhone? Does it mean more that just a phone to me? NO, but what it can really do, ahh! that is the value that takes it one step further than just a phone. It’s not just about the coolness of having an iPhone. This is the profoundness I find missing in today's youth. One more thing is what I refer to as the “UP-NEPA” mentality, which makes us scream in euphoria when we get access to something that is meant to be ours, our basic amenities o. We tend to get used to the lies we've been constantly fed with by our leaders. Now, the normal thing in the Nigerian moral bible is that a politician must throw money in the air to get our votes, even if his head is filled with human feces and his money painted with our blood. In order to counsel a Nigerian youth or convince any typical Nigerian about the credibility of a particular profession, career or project, you are obliged to talk extensively about the possibilities of making money from it, and die rich afterwards, not minding what else he or she will do with the money after making it. Otherwise your preaching is as good as flaunting Naira notes in the air and your job is done, case closed. Our catalogue of the national maladies, that has crept upon every Nigerian youth, still include the undesirable manifestations such as greed, dishonesty, impatience, discourtesy, vandalism, indecency, brutality, robbery (in every form), drunkenness, cultism, tribalism, selfishness, ostentation, indiscipline, corruption, insensitivity to filthy surroundings and many other identifiable ills, and what do we say to all these afterwards “May God help us”. And meanwhile God don't help those who don't help themselves. My brother, when we complain, we also need to back it up you know, when we cry and tears drop from our eyes, it doesn't make us go blind.

If you had your way, how would you try re-shape our thinking as a nation.

I think a great surgery has to be done to our reorientation as a people; we need to flush some superfluous reasoning out of our subconsciousness. We need a whole new academic brainwash that must begin from our first day in school. Stop forcing kids to go to school. Nigeria has more traditional educational institutions even more than Britain that thought her, Uni. of this, Poly of that, Fed College of this, high school of that. Bros! my theory is simple, the moment those numerous institutions begin to transform into practical spaces for alternative learning, things will begin to change. Development can't be one sided; it has to move hand in hand. Erecting schools is not development when the human development is neglected? Do you know I went to a CIRCUS school in France? Yes I did and you don't want me to tell you the fight to convince my parents from stepping out of UNILAG where I was studying Mathematics and Statistics. People are tired of traditional forms of learning, because it’s not even working. Our national maladies won't let it work. Let there be schools of carpentry that offers degrees, erect respectable schools where kids go learn mechanic and give them masters even PhD, then we will begin to feel respect for every human for what they do. And you know what; learning will be fun without cheating. Sincerely this is what I do all day with my works, my job is all about ideology and reasoning.

DO WE NEED COLA COLA TO DANCE?

-THE ART FORM -

DANCE, CIRCUS, STREET PERFORMANCE, PHOTOGRAPHY, AUDIO VISUAL and ELECTROACOUSTIC MUSIC. 
All these art-forms are what this project reunites into one. 

-THE PROJECT-

All photos by Emeka Okereke

The Artwork is disseminated into two phases, the first phase of the project was the touring of an outdoor performance in Six countries of Africa with a team of five, amongst which are 2 performers, 1 sound artist, 1 photographer and 1 video artist, during the tour we also had the opportunity of meeting and talking to professionals in the arts world, asking questions, trying to structure a future for ourselves as young professionals. The second phase of the project was to return to the studio in France with all the visual materials we were able to acquire during the tour, and came up with a documentary film titled "DO WE NEED COLA COLA TO DANCE?".

-ARTISTRY- 

The project rallies around Dance which is the centre of attraction here, and as it was showcased mostly in public spaces and performed by performers who at a time, posseses the skills of dancing, juggling, acrobatics and hand standing. It broke into the frontiers of street theatre. Meanwhile, the happenings were absolutely un-official; no posters, no info, even we didn't necessarily know where the next performance spot might be, just like in ancient traveling theaters. This "piece", more of improvisation, is to be an alternative artform to the traditional exhibition of dance in the theatre, it creates its own context, since there are few or no ready made theatre venues or audience to begin with, and there is only a few practice of alternative movements in the continent today, the coming to life of this project is not to insert a new style into existing buildings, nor enticing already formed audience away from existing venues, but just to be involved in a special broad oppositional art experiment. The Project is an artistic expression and declaration of our engagement in a structural development that is in the making, as well as our responsibility as artistes for change, it is a sincere laboratory experimentation of an existing theory. Our reference points or case study could be coming from dance and cinematographic perspective, but its a valid element for development using alternative measures.

