Welcome to Jamaica Bay Wildlife Refuge
Gateway National Recreation Area was established in 1972 to offer a national park service experience to an urban audience. Gateway is a large, diverse urban park with 27,000 acres spanning Sandy Hook in N.J. and Jamaica Bay and Staten Island in N.Y. It is the 4th most visited National Park Service unit with more than 9.2 million annual visitors.
By Oyiza Adaba
Gateway National Recreation Area was established in 1972 to offer a national park service experience to an urban audience. Gateway is a large, diverse urban park with 27,000 acres spanning Sandy Hook in N.J. and Jamaica Bay and Staten Island in N.Y. It is the 4th most visited National Park Service unit with more than 9.2 million annual visitors.
Staff from Gateway National Recreation Area and Jamaica Bay Rockaway Parks Conservancy hosted foreign journalists for a press tour of the Jamaica Bay Wildlife Refuge. The Foreign Press Center New York organized this tour for members of the foreign press to cover the most recent park activities and initiatives to create a living shoreline, mitigate the impacts of extreme weather, and ensure overall climate resilience not only for this site but also for the surrounding communities. With the devastation and loss from recent hurricanes and floods, public-private partnerships like this are one of the ways coastal communities are working to mitigate environmental degradation and other losses.
LESSON FOR COP29
Climate conferences like the recently concluded COP29 can learn a lesson or two from Jamaica Wildlife Refuge - a prime example of one putting its climate dollar where its mouth is.
"In the distance, you can see the New York City skyline."
Tucked away in the Queen's Rockaway area is a wildlife refuge that houses a one mile gravel trail visited by 9.2 million visitors yearly, a wide species of rare birds and a preservation story that even Hurricane Sandy couldn't wash away.
It is no longer news that the earth's land mass is shifting and disappearing due to natural weather occurrences like hurricanes, erosion, drought, tsunamis, etc.
When Hurricane Sandy hit the New York area in 2017, much of the land where the Refuge sits, was wiped away, causing the devastating loss. For its minders, the Gateway National Recreation Area, it was an opportunity to find new ways to reclaim the conservatory.
Gateway, the fourth most visited national park unit, was established in 1972 to offer park services to urban audiences through its large diverse urban parks, with 27,000 acres spanning Sandy Hook in New Jersey and Jamaica Bay on Staten Island in New York.
On this day, Daphne Yun, Terri Carter and Elizabeth took members of the for press on the mile long tour that showed some of the experiments, trials, failures and ultimate success stories that went into rebuilding the shoreline after the storm.
With mitigating future impact in min, the team adopted both scientific and experimental tricks to
Worthy of emulation by coastal communities around the world is how the goal became attainable through public private partnership - a structure that kept all stakeholder accountable and paid attention to the littlest detail.
The Jamaica Wildlife Refuge is open to the public for trail walks, birdwatching. There is a shop/museum on the premises.
Photos by Africa-Related
COLONEL VICTOR BANJO – APRIL 01, 1930 to SEPTEMBER 22, 1967
Today marks the 57th anniversary of execution of Col. Victor Banjo, a brilliant and revolutionary soldier.
Today marks the 57th anniversary of execution of Col. Victor Banjo, a brilliant and revolutionary soldier.
Excerpts from the book: COLONEL VICTOR BANJO - A REVOLUTIONARY BETRAYED - by Niyi Aborisade. Please visit here for your copy and other books of interest on Nigeria Political History.
Col. Victor Adebukunola Banjo was born on April 01, 1930 to the family of Mr. James Herbert Banjo and Chief Mrs. Sabina Banjo. He was the third child of his parents. Both of his parents hailed from Ijebu-Ode in today’s Ogun State.
His parents were fairly educated. His father was an officer of the British Crown in Nigeria, who had a distinguished career as a Lay Magistrate with co-extensive record of service all over Nigeria and parts of Cameroon. He was a self-taught legal officer who distinguished himself by an unusual understanding of the fundamentals and basic principles of the English law. His mother was a product of Girls Seminary Lagos, a School founded by the Church Missionary Society (CMS). Through her training and upbringing at home and in School, Chief Mrs. Sabina Banjo became a deeply spiritual and prayerful mother who groomed her children in the ways of God to love people unconditionally and work selflessly to uplift the downtrodden.
Col. Banjo’s siblings are all distinguished individuals in their own rights. His sister, the first child of his parent is Professor Felicia Adetoun Ogunsheye (nee Banjo). She is the first female Professor in Nigeria. She is a Professor of Library Science. She will be 98 years old on December 05, 2024. Next to her is Dr. Ademola Banjo, who attended the University College Ibadan, Manchester University, UK and Harvard University in USA. He became the first Nigeria to obtain a doctorate degree in Metallurgical Engineering. Col. Banjo immediate younger brother was Professor Adesegun Banjo. He was the first Nigerian to earn a doctorate degree in Ultra Structure and Electro-Microscopy. He was a surgeon and Professor of Human Anatomy in USA before he became involved in the struggle for the actualization of mandate given to MKO Abiola after the June 12, 1993 General Election. He plotted an armed struggle against the Government of General Sanni Abacha, unfortunately his plan was thwarted by overzealous port officials in Benin Republic who detected shipment of ammunition for the armed struggle. He was arrested and detained and later released in 1999. He died in 2019 due to debilitating cancer of the blood.
Col. Banjo was married to Mrs. Taiwo Joyce Lucretia Marion George, a Creole from Sierra Leone, but of Yoruba extraction. His children made success of their various careers. His first child, Funto Banjo Oyelese became a Director of Education with Lagos State Ministry of Education. Second child, Ayodele Banjo is a Civil Engineer from then University of Ife, now Obafemi Awolowo University. He is also a Chartered Accountant. His third child is Professor Olayinka Olusola Omigbodun. She is the first female Psychiatric Professor in Nigeria and the first female Provost of the College of Medicine, University of Ibadan. The fourth child is Adeyemi Banjo who was born in 1965 and was barely six month old when Col. Victor Banjo was taken into custody on the orders of the Military Head of State, General Aguiyi Ironsi. He barely recognized his father and could not have formed any impression about him beyond some snippets he must have formed from his mother and older siblings.
Col. Banjo attended CMS Grammar School. He joined the Army in November 1953 as a Warrant Officer II. He attended various Military Training Schools in Ghana and in the UK. While in England, he took London GCE A-Level examinations and passed with flying colours, a feat that positioned him for university admission into the University of London. Due to his brilliant performance, he was the 16th Nigerian to be commissioned as an officer, shortly after he joined the Army. In 1958, the Army sponsored him for a degree programme in UK. He obtained a degree in Mechanical Engineering from the University of London. General Olusegun Obasanjo, the former President of Nigeria described him as a brilliant officer and that he was the first Nigerian to be sponsored for a degree course by the Colonialists. He said, “For someone to be sponsored for a degree course in the Army at that time showed that he was more than the average person”. Up until 1960, there were about five graduates in the Nigerian Army and Major Adewale Ademoyega was the last graduate to be commissioned in 1961. The five graduates as of 1961 were Col. Odumegwu Ojukwu, Col. Victor Banjo, Major Olufemi Olutoye, Major Emmanuel Ifeajuna and Major Adewale Ademoyega.
After the failure of the January 15, 1966 coup, General Aguiyi Ironsi became the Head of State. Col. Banjo was never a party to the coup. According to Captain Ben Gbulie, Col. Banjo was unrestrained in the condemnation of the coup plotters and described them as being “blatantly destructive” and he boasted that he and his loyal colleagues in the Nigerian Army would crush the coup plotters. He was one of those who persuaded General Aguiyi Ironsi to take over the government when they had crushed the coup when it became apparent that the failed coup had taken many politicians, including the Prime Minister. He was the one who mobilized the troops and organized a meeting of loyal troops to cooperate with General Aguiyi Ironsi to preserve the established hierarchy of the Nigeria Army. He persuaded the Hausa officers to accept General Aguiyi Ironsi as the Head of State.
However, on January 17, 1966, barely three days when General Aguiyi Ironsi assumed office as Head of State and within such time, Col. Banjo was becoming too popular for some people’s liking and was arrested on flimsy excuse that he had his service pistol in his pocket while waiting to meet the head of State, which was contrary to the laid down regulation. They further alleged that he was among the January 15, 1966 coup plotters. He was actually waiting to see the Head of State when his comrades in the Army, Major PA. Anruwa and Lt. Col. GT Kurubo pretended to be admiring the latest weapon he was carrying. They both requested his permission for them to handle the sophisticated weapon, which he innocently handed over to them since he had no ulterior motive. He was then arrested on “account of planning a coup to topple General Aguiyi Ironsi in support of the January 15, 1966 coup plotters”.
To say the least, Col. Banjo was very surprised at the turn of event. He was initially detained in Lagos and later in the Eastern part of Nigeria. He was in the East until the outbreak of the civil war in 1967. He wrote to General Aguiyi Ironsi on June 01, 1966 proclaiming his innocence but this was to no avail.
On May 30, 1967, Col. Ojukwu declared the birth of the Republic of Biafra and this declaration was greeted with enthusiasm in the East as virtually everyone and groups in the East embraced it. The East had the most senior officers before the counter coup of July 1966 as many had been killed during the pogrom of July 29, 1966 in the North. Nevertheless, they still had higher numbers of senior military officers than the whole of Nigeria. It must however be said that Col. Ojukwu was not prepared in terms of weapons. Mere zeal and rhetoric were not synonymous with adequate weapons of war. On the day he declared secession, he had few weapons to face the mighty Nigerian Army.
Col. Banjo was released by the new Biafra Head of State; Col. Ojukwu and he Col. Banjo stayed with him in Enugu which was the capital city of the new Biafra. Col. Banjo later formed the 101st Brigade of the Biafra Army. A Brigade is a major tactical military formation that is typically made up of three to six battalions and other elements. A Brigade can be made of up to 3,000 to 5,000 soldiers. He formed this Brigade from scratch and transformed it into a standard fighting force. His position of authority and influence did not go down well with some Biafra military officers, among who was Alexandra Madiebo whose 51st Brigade was under Banjo’s sphere of authority and command. Banjo command covered Nsukka and Nkalagu operational areas. This was one of the first issues Banjo had in Biafra, a non-Biafra with such a large command. He built the Brigade from the scratch and transformed the erstwhile rustic soldiers with crude weapons into a formidable and positively motivated fighting force. He was far ahead of his colleagues in military tactics, operations and strategy. Whilst his colleagues such as Major General Philip Effiong and Major General Alexandra Madiebo concentrated on the defensive position as was in the military textbook, Banjo decided to launch an attack and take the fight to the enemies, sharing the Israeli belief that offence was the best form of defence.
When Banjo was promoted to the rank of Brigadier by General Ojukwu, he made it clear that it would be wrong to use the name ‘Biafra Army’ in the Midwest because that will give an impression that the Biafra Army was an Army of occupation. He said that Biafra still needed the cooperation, even if tacit, of Midwest and South West to push through in confronting the Northern dominated Army in Lagos. He said all efforts must be made to present the Biafra Army as one of liberation, with clear mandate to relieve their people of the burden imposed by the Northern dominated Nigeria State and Army. This was the core of the gentleman agreement between Banjo and Ojukwu. This was what informed Banjo decision to code name the 101st Brigade, “The Liberation Army of Nigeria”. He reorganized the 101st Brigade and chose disciplined officers to execute his plans. He made Lt. Col. Emmanuel Ifeajuna, one of the coup plotters of January 15, 1966 his Chief of Staff. Banjo turned the 101st Brigade into a brutally efficient war machine, recording lightning–speed successes one after the other.
On August 09, 1967, Brigadier Banjo led his Liberation Army into Mid-West in an operation code named “Torch”. He split up his army on reaching Agbor, with the 12th Battalion under Lt. Col. Akhaga moving West and capturing Benin and Ore. The 13th Battalion under Lt. Col. Mike Ivonso took Auchi, Agenebode and Okene. The 18th Battalion under Major Chukwuka took over Warri, Sapele and Ughelli. Within 12 hours, the Liberation Army of Nigeria had completely taken over the Mid-West. David Ejoor, the Nigeria Military Governor was lucky to escape the ambush set up secretly by Ojukwu. The plan to abduct Ejoor was hatched without the knowledge of Banjo and this might have been responsible for his escape.
Immediately after the Liberation Army of Nigeria over ran the Mid-West, serious disagreement arose between Banjo and Ojukwu. First, Ojukwu was advised by senior Igbo Military officers to take power out of Banjo’s hand, they said, afterall, all the ammunition and soldiers were from Biafra. Secondly, Ojukwu rebuffed Banjo’s advice that new Governor of Mid-West should be from the non-Igbo Mid-Westerners like Lt. Col. David Ejoor, Samuel Ogbemudia or Col. Trimnell. This advice was predicated on the need to make the Mid-Westerners feel at home and not think that they are being ruled by Biafra. Ojukwu ignore this advice and appointed Albert Okonkwo, an Igbo Mid-Westerner as the Governor of Mid-West or Republic of Benin as Ojokwu preferred to name it.