-INTENT-

I thought of taking contemporary dance to “NON CONVENTIONAL” spaces and locations where the growing art network could not get to, be it public or private surroundings who are yet to discover the theatre for the purpose of Dance, as an avenue of crossing the borders that exists between artists and the audience, as well as formation of a local market and audiences structure. This first attempt took us on a journey across the African continent, around six countries, each from the different regions of the African continent including;Nigeria, Egypt, SouthAfrica, Mozambique, Kenya and Cameroon.

-TARGETS-

The first phase of the project was already two faced in terms of targets, it first seeks to cross the borders of our traditional four wall performances in the theatre space, to go in the pursuit of the populace, i decided to spread this research into three similar locations in 6 cities in Africa (Lagos, Cairo, Johannesburg, Maputo, Nairobi and Yaoundé), organize happenings in public spaces varying from market places to malls, university surroundings to the beach, bus stops and boat terminals as well as the corners of the streets and other unimagined available spaces that could accommodate such manifestation. One important criteria we put into consideration is the possibility of balancing the gaps, by making sure that our happening travels from the locality of the low income earners to the rich quarters and also the young intellectual sects in the educational institutions, in order to have a broader view to this issue. The echo of such project already travels around, and in its own special way inspires a handful of professionals who saw it as a fundamental step towards concrete and logical development. 

The second phase which is the documentary film that followed such manifestation, the film is primarily directed to issues affecting the continent's arts world, but its primary audience lies amongst the young creators and the art's students anywhere in the world, which in no way limits its influential capacity to other domains and aspect of human development, which is more of the reasons why our diffusion cuts across different horizons, aiming at being part of the tours of my presently created solo piece, film festivals in the African world, Dance film festivals, documentary film festivals, alternative film festivals, libraries, schools, museums, cultural centers and all other imagined venues suitable for such presentation.

-AUDIO VISUALS- 

Our approach to the documentary film that emmanate from this tour, is powered by the juvenile energy we are presently bestowed with, by nature we ask ourselves questions about the future as much as we inquire from the older generation, a detailed account of their time for a better comprehention of our tomorrow. This film in its own special way sways between dance, interviews, reasoning, people and politics, aimed to combine entertainment with database, discussion, socio-political proposals, recommendations and policies of culture. Primarily committed to bringing about actual changes in specific communities towards arts and culture. All actions, aesthetics and pragmatics, stories and documentary explored in this film – are inscribed with questions of fundamental importance to the freedom of the young professionals. However, our choice of research was guided by a more fundamental impulse than the quest for mere traveling and performing.

-MESSAGE-

This will perhaps send messages, meet the youth and young creators at their point of hunger, the young generation is hungry for life, we so wish to break bounds and go beyond the line drawn by the older generation, we jump on every thing that comes, and in a life where everything goes, we get confused about what to hold on to, Religion? Culture? Or the Media...? We imbibe the new culture and migrate easily towards easy life, run away from our social responsibilities and these will only lead to a further destruction of our nullifying "Self". Therefore as we seek this freedom, we however need a guideline.

-ADDRESSING FREEDOM OF EXPRESSION CONTRAVENTION-

This project is first an imagined solution to a very personal issue that bothers my soul as a young African creator, it speaks the mind of many youth of this 21st century, and breaks the bridge between the artist and his audience and vice versa.

I happen to be one of those trained as dancers in an environment where all inconveniencies and risks were involved, yet survived it, it however gives my originality and identity at the end. i proceeded to study in France where all began to appear as two realities apart, just as the north and south pole, this project was then borne out of my introspection on where i was coming from. This refusal to go back to my locality with all foreign influence, becoming a dictatorial artiste who can no longer perform without a theatre well acclimatized with perfect technicalities and constitution, yet wishing so hard to have the same conditions and structures in Nigeria, as i presently enjoy in France, in order to give credibility to this art form by inspiring confidence in local audience and youth interested in taking up this art-forms.

-IMPACT ON HUMAN RIGHT ISSUE-

I strongly believe that there's a powerful connection between artists of all kinds and human rights. Artist and activist sometimes stand up against the establishment to say what needs to be said in the name of humanity. Artists are a leading voice for freedom - and for this project, it is freedom from fear, such fearless project could get us into trouble, but truth comes out of the light that we brought and the powerful often fear this. 
The French cultural centre and other international organizations has claimed a complete authority over the circumstances at which we operate contemporary dance locally, so the need to break bounds and refusal to hegemony brought about this project. This artwork communicates across boundaries of geography, politics, gender, race, cross all divides and belong to every individual in those public spaces.
Freedom of expression is vital for an artist's work and the human rights activist works to protect that very right and in the end the relationship is more fundamental. We experienced art together with our audience, it makes us feel human, and moves us to protect the human rights of others. Everyone has a voice and should use it... No one sees the world in exactly the same way, no one sees the world through the same eyes as I do, nobody will see how i think and feel about the world unless i express it in some way. The interactive moments we shared with our audience was another means of getting closer to them, I was ready to hear their stories as much as they might like to hear mine. This can awaken their consciousness in a way politics or radical activism may not, this on the other hand inspires both fellow artistes and our audience, give self-confidence to people who believe in something but feel that they are alone. 


FOR THE TRAILER OF DO WE NEED COLA-COLA TO DANCE VISIT:http://vimeo.com/1718985.

Fela! A New Musical Off Broadway

Armé de la terre and a other writing.

Armé de la terre !

This Soldier is special one, Usman the Soldier boy... lol

Few weeks ago I got the saddest news... or what can be as bad in a news
as knowing that ones close relation has joined the Army! 
He goes to war to fight those they call his enemy. Foolish Fool, 
he sees himself matured enough to go to war, 
but not cynical enough to know amongst whom his enemies are, 
how can you call people you don't know your enemies, 
neither do they know you,
his real enemies he has left back home, 
he has just accepted to be used as a sacrificial lamb 
for the world to move on.

Sometimes, if he is lucky not to have gone with the memories of the war, 
he maybe come back with what he calls good news of victory, 
hmm funny right? Forgetting that those he left at home are still around, 
and he will never be man enough to go blow their head off as his profession permits. 
Oh sorry, his profession permits, but only on his "foreign enemy"
Then what will be his gain, 
is he not wise enough to understand that he's been used 
as an apparatus for some people's power grabbing tussles? 
A political instrument who think one day he will be a hero, 
trained for the realization of the dreams of the gun makers 
and fought gallantly for the showbiz of politics and power. 

Just like in the movies, war films; 
every second the bullet is hitting somebody, 
someone his loosing his dear life for the dear war to go on, 
someone is struggling not to die 
and the other prefers to die than enjoying the pains of survival, 
someone is being used for awful images that passes emotion to the audience
but the camera never reminds us of those spear carriers, 
that are meant to die for the sake of the lead characters 
who turns out to be the heroes at the end. 

So now i'm thinking to myself now, Those we assume as heroes are actually far from it, 
the real heroes are unspoken, those who didn't made the media their homes, 
those who were not so much awaiting the public applaud of what they are/were doing
but affects lives of the populace and the localities they represent first, 
most heroes are self made isn't it? 
most heroes are criminals i must add, heroes my foot! . . . lol
there is always a first thought of self proclamation and a reason to fight 
that is far from the trumpeted motive, 
have you ever heard of a hero 
that got no link to politics in whatever form of it 
and not hyped by the media? 
Hero for the realization of a dream, 
for the survival of their friends, families, offspring and their generations to come.
is your hero known to others?


* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

My Squatter has started again.