Despite the disagreement between Ojukwu and Banjo as to who should be Governor of the Mid-West, Ojukwu ordered Banjo to proceed to take Lagos at all cost despite inadequate ammunition and personnel to confront the almighty army on the Federal side. Even though Banjo had some good officers in the persons of Lt. Col. Emmanuel Ifeajuna, Lt. Col. Adewale Ademoyega who had also been released from prison by Ojukwu to fight on his side, Lt. Col. Mike Ivonso, Major Chukwuka, Lt. Oyewole and Lt. Adeleke. Both Lt. Oyewole and Lt. Adeleke were also released by Ojukwu from prison to fight on his side. Both were later promoted to captain. Notwithstanding the sterling qualities of these officers, they were no match to the officers on the Federal side that were better armed with good weapons. Such officers were Brigadier Benjamin Adekunle, popularly known as the Black Scorpion and Commander of the dreaded 3rd Marine Commando and one of the major heroes of the civil war. There were Col. Obasanjo who was Ibadan Garrison Commander, Col. Murtala Muhammed, Lt. Col Alani Akinrinade and Lt. Col. Alabi Isama. These were better equipped officers that Ojukwu commanded Banjo to take on with inadequate soldiers and ammunitions, things that the Federal side had in abundance.
Ojukwu gave Banjo three conditions via a letter dated August 22, 1967. The conditions are: First, Banjo should not have anything to do with Military Administrator of the Mid-West territory during his sojourn there before the invasion of the West. Second, during the period of Biafran troops’ presence in all territories subdued, all political measures, statements, or decrees shall be subject to approval in writing by Ojukwu or his authority. Third, should the Biafra troops arrive and liberate Lagos, the government of the Republic of Biafra reserves the right to appoint a Military Administrator for the territory. The last conditions exposed the inordinate ambition of Ojukwu. It is possible he would have nominated an Igbo Military Governor over Lagos and by extension the West just as he did in Mid-West.
Banjo realizing the enormity of casualty that will arise in the heart of Yorubaland if he is to fight his ways to Lagos with little ammunitions and soldiers, took advantage of the visitation of Wole Soyinka and send him (Soyinka) to Obasanjo for Obasanjo to allow him a free passage to Lagos through Ibadan and that Soyinka should let the West understand that the he is not leading a Biafra army but an Army of Liberation made up of other ethnic groups. For obvious reason, Obasanjo refused this plea. Obasanjo told Soyinka to tell Banjo that he can use alternative routes like waterways or air to reach Lagos and that he, Banjo need not come through Ibadan as he will not yield his ground for anybody. It was this errand that almost caused Soyinka his life, but was lucky to have a kind-hearted man in person of General Gowon who rather put him in prison than executing him. He spent more than 24 months in prison until his release in 1969. If he had done same to Ojukwu, he will not live to tell the story and he would have been promptly labelled saboteur which was the in-thing in the Republic of Biafra then. If Soyinka had succeeded in his mission and convinced Obasanjo, the story of the civil war could have been a different one.
Of all the civil war battles, the battle at Ore was the fiercest. It was so deadly that it was named “Oleku, ija Ore” in Yoruba language or simply ‘Deadly Battle at Ore” or “Mother of All Battles at Ore”.
The battle to recapture Mid-West started with the coordinated efforts of Benjamin Adekunle’s 3rd Marine Commandos who took over the towns of Koko, Sapele, Warri, Ughelli, Orerokpe, Umutu and Itaga in the Mid-West. He was also assisted by Lt. Col. Alani Akinrinade and Alabi Isama. On September 20, 1967, Benin fell into the hand of troops led by Col. Murtala Muhammed and that ended the Biafra Government in Mid-West.
During the stalemate when Banjo, by necessity due to lack of adequate weapons and heavy bombardment from the Federal side halted his advance to Lagos, he was quickly labelled a saboteur. This was not true, Banjo simply refused to commit mass murder and waste the lives of his soldiers in the face of a great odd and impossible situation.
During the war, Ojukwu had some spies whose duties were to visit Commanders at war fronts and secretly interview them on the State of things. Anyone who expressed himself against the Commander-in-Chief on his poor management of the war and tactics was penned down as a saboteurs. Col. Achuzia was Ojukwu favourite spies. According to Phillip Effiong, it got to a stage when even advice must be carefully given, otherwise one will be labelled a saboteur. He said “Ojukwu spies were everywhere”. In his book The Cage Bird Sang No More, Phillip Effiong maintained that Ojukwu’s “Military appreciation was amateurish ….. he indulged in debates and seminars while the collapse of Biafra was starring us in the face. No saboteurs could have been more effective”. Ojukwu was responsible for the fall of Biafra, unfortunately he needed a scapegoat and found one in some of his officers including Banjo who stood taller above all other officers and who was too independent for him.
Ojukwu invited Banjo to a meeting Enugu, and when Ojukwu was told of his arrival, Banjo was promptly disarmed and arrested on account of planning a coup against the Commander-in-Chief. Lt. Col. Emmanuel Ifeajuna, Major Phillip Alale and Major Sam Agbam had all earlier been arrested but unknown to Banjo. Banjo defended himself against two allegations levied against him. Contrary to the lies in some quarters that Ojukwu obtained his confession. There was no confession anywhere because there was nothing to confess about and no confession statement was tendered at his trial. The two allegation are; one, violation of law and maintenance decree, a charge of insubordination for retreating from Ore and turning back from capturing Lagos and two, subversion as an intention to cause public disorder aiming at capturing power in Biafra. These allegations were a total surprised for Banjo. If truly he wanted to overthrow Ojukwu, he would not have honoured the invite or he would not have gone with just his escort. He would have gone with his troops that would have taken over and shot his way out. After his arrest, he was replaced by another Yoruba man in the person of Lt. Col. Adewale Ademoyega was also released by Ojukwu. He too was later arrested and detained in the same building with Banjo but not the same cell, where Banjo, Ifeajuna, Phillip Alale and Sam Agbam were detained. Ademoyega was never tried and he survived the war. He was briefly 'freed' after the war but the Federal forces put him right back in detention for his participation as part of the Liberation Army.
He was finally released along with twenty others during the 1974 Independence Day amnesty.
Ojukwu constituted a Special Military Tribunal headed by Godwin Nzegwu, a lawyer from Onitsha. He was a great lawyer of impeccable character and sense of duty who was committed to upholding the rule of law. Ojukwu had ordered the Tribunal in advance to condemn Banjo and others as he had already adjudged them guilty. Having listened to the defendants and in the absence of any documentary evidence to establish a case against them, not even the purported confession was tendered, Godwin Nzegwu refused to participate in the murdering of innocent souls. For failing to find them guilty as was ordered, he too was arrested by Ojukwu and detained till the end of the war.