How could you have done that to me
How could you?
Five minutes after you went into the cinema
I called you but your phone was 
Not reachable,
I called home, no one to pick it up
And you know you got the keys on you
You were almost so stupid to have done that
But at times you think you're so wise,
So if I hadn't think of something wiser 
I would have been outside the cold 
Waiting for you
I had to call the landlady
For a spare key,
Now she knows you live with me
And you know what that means
what's the reason for your stupidness and foolishness, 
don't you realize the consequence of your injudicious actions
At times you tire me
And moreover why didn't you wait
For me before going into the cinema
Anyway, how was the movie?
Don't you think it's a movie to watch?
Don't you want to answer me?
Why are you in this mood?
Is your melancholy back again?
But don't judge me by my words
Don't take them personal
I was only being sincere with you
Because I love you.
why u acting like a fool?
Qudus, You've started again.

In the quest of our lost SOULS and HUMANITIES.

Its no more news to proclaim Nigeria to be a rich nation in all angle we look at it, population wise, mineral and resource wise, religious wise, even cultural wise, and any nation cultivated enough should undoubtedly see reasons to feed her soul and humanity, but regrettably, it is the material aspects of our wealth, rather than the philosophical, the moral or the aesthetic ones that seem to dominate our policy orientation and our developmental growth trends. Before I will be hung for generalising, and finally ending up in stereotypes, my analysis is fully based on the malfunctions of the typical Nigerian society, which is largely made up of Nigerians as the case may be, furthermore, I will try to avoid any quote or reference point in this note, so we can understand that it is solely based on my personal frustration and my intuition of my primary society, with which I need no further reading nor research to analyse. 

Nigeria knows quite well that she is not an AK-47 carrying machine nor a money making monster, a nation with series of religious revivals, yet unaware of her spirituality, her constant pursuit for wealth in which she is obviously blessed with, will not make any heed, if her soul and humanity is still under the bondage of her maladies. Tragically, this rat race in the pursuit of material and financial relevance emanates from the Nigerian society, a society in desperate search for its soul, in search for the very raison d’etre, which only the liberal arts can provide. As an individual I have understood that being an artiste is not about making a conventional living, on the contrary, it is about accepting to make an otherwise living that continuously feed your soul and humanity. Faith in the money making sectors, on the other hand, has become almost a secular-religion, as achievements in those fields have become ever more spectacular, not only for Nigeria, but such has been the make believe all Nigerians deal with, so everyday we hear phrases popping out from our televisions, radios and dailies, advertising or celebrating the success of the oil companies, the telecommunication giants, the business tycoons, the banking system that has become a very important strength for Nigeria's economy, and so on. 

But even with all this wealth, success and adverts, slogans and billboards we are bombarded with daily, why is it still a reality that Nigeria is the worst nation in terms of basic amenities for her citizen? why is it that the rich kept getting richer and the poor poorer? why is it that majority still look up for the April showers, while minority uses excess to wash automobiles? why is it that our catalogue of the national maladies, that has crept upon every Nigerian, still include the undesirable manifestations such as greed, dishonesty, impatience, discourtesy, vandalism, indecency, brutality, armed robbery, drunkenness, cultism, tribalism, selfishness, ostentation, indiscipline, corruption, insensitivity to filthy surroundings and many other identifiable ills, why is it that the average Nigerian keeps reciting “May God help us”, when he or she is being confronted with the “misappropriated” billions, stolen everyday by day in Nigeria. If I'm asked, I can't give a better answer than to state it clearly that, any nation or group of people that has come together, with an intention of trade considered only in terms of volume or profitability, I mean when the primary discourse of their coming together is based on “50-50” or other number sharing formula, from that very moment the soul of such encounter is temporarily placed on hold, while something else close to the monster side of a normal human being is in play. 

I for one, have not been one of those who clings religiously to the concept of art for art's sake, but I try to understand at what point we actually need to draw the line, at what point do we say to ourselves “ok guys lets take it easy, cos if we continue at this pace we might hit the wall”, I give priority to the business of art as much as I give to the making of art for art's sake, just as an individual, i will go to Mosque on a Friday afternoon and later proceed to the club at night. What I believe the arts and humanities can do for Nigeria, is to be in continuous search of the soul of this nation, the money making sectors can go on to take care of the material well-being and infrastructures. 