Having removed Lawyer Godwin Nzegwu as the Chairman of the Special Military Tribunal and had him detained, Ojukwu looked for a judge that will do his bidding and he found one in the person of Justice George Ekemena with a strict order that the accused must be found guilt. And that was exactly what the Judge did. Col. Banjo presented his evidence as a litigant in person and also spoke for other accused, i.e. Lt. Col. Emmanuel Ifeajuna, Major Phillip Alale and Major Sam Agbam. Ojukwu Special Military Tribunal found all the accused persons guilty and they were condemned to death by firing squad. The trial was conducted and concluded on September 20, 1967. Just a day trial!
Lt. Col. Adewale Ademoyega in his Book Why We Struck, said he saw the heads of the four condemned men last on September 21, 1967 from his cell, while they were being led out. He said Lt. Col. Emmanuel Ifeajuna last words to him were: “Wale, we have been condemned to death and unless a miracle happens, we could be shot any time, please take care of my wife and children”.
The condemned men were shot on September 22, 1967 and were buried in unmarked graves. It was reported that Col. Banjo was shot several times because he was shouting that he was not dead yet, which made the executioners combined and directed all their fire-power at him. They eventually silenced the great soldier, a great ideologue and a revolutionary. He was just 37 years old when he was killed in his prime not on the battlefield but by a friend turned fiend.
Ojukwu was later pardoned by the Federal Government and had all his benefits paid to him as a Nigerian soldier. This made Col. Achuzia to berate him and condemned what he was paid by the Federal Government as blood money because many of those who fought for him were not compensated and Ojukwu did not fight for them to receive their benefits.
Col. Banjo was not dismissed from the Nigerian Army, and neither was his gratuity paid to his family to date. Ojukwu did not release or mention the place where Banjo was buried to date. The Federal Government ought to have declared Banjo dead instead of declaring him Missing in Action. The war ended 54 years ago and they knew that he had been executed by Ojukwu.
May the soul of Colonel Victor Adebukunola Banjo, Lt. Col. Emmanuel Ifeajuna, Major Phillip Alale and Major Sam Agbam rest in peace, amen.
Excerpts from the book: COLONEL VICTOR BANJO - A REVOLUTIONARY BETRAYED- by Niyi Aborisade. Please visit https://sunshinebookseller.com for your copy and other books of interest on Nigeria Political History.
COPIED.
'DELA' Interview: Remembering Tam Fiofori
'DELA' Interview: Remembering Tam Fiofori - Filmmaker Visionary Historian Critic This interview was conducted in June 2021 for the biographical documentary DELA: The Making of El Anatsui, directed by Oyiza Adaba.
By Oyiza Adaba
UNCLE TAM
1942-2024
Filmmaker Visionary Historian Critic
This interview was conducted in June 2021 for the biographical documentary DELA: The Making of El Anatsui, directed by Oyiza Adaba
The legendary Tam Fiofori, during his interview for ‘DELA’.
“I’ll be a bit rude and say that the Nigerian Elite is yet to be civilized in terms of the arts. We must be quite blunt. Look at our political leaders, our so called, big rich men. Go to their houses. How many artworks Do you see? How many books do you see?”
Rest In Peace
From all of us
Africa-Related & DELA! Team
“... we don’t have beauty in our society, and it manifests in the way we behave, because it’s become a dog-eat-dog society, a rat race where the drive is to acquire money and wealth.”
Follow the Film
“We must be a bit careful about The Western world defining and grading our creative people in all genres, from music to literature to the arts. EL ANATSUI is one of Africa’s greatest artists, that’s the way I’ll describe him. In terms of contemporary art. He is very outstanding. He’s a huge figure, and he’s a great credit to art from Africa.”
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REMINDER! The centenary celebration of James Ene Henshaw (1924 -2007)
The centenary celebration of James Ene Henshaw (1924 -2007) will kick off with a seminar themed, ‘This Is Our Chance Revisited’, on August 29, 2024, from 12:00PM (WAT). The seminar is organized by the James Ene Henshaw Foundation.
Seminar Invitation by JEHF
“Beautiful. This Is Our Chance still remains my favourite novel from junior school”
The centenary celebration of James Ene Henshaw (1924 -2007) will kick off with a seminar themed, ‘This Is Our Chance Revisited’, on August 29, 2024, 12:00PM (WAT). The seminar is organized by the James Ene Henshaw Foundation.
The seminar will begin with Mallam Denja Abdullahi giving a brief introductory address and Peter Olorunnisomo summarising the play.
Dr. John Yesiebo of the University of Port Harcourt will speak on ‘Maintaining Tradition in the Onslaught of Modernity’. Director of Arojah Theatre, Abuja, Mr. Jerry Adesewo will speak on ‘Tribal Enmity – The Role of Theatre in Nation-building’. Dr Wale Okediran, Secretary-General of Pan-African Writers Association, will speak on ‘Damba and the Challenge of Leadership’; Dr Ekua Ekumah of the University of Ghana, Legon, on ‘The Role of Women in This Is Our Chance‘.
Prof. Liwhu Betiang of the University of Calabar on ‘Reflection – Why Henshaw is Important in the History of Nigerian Drama’. After a 30-minute break for comments and questions, Prof. Effiong Johnson of the University of Uyo will dwell on ‘Musings on the Plays of James Ene Henshaw’, with Dr. Patrick Jude Otteh of Jos Repertory Theatre making critical remarks to bring This Is Our Chance seminar to an end.
THE COLLECTED PLAYS OF JAMES ENE HENSHAW
THE COLLECTED PLAYS OF JAMES ENE HENSHAW. A collection of the major plays by the renowned playwright:
- This is Our Chance
- Jewels of the Shrine
- A Man of Character
- Medicine for Love
- Children of the Goddess
- Magic in the Blood
- Companion for a Chief
- Dinner for Promotion
- Enough Is Enough
Available Here:
- JEHF @ £20 (UK)
- Allrange Professional Bookstores, Lagos +2348034544428 N18,000 (Nig)
Scenes from THIS IS OUR CHANCE, Cultural Centre, Calabar, Dec. 2013. Photos by JEHF
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Black Public Media 2024 Open Call to offer $175,000 in funding for Black stories
NEW YORK (August 20, 2024) — Black Public Media (BPM)
has issued its 2024 open call for projects that center Black culture, characters, communities and concerns. A total of $175,000 will be awarded this year to U.S. documentary projects currently in pre-production, production or post-production, and intended for public media distribution. The 2024 submission portal (
https://blackpublicmedia.org/for-media-makers/bpm-open-call/
) goes live on Tuesday, September 3, and closes on Monday, September 30 at 11:59 p.m. ET. Since its inception, BPM has invested more than $17 million toward iconic documentaries and emerging media projects about the global Black experience.
FOR IMMEDIATE RELEASE
BLACK PUBLIC MEDIA ISSUES OPEN CALL FOR BLACK STORIES
BPM to award a total of $175,000 in current round of funding
NEW YORK (August 20, 2024) — Black Public Media (BPM) has issued its 2024 open call for projects that center Black culture, characters, communities and concerns. A total of $175,000 will be awarded this year to U.S. documentary projects currently in pre-production, production or post-production, and intended for public media distribution. The 2024 submission portal (https://blackpublicmedia.org/for-media-makers/bpm-open-call/) goes live on Tuesday, September 3, and closes on Monday, September 30 at 11:59 p.m. ET. Since its inception, BPM has invested more than $17 million toward iconic documentaries and emerging media projects about the global Black experience.
This year BPM — a Harlem-based national media arts nonprofit that trains talented storytellers and funds and distributes their works — welcomes feature-length documentary projects in a range of formats, styles, subject matter and genres, including those that target specific viewers such as children and teen audiences. The projects should be compelling, nuanced stories that add the point of view, experiences and concerns of the Black communities to the larger public discourse.
Applicants must be the producer or director of the project with at least three years of professional producing and/or directing experience (or must have a senior producer attached to the project). The applicant must be able to complete the project within 18 months. Additional requirements can be found at: https://blackpublicmedia.org/for-media-makers/bpm-open-call/.
This fall, a panel of media professionals across the industry will evaluate the proposals in a two-tier review process that assesses the project idea and story, production readiness, production team, project budget and work sample. And in December, BPM will announce the five applicants who will receive a $5,000 stipend, an invitation to its talent development program and the opportunity to participate in PitchBLACK, the largest pitch competition for independent filmmakers and creative technologists developing new projects about the global Black experience. One of these projects will win a $150,000 PitchBLACK Award for a broadcast-length or feature project.
“Each year we are amazed to see the myriad, layered stories which are bubbling up from all corners of this country from such gifted creatives,” said BPM Executive Director Leslie Fields-Cruz. “We look forward to helping these makers bring their important work to American viewers.”
Prospective applicants may register to attend BPM’s virtual information session on Tuesday, August 27, at 6 p.m. EST at: https://us02web.zoom.us/webinar/register/WN_j6eYTqC9Q_qyHMWGIr0v7A.
BPM’s 2024 Open Call is supported by the Corporation for Public Broadcasting, Netflix, the MacArthur Foundation, the Tarver Walls Foundation, Paramount+, the New York Community Trust, the Jerome Foundation, the Tides Foundation, Acton Family Giving and Gimlet.
For more information on Black Public Media, visit www.blackpublicmedia.org, or follow it on X (@BLKPublicMedia),
Facebook (@BlackPublicMedia), Instagram (@blackpublicmedia) or TikTok (@black-public-media).
ABOUT BLACK PUBLIC MEDIA:
Black Public Media (BPM) supports the development of visionary content creators and distributes stories about the global Black experience to inspire a more equitable and inclusive future. For 45 years, BPM has addressed the needs of unserved and underserved audiences. BPM-supported programs have won five Emmys, 10 Peabodys, three Anthem Awards, 14 Emmy nominations and an Oscar nomination. BPM continues to address historical, contemporary, and systemic challenges that traditionally impede the development and distribution of Black stories. For more information, visit blackpublicmedia.org and follow BPM on Instagram and Facebook and @BLKPublicMedia on X.
# # #
For interview and media inquiries, contact:
Cheryl L. Duncan
Cheryl Duncan & Company Inc.
201-552-9239 (O)
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Tom Adaba Legacy Champions ROOTS RUNWAY
A flagship project that is aimed at reviving cotton farming in Nigeria and globally promoting the ancient Ebira weaving tradition, has been announced.
Press Release:
Tom Adaba Legacy Champions ROOTS RUNWAY - A Community-Driven Initiative
A flagship project that is aimed at reviving cotton farming in Nigeria and globally promoting the ancient Ebira weaving tradition, has been announced.
ABUJA, FCT, NIGERIA, August 9, 2024 /EINPresswire.com/ -- Tom Adaba Legacy - an Abuja-based non-profit foundation with education at its core, in partnership with Ita'i Our Cloth , Africa-Related Inc is proud to introduce its upcoming community-engaging project entitled Roots Runway. The aim is to grace global runways with designs made from locally produced cotton, woven by the popular Ebira Weavers in Okene, Nigeria, central Nigeria.
“What we have in mind is to raise standards, particularly in areas that have been forgotten. To bring back the good old ones, and raise them to greater heights and international standards.”
Roots Runway was launched on the eve of veteran broadcaster and Chief Patron, Tom Adaba's 83rd Birthday on July 2, 2024. It applies a multi-pronged approach to reviving the local cotton production and processing in Nigeria while serving to bridge historical disconnects through farming and fashion. It works by forming clusters of local farmers and weavers, creating jobs for youth, training in the cotton production process, revisiting ancient and creating new designs; and engaging artistic communities to use locally produced yarn for designs that will ultimately feature in prestigious global museums, runways, art fairs, etc.
Tom Adaba Legacy Board President, award-winning filmmaker Mrs. Oyiza Adaba-Okereke spoke at the hybrid launch, outlining plans to incorporate sub themes about environment, agro-waste, history, education and community development in the project. She said they will form partnerships in agriculture, design & construction and technology.
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CARIBBEAN FIESTA 2024 IN LAGOS
The long-anticipated Caribbean Tropical Fiesta 2024 hosted by Nigerian West Indian Association took place on Saturday the 20th of July at the Whitesands School in Lekki Lagos, Nigeria. The venue was colorful and the ambiance was nothing short of breathtaking.
By Patricia Igho - Lagos, Nigeria
The long-anticipated Caribbean Tropical Fiesta 2024 hosted by Nigerian West Indian Association took place on Saturday the 20th of July at the Whitesands School in Lekki Lagos, Nigeria. The venue was colorful and the ambiance was nothing short of breathtaking.
The bustling scenes took me down memory lane sometime in the early 1990s, when we would have yearly carnivals with different zones in Lagos, competing to win 'best costume' etc. Back then we had super talented 'aunties' who would make the glamorous costumes from scratch.
These gatherings organised by Caribbean wives of Nigerian men living in Nigeria, formed some of the most memorable times in my life. We would dance to calypso music all the way from our different zones at Tafawa Balewa Square on Lagos Island. Big brands like Coca-cola were consistent with their sponsorship.
Carnival as we knew it, came to an abrupt end in ‘92 due to some political issues in Nigeria I'd rather not revisit. It is a sad time when a culture is allowed to diminish or die.
Mini fiestas however continued to hold at every opportunity during private meetings and gatherings of friends and family, weddings, funerals, birthdays, and who can forget the bazaars organised by our special ‘Aunties’. The aroma of delicious snacks and food filling the air. Many Island cultures are represented here in Lagos. Escovitch fish was my personal favorite.