However, the average Nigerians has misplace their priorities and become the passive fellows, in a system where our pacing machine functions better when it malfunctions, fabricating a society where success is only defined by the attainment of popularity or financial profit. In this epoch, where the higher man is raised higher based on his level of consciousness and intellectual hierarchy, which in no way is determined by how much money he makes, and only the arts in a wide range and sciences can produce or feed our soul in attaining the height of such man, but this ranking of the higher man is not synonymous with that of the Nigerian society. In recent times, I have been continuously reminded that in order to counsel a Nigerian youth or convince anybody about the credibility of a particular profession, career or project, you are obliged to talk extensively about the possibilities of making money from it, and die rich afterwards, not minding what else you will do with the money after making it, otherwise your preaching is as good as flaunting naira notes in the air and your job is done, case closed. 

This mentality that celebrates vanity fair in all hierarchies, has become the major factor why an average Nigerian will prefer to sell his or her vote, sell their future in exchange for few Naira notes, while some will prefer to be the modest ones, who prefers to watch and just go their own way, then they all sit back and ones again recite “May God help us”, not insightfully minding the fact that we encounter several millions, I mean a thousand millions before we arrive at just one billion, and look around you today, how many millions can we feel close to us, but everyday we hear series of billions diffusing into the air, and all we can say is “May God help us”. While I was in high school, we were made to understand that God as kind and generous as He is, will never help those who don't help themselves, so passing an exam goes beyond kneeling, closing our eyes and saying "May God help us". This monsters ruling us, don't even know who the God we call everyday is, even if God Himself comes down in any form, this monsters are ready to play politics with Him, it has become a way of life for them, and in that way of life, the normal thing is what they are doing, so we perhaps have a need to remind them that they are suppose to be accountable to us, they are suppose to be a servant to our nation and not the citizens being a servant, to their dictatorship and nonchalant attitude towards our sufferings and plights, so i will however pray to God for strength to be able to move towards emancipation by force, before begging God is His infinite mercy to punish them and their coming generations they claim to steal all these money for.

In assisting Nigeria, as a Nation in the search for her soul, the moral and ethical crisis facing Nigeria has been well enunciated by successive governments. The ethical revolution drive, the War Against Indiscipline (WAI) Campaigns, the National Orientation Agency (NOA) thrust, the Oputa Panel, the Independent Corrupt Practices and Other Related Offences Commission (ICPC) and the Economic and Financial Crime Commission (EFCC). All portend a trend towards the search for Nigeria’s soul. But we all need to be aware of the fact that, all these are initiations of the soul-less wild animals themselves, setting up their circus show, and when they mistakenly place a soulful individual at the head of it, they sooner or later feel threatened, and since they are the fixers of the rules, it becomes so easy for them to break the rule, because they know that at the end of the day, we are going to sit back and say “May God help us”. This soul can only be reached through what i refer to as "Operation CCC", it could be synonymous to celestial church of christ, but its very far from it, this is a Collective Constructive Criticism, backed by activism, philosophy, performing/creative arts, history and culture.

Nigeria's heritage and the Nigerian's inner spirit is embedded in these Liberal art forms, the ability to understand and appreciate our beliefs and values, to apply them humanly in our daily lives, and to explore the human experience in all its richness. In assisting Nigeria, as a Nation in the search for her humanity, Art is value-laden and targeted towards the nurturing and shaping of human virtues and moral values, the human life is empty without these values and virtues. For through the arts we discover how people of talent have continuously veered towards making moral, spiritual, and intellectual sense of a world in which irrationality, despair, loneliness, and death are as conspicuous as birth, friendship, hope and reason. The travails of these talented and creative breeds, has been to reinstating our daily diminishing souls and humanities, stretch our imagination and enrich our experience, which will however increase our distinctive human potential. Through the arts we should learn to play, learn to BE and not always to HAVE, learn to make choices, learn to criticise, to discriminate between the meritorious and the meretricious, between good and evil, through them we determine which endeavors are worthy of our best efforts, and ultimately we learn to know ourselves, our humanity socially, culturally as well as individually.