Fast forward to 2024. After three decades and much deliberation, the Nigerian West Indian Association is considering bringing back the Carnival. A lot has happened in that time, some families have relocated, a lot of 'aunties' have lost their husbands and moved back to their Caribbean home countries. That's not to say that there's a scarcity of able hands. The next generation of children and grandchildren are getting the idea for continuation. This is not a culture we would like to be forgotten.
The fiesta was an opportunity for people to have a taste of West Indian culture. The venue was decorated with real colorful flowers. There were stalls all across the hall, with displays of food, clothing and spices to name a few. The venue buzzed with activities, dance, games, a raffle draw, as the sound of Soca music filled the air. I took note of a few veterans of Lagos, as they beamed with nostalgia.
The full day event slowly wound down as evening came. It was a success and plans are underway for another event later in the year.
Recommended Read
The NigerWives of Nigeria by Pat Oyelola is a book that documents the history, activities, experiences and lives of a group of foreign women who are married to Nigerian men and came together under the umbrella of their association, Nigerwives. Nigerwives was formed as an association to facilitate the smooth integration of foreign wives of Nigerians into Nigerian society, to provide friendship and support for one another, and to establish or assist in social projects that would benefit the Nigerian community.
Patricia Igho is of Nigeria/St. Vincent & The Grenadines parentage, and lives in Lagos.
Photos by Uzo Agafie
Tribute to Tam Fiofori: Keen Chronicler of Nigerian Culture
Bruce Onobrakpeya pays tribute to Tam Fiofore “UNCLE TAM” (1942-2024). Nigerian Filmmaker Visionary Historian Critic
By Bruce Onobrakpeya
Tam Fiofore “UNCLE TAM” (1942-2024). Nigerian Filmmaker Visionary Historian Critic
Tam Fiofori, was a visionary filmmaker, photographer, and writer, whose indelible mark enriched Nigeria's artistic realm profoundly.
Tam Fiofori's creative brilliance shone brightly across our cultural landscape, yet our society's nurturing of his genius fell short. In comparison to his equally talented peers in more supportive settings, Tam's full potential may not have been fully realized.
To honour his legacy and support future luminaries, our society must establish genius grants and specialized funds. These initiatives empower gifted individuals to create impactful contributions, fostering a nurturing environment where their creativity can flourish. Such support not only enhances their productivity but also enriches our collective cultural fabric.
Nigeria remains a reservoir of exceptional talents like Tam, yet many struggle to realize their full potential due to inadequate support structures. Despite their occasional reclusiveness or rebellious nature, these geniuses deserve our steadfast protection.
Remembering kindred spirits like Ayodele Awojobi, Ola Balogun, Tijanni Mayakiri, Jimi Solanke and Oyiza Adaba underscores the importance of organizations like CORA, dedicated to celebrating our true talents.
Tam's absence leaves a void among close friends and fellow participants at the Harmattan workshop, organized by the Bruce Onobrakpeya Foundation, where his presence was deeply felt and cherished. His legacy as a confidant, friend, and artistic luminary who was a keen Chronicler of Nigerian culture, will endure, inspiring generations to come.
Bruce Onobrakpeya resides in Lagos. He is UNESCO Human Livng Treasure, Founder and Foundational Member of the Annual Harmattan Workshop
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26th Harmattan Workshop Agbarha-Otor 2024
26th Harmattan Workshop Agbarha-Otor 2024
theme: Folklore, Folk Tales, Folk Art, Myth and Legends
Bruce Onobrakpeya's THE MASK AND THE CROSS Opens in Washington D.C.
The Smithsonian’s National Museum of African Art is showcasing works by sculptor and printmaker Bruce Onobrakpeya, considered one the fathers of postcolonial Nigerian modernism. On view June 21 - Jan. 21, 2025.
by OYIZA ADABA, Washington D.C.
Front view of The National Museum of African Art at The Smithsonian Institution. Photo by Africa-Related
The Smithsonian’s National Museum of African Art is showcasing works by sculptor and printmaker Bruce Onobrakpeya, considered one the fathers of postcolonial Nigerian modernism.
Image of the artist Bruce Onobrakpeya, towering over his exhibition.
Opening Night: Guest curator Janine Gaëlle Dieudji with Lauren Tate Baeza Curator of African Art at the High Museum of Art in Atlanta and Mudiare Onobrakpeya of Bruce Onobrakpeya Foundation.
Oyiza Adaba takes viewers inside “Bruce Onobrakpeya's: The Mask and the Cross”, on view June 21 - Jan. 21, 2025. The exhibition features works by the artist from 1966 through 1978, a period when he completed multiple commissions for the Catholic Church, including his seminal “Fourteen Stations of the Cross” series. The exhibition also recognizes Onobrakpeya’s legacy - inspiring generations of visual artists in Nigeria - with artworks from the museum’s collection that reflect Onobrakpeya’s influence. The opening ceremony was graced with dignitaries from diplomatic corp to art lovers, collectors and family members.
The National Museum of African Arts is celebrating 60 years of showcasing unique art from Africa, with a summer lineup that also include, ‘Benin Bronzes’: Ambassadors of the Oba, ‘Before Nollywood: The Ideal Photo Studio’, Ayana V Jackson’s 'Into The Deep’, John Akomfrah’s ‘Five Mumirations’, and ‘Water in African Arts’ exhibitions.
“Blending Christian iconography, Nigerian folklore and West African traditions, Onobrakpeya’s art interprets spiritualism through a global lens. Biblical stories are presented with Nigerian characters and environments, such as the “Passion of Christ” depicting Roman soldiers in British military uniforms and Jesus in Nigerian robes. ”
Oyiza Adaba reports. Video courtesy of Africa-Related.
PHOTOS: AFRICA-RELATED
Full Video: "DELA" North American Premiere
Video Highlights of the biographical documentary that carefully captures the life of legendary artist El Anatsui, tracing the artistic endeavors that led to his rise in popularity in the global art world. It made an inspiring debut on Mother's Day, May 12th, 2024 at the prestigious Lincoln Centre in New York.
"DELA: The Making of El Anatsui", is an “in-depth” biographical documentary directed by Oyiza Adaba. It made its North American premiere at the New York African Film Festival (NYAFF31) on May 12th, 2024 at the prestigious Lincoln Centre. “DELA” is currently showing at global film festival before going into distribution. Follow the film’s progress here
DELA Director Oyiza Adaba, in front of Lincoln Center, New York. Photo: Galina Ivankovich/Africa-Related
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Bride of Zambia
In April 2024, Zambian filmmaker Tisa Chigaga re-released her sophomore short film, Bride of Zambia, on Indie Films World, where it is currently available for online pay per view streaming. A multicultural collaboration, the film was produced by Bollywood entertainment cooperation D-Star Productions and Indie Films World.