EXPOSED! Why Yar’Adua hunts Ribadu.

BY DICKSON OMONODE

THE recent quake in the cadres of Nigeria Police which swept many officers off their seats was just one script in a well-hatched game plan by the presidency to clip the wings of the former 

Chairman of the Economic and Financial Crimes Commission (EFCC) Mallam Nuhu Ribadu in an attempt to please certain interests in and outside the government, including President Musa Yar’Adua himself, it has been revealed. Ribadu was demoted from the rank of Assistant Inspector General of Police (AIG) to Deputy Commissioner of Police (DCP) along with 139 other officers. 

While a good number of Nigerians did not see any justification for the action of the Chief Parry Osayande-led Police Service Commission (PSC) particularly from the legal perspective, information available to National Daily strongly suggest that Yar’Adua and some other powerful officials of the state had targeted Ribadu for ‘destruction’ via demotion for reasons of his intelligence image hunting them.

The problem Ribadu now faced dates from soon after his re-deployment as a student to National Institute for Policy and Strategic Studies (NIPSS), Kuru, in January this year, when he reportedly confided in a friend that “these people do not know what I have on them even Mr. President. I can rock their boat and let the world know that they are not clean as they claim.”

National Daily investigations revealed that Ribadu may have been sold out to the authorities by that friend as information later got to Presidency that the former EFCC boss had a dossier on Mr. President, some former governors and other public office holders. Particularly, the world-acclaimed anti-corruption warrior is believed to have in his possession copies of the investigation activities of the cases involving very powerful officials, both serving and past while he was Chairman of the Economic and Financial Crimes Commission (EFCC).

According to Presidency sources, this was why the State Security Services (SSS) were to be unleashed on Ribadu just as the police have taken care of Mallam Ibrahim Magu, another strongman at the EFCC under Ribadu. Magu’s residence was first raided for allegedly being in possession of damaging documents against prominent persons in the country before he was eventually arrested by the police. Specifically, about 24 hours after his demotion was announced the SSS invited Ribadu for questioning. The secret service operatives even visited Kuru in Jos where Ribadu was to effect his arrest but met his absence as insiders had given him a tip-off. Accordingly, “trump up charges have been prepared by the Justice Ministry and should Ribadu be arrested, he would end up in jail, insiders say.

On the president, it is believed that details of allegations of unspent campaign funds from the last Presidential elections allegedly running into about N7billion, and Yar’Adua’s ties with German Construction giant, Julius Berger, a company that is under the intense searchlight of German apex investigation body known as the GKA for offering bribes to Nigerian Government officials are also among issues the President has with Ribadu.

Though, Yar’Adua soon after he assumed office as President in 2007 had publicly declared his total assets with everything put at less than a billion naira, Ribadu is said to have some damaging report on the unspent campaign funds for both the 2007 presidential and the financial activities of Mr. President while he was governor of Katsina State.

Besides the unspent campaign funds, President Yar’Adua was also said not to be comfortable with the information available to Ribadu over the bribe-for-contract scam involving the construction giant; Julius Berger. The company has reportedly been under investigation by its parent country Germany in recent time over some bribery allegations and the company’s Vice Chairman, Dr. Han Wittmann was said to be at the centre of the scandal.