Press Release
“Bride of Zambia” Short Film Initiates Rare Conversation on Gender Inequality In Zambia
New York City, May 24, 2024
In April 2024, Zambian filmmaker Tisa Chigaga re-released her sophomore short film, Bride of Zambia, on Indie Films World, where it is currently available for online pay per view streaming. A multicultural collaboration, the film was produced by Bollywood entertainment cooperation D-Star Productions and Indie Films World.
The film follows a young Zambian-born New York resident in the lead up to her wedding. Despite having a modern upbringing, she is pressured into adhering to the highly conservative traditional code of conduct for Zambian brides and eventually wives. Featuring scenes directly questioning the relevance of traditional gender norms in the ultra conservative nation, the film offers a very rare public discussion about gender inequality in Zambia.
Despite the highly controversial nature of the chosen themes, in an unforeseen show of support, the filmmaker has received messages from hundreds of women identifying with the plight of the protagonist, and thanking the film for finally speaking out. It is the filmmaker’s hope that more engagement with the film will break down further boundaries around conversations pertaining to gender and tradition in Zambia.
“Thank God for this production. A lot of women are truly oppressed by these teachings. What a courageous step to put this out and finally speak about it!” @mwesh_moon on Instagram
“Even as a Bollywood producer, I was able to see the power and impact of this story. It is my hope that this film will do more for gender parity in Zambia and the world throughout.” Mukesh Modi, CEO Indie Films World and D-Star Productions
“Making Bride of Zambia was by far the scariest thing I have ever done. But hearing women say the film made them feel seen and that they finally have a voice, made it all worth it. It is my hope that this film will enable more open discussions on what has always been considered a taboo subject.” Tisa Chigaga, Director
Tisa Chigaga currently serves as the Program Manager of the New York African Film Festival, and can be reached on Instagram, Facebook and Twitter (@tisachigaga). Bride of Zambia is available to view here on Indie Film World.
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Highlights Prof. El Anatsui Receives 2024 Doctor of Fine Arts From BARD COLLEGE
Highlights of BARD COLLEGE ONE HUNDRED SIXTY-FOURTH COMMENCEMENT
Bard College President Leon Botstein and the Bard College Board of Trustees honored Bard’s exceptional award recipients with Honorary Degrees including Prof. El Anatsui who was the recipient of the 2024 Doctor of Fine Arts
Ghanaian Sculptor, Prof. El Anatsui receiving the 2024 Doctor of Fine Arts at Bard College
Oyiza Adaba, New York
BARD COLLEGE ONE HUNDRED SIXTY-FOURTH COMMENCEMENT
Bard College held its 164th commencement on Saturday, May 25, 2024. Bard President Leon Botstein conferred 395 undergraduate degrees on the Class of 2024 and 229 graduate degrees. Bard also conferred 40 associate degrees from its microcolleges and Honorary Degrees to exceptional award recipients like Prof. El Anatsui, who was the received the 2024 Doctor of Fine Arts
The Ghanaian sculptor, who is known for his ground-breaking redefinition of sculptural installations that hang in the world’s most prestigeous museums, was in good company. Other recipients include Hollywood actress Rachael Weisz, David C. Banks chancellor of New York City Public Schools, Carla Hayden, the 14th Librarian of Congress and Imad Abu Kishek president of Al-Quds University (AQU).
Earth Scientist Naomi Oreskes delivered the 2024 Commencement Address, in which she addressed the difficulties of today’s world, and challenged young minds to finding a middle ground in resolving conflicts.
“It's an instinct for many of us to want to resolve contradictions. To conclude that Heidegger must be either a great thinker or a fascist—because how could he be both? To say that Locke, as a racist, cannot be an inspiration to us today. To insist that Schrodinger’s cat must be either alive or dead.”
“The world needs both speaking and listening. If no one spoke, there would be nothing to listen to. But if no one listens, then there isn’t much point in speaking. ”
Located in upstate New York town of Annandale-on-Hudson, Bard College is a liberal art institution that was founded as St. Stephen’s College in 1860. It was also home to the late Nobel Laureate Prof. Chinua Achebe from 1990 to 2009. The Nigerian author of the globally acclaimed novel “Things Fall Apart”, was the Charles P. Stevenson Jr. Professor of Languages and Literature at Bard College.
The ceremony was accompanied by a Luncheon at the President’s residence, a tour of Achebe House, barbecue and fireworks..
Photos for President’s Luncheon, Commencement Ceremony and Tour of achebe house
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DELA: Makes North American Debut At 31st New York African Festival
The biographical documentary that carefully captures the life of legendary artist El Anatsui, tracing the artistic endeavors that led to his rise in popularity in the global art world, made an inspiring debut on Mother's Day, May 12th, 2024 at the prestigious Lincoln Centre in New York.
Moderator Ben Dotsei Malor and DELA Director Oyiza Adaba during the Q&A
Ihunmehai Isaac, New York
Photos: John Oko Nyaku, Africa Photo Communication
It was an eventful and beautiful Mother's Day on May 12th, 2024 at the prestigious Lincoln Centre, with guests trooping in with tickets in hand, to see the “in-depth” biographical documentary directed by Oyiza Adaba - "DELA: The Making of El Anatsui".
The story carefully and deliberately captures the life of legendary artist El Anatsui, tracing the artistic endeavors that led to his rise in popularity in the global art world.
“The film gave more essence to what we normally know of El...”
The screening witnessed an attentive audience engaging in the film, through moments of emotional connections that brought laughter, tears, and silence to the Frances Beale Theater at the prestigious Lincoln Center.
The screening was followed by a resounding applause and a Q&A session, moderated by Ben Dotsei Malor, former BBC Africa anchor and Chief Editor of United Nations News for Dailies.
Malor praised Oyiza Adaba's vision and called for the film to be shown in academic institutions across the world. He welcomed questions from the audience that expanded on the film's 10-year journey, the use of language, art appreciation and much more.
The first-time director explained her motivation to build on the work of previous documentations of the subject, to tell a more personal story. She expressed gratitude to the artist for his generous support, as well as the sponsors and crew who made it possible.
DELA Director Oyiza Adaba with El Anatsui’s Family members and Ben Malor (UN)
Notable guests present include the Anatsui and Ametewee Families, Tamsen Greene of Jack Shainman Gallery NY, the film's director of photography Jason Hill, Jazz musician Randy Muller, percussionist Ricky “Dirty Red” Gordon, Tyrone Birkett of New Freedom Sounds, and Words By MOE who contributed to the films soundtrack.
“As an African-American New Yorker with limited travel to Africa, it was wonderful to see the artist’s setting, in his culture...”
DELA Crew: Director Oyiza Adaba with Ghana Director of Photography Jason Hill
Guests were treated to a reception where they got to interact further with members of the production team.
Mahen Bonetti, the Executive Director and brainchild behind the New York African Film Festival, described DELA as “a masterpiece story that needed telling”. The long-running festival, which showcased over 50 films from 24 countries ends at the Brooklyn Academy of Music (BAM) on June 1, 2024.
“DELA” is currently showing at global film festival before going into distribution. Follow the film’s progress here
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Photo Highlights DELA: North American Premiere at NYAFF31
Photo Highlights
DELA: North American Premiere at NYAFF31
photos by John Oko Nyaku (Africa Photo Communications)
Photo Highlights
DELA: North American Premiere at NYAFF31
May 12, 2024
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Highlights from NYAFF31 Opening Night with Tolu Ajayi
Celebrating a remarkable and extraordinary visit to Lanre Olagoke's Regent Street Studio in London, where I had the privilege of spending time with the esteemed artist and painter, Lanre Olagoke MBE.
Oyiza Adaba, New York
OVER THE BRIDGE
Director: Tolu Ajayi
Opening Night Film
New York African Film Festival (NYAFF31)
Screening/Q&A with Director
Wednesday May 8, 2024
Film at Lincoln Center, NY
The 31's edition of the New York African Film Festival (NYAFF31), opened with the screening of a Tolu Ajayi film "Over The Bridge". The 99-minute made in Nigeria drama made its North American Premiere at the prestigious Walter Reade Theatre Film at Lincoln Center.
On hand to welcome guests from over 25 countries, was NYAFF Executive Director and Founder Mahen Bonetti. Her vision of sharing African cinema since 1993, continues to bring budding and accomplished filmmakers together annually, in the big apple.
Film Synopsis Folarin is an accomplished investment banker with a beautiful wife and a life most people can only dream of. When a high-profile government project his company was hired to manage goes awry, he starts to question everything he’s ever known to be true. After going missing, he discovers himself in a remote fishing village and starts to put together the missing pieces—but will he ever find his way back home?
PHOTOS
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OJAHH Opening Soon!!!
In honor of the late musical genius ORLANDO JULIUS. His legacy is carries on through his devoted loving wife Latoya Aduke - Afro Soul
By Oyiza Adaba, New York
OJAHH Opening Soon!!!
In honor of the late musical genius ORLANDO JULIUS. His legacy is carries on through his devoted loving wife Latoya Aduke - Afro Soul
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+234Art Fair Holds First Edition In Lagos
There is a brand-new Nigerian art fair dedicated to supporting emerging artists that is coming up in Lagos from 22nd to 31st March, 2024. +234Art Fair is dedicated to nurturing and uplifting the burgeoning art industry in Nigeria by providing a platform that supports emerging artists and encourages art acquisition.
+234Art Fair is dedicated to nurturing and uplifting the burgeoning art industry
There is a brand-new Nigerian art fair dedicated to supporting emerging artists that is coming up in Lagos. It’s called the +234 Art Fair and will run from 22nd to 31st March, 2024.
+234Art Fair is dedicated to nurturing and uplifting the burgeoning art industry in Nigeria by providing a platform that supports emerging artists and encourages increased interest in art acquisition, thereby contributing to the growth and prosperity of the local art sector as well as its international recognition.
The 2024 theme for the +234 Art Fair is “Heritage”, aimed at young artists to explore ways in which they can build practices that tie to the past but also create new futures. The fair seeks to explore the development of young artists in order to give inspiration and insight on how the creation of an indigenous style contributes to global reach and success.
The Venue for the Fair is the new Ecobank Pan-African Centre, Ozumba Mbadiwe Avenue, Victoria Island, Lagos. The programme of events include Masterclasses that will treat subjects such as African Art in the Global Art Market, The Business of Photography, Bridging Time: Connecting Heritage and Modernity in Nigerian Art, How to Navigate the International Art Scene as a Local Artist, Artistic Research, Grant Writing, Navigating Biennales and Museums in Contemporary Art
Panelists include Florence Lynch, a New York-based art dealer, Alain Ngann a photographer artist, Kelechi Amadi-Obi, a Nigerian creative photographer, Oluwatoyin Sogbesan an architect, a cultural historian, Jess Castellote, the Director of the Yemisi Shyllon Museum of Art; and many more
The exhibition’s title, “+234Art,” cleverly merges Nigeria’s country calling code (+234) with the encompassing term “Art,” serving as an all-encompassing representation of the contemporary Nigerian art scene and its interconnectedness with the broader African and global art community. This free-entry fair offers an immersive showcase of painting, photography, and sculpture, providing the public with an upclose look at the latest creative endeavours of emerging artists and photographers in Nigeria.
For more info on +234 Art Fair
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Adinkra Craft Village Ntonso Benefits From U.S. Sorority
A tale of two communities - Adinkra Village, Ntonso is home to Ghana’s ancient tradition of weaving, dying, stamping, stitching and symbols. Over the Christmas holidays, an Indianapolis Sorority stopped by to fulfill their own developmental pledge.
Head of Family Peter “Alhaji” Boakye drinks from the new water pump facility shortly after commissioning, donated by Sigma Gamma Rho Sorority. Photo by Adinkra Village, Ntonso
Oyiza adaba
fortune ehiwayAs
December 27, 2023
A tale of two communities - Adinkra Village, Ntonso is home to Ghana’s ancient tradition of weaving, dying, stamping, stitching and symbols. Over the Christmas holidays, an Indianapolis Sorority stopped by to fulfill their own developmental pledge.
Infrastructure funding in Ghana by Sigma Gamma Rho Sorority
December 2023 was when the Sigma Gamma Rho Sorority Inc embarked on a “journey of transformation” to the West African country of Ghana. Their aim was to mark their second anniversary by donating funds to the growth and development of some select parts of Ghana. The Sorority founded by seven African-American women from Butler University Indianapolis and led by the international President, Rasheeda S. Liberty undertook this as a philanthropic mission, by tagging the experience, “Transformative 2023 Birthright Journey to Ghana”.
This commissioning ceremony was held on December 27, 2023 in the village center. The Abusuapayin (Elders from the Royal family of Ntonso) - Nana Yaw Poku, family members, along with some dignitaries and resident Catholic Priest, Rev. Fr. Matthias Korankye hosted the sorority President and members.
The non-profit women's organization, committed to service, sisterhood, scholarships and sisterhood, has mentorships and development initiatives at its core. They had visited various areas in Ghana, and funded the toilet and water plumbing facility in Ntonso, near Kumasi, with