Intelligence source confirmed to National Daily that Wittman has been helping Yar’Adua to secure the best medical help in Germany and so would want the President’s intervention as the Economic and Financial Crimes Commission (EFCC), under Ribadu’s chairmanship had reportedly co-operated fully with the GKA with whom they have an existing high-level Mutual Legal Assistance status (MLA).
Julius Berger Nigeria Plc, the civil engineering giant which dominates construction contracts in Nigeria, was named early in the year as a conduit in the bribery of top officials of the Peoples Democratic Party (PDP) - but the company has stoutly denied playing any role in the alleged scandal

The bribes were allegedly wired through Julius Berger, a Nigerian company in which the German group holds 49 per cent shares equity. A German construction group, Bilfinger Berger, has been accused of paying kick-backs to PDP officials, the German news magazine Der Spiegel reported in May this year.
At the time of the alleged payments, the Bilfinger Berger group was reportedly seeking the contract to build a gas-liquefaction plant for Nigeria's gas-export industry.
The GKA, according to our sources, was taking serious advantage of the high level secret MLA status it has with the EFCC (as there is no such treaty between Germany and the Nigeria government). Already, sources further disclosed, the GKA was closing in on Julius Berger with the assistance of EFCC which was somehow billed to commence local investigation into company’s activities in Nigeria sometime this year but for Ribadu’s movement to NIPSS.

With this co-operation between EFCC and GKA on one hand and similar agreements between the anti-graft agency other countries and international bodies over the years, Ribadu’s international image has become upscale and this, according to our source, is now hunting Yar’Adua and his government.

Beyond the presidential anger against the former EFCC boss, some former Inspectors General of Police (IGPs) were also said to have called for Ribadu’s head for daring to disgrace one of their own – Tafa Balogun on issues of corrupt practices.

The former police chieftains were said to be very bitter against Ribadu over his “strong-handedness” when they tried to intervene in some corruption cases he (Ribadu) was investigating. They also are piqued especially at the way he handled the Balogun matter, accusing him of not showing any measure of respect for the office of the IGP. They also pointed out the use of handcuffs on the former police chief and the way he was reportedly dragged by a moving car.
National Daily investigation revealed that when charges of corruption involving multi-billion naira were brought against Balogun soon after he was forced to resign from his position of inspector general of police in 2005, some former IGPs had tried to intervene in the matter but Ribadu who had a direct brief from the then President Olusegun Obasanjo was said to have adopted a hard-line posture that made it impossible to mitigate Balogun’s travails.

As a serving police officer, they had expected Ribadu to use his position in ensuring that Balogun was treated with some measure of dignity during the trial. That was certainly not the case, as the former inspector-general of police was hand-cuffed and dragged to the court like a common criminal. He was on one occasion even bullied and felled on the premises of the court premises by the anti-graft agents when he hesitated to board their vehicle. But to most Nigerians, what the EFCC did was not wrong insofar as Balogun was a suspect standing criminal trial like any other suspect. 

Some senior police officers had confided in National Daily last week that Tafa Balogun possibly knew that he would have time to revenge when he said “I will bounce back” soon after his conviction with a few months imprisonment after having entered plea bargain with the prosecutors. To such officers, Balogun may unarguably be an ally with the powers that be in the plotting of Ribadu’s current downfall from the pinnacle of grace.
Ribadu is also said not to be in the good books of the incumbent Police 

Inspector-General Mike Okiro is believed to still be upset that when he (Ribadu) was posted to NIPSS, Ribadu bluntly refused on the pages of the newspapers. Even when the former EFCC boss came back to see Okiro, the IG refused him audience and asked that he “obeyed the order first before complain”, which meant that he reported at NIPSS first.

Just as these exclusively gathered information were being tidied up, another source hinted on the fact that a statement credited to Ribadu during the campaign for the presidential elections early last year where he was quoted to have said the only Presidential Candidate he would have supported irrespective of political party affiliations was General Muhammadu Buhari, the All Nigeria People’s Party (ANPP) because of his integrity and uprightness did not go down well with loyalists of Yar’Adua. They are said to have re-echoed this alleged comment by Ribadu to convince Mr. President that the former EFCC boss never believed in him (Yar’Adua), and could spill the beans any day if “he is not caged”, hence the onslaught. These issues, according to sources, make the President jittery.

Further revelations will unfold in the massive hunt for Ribadu’s head, the sources said, adding that they would be unveiled as time goes on. But no words yet on the place for his vexed intelligence dossiers in the country’s continuing war on corruption. One thing is however evident in the air at the moment is the heightened anxiety over the safety of Mallam Nuhu Ribadu, the former EFCC Chairman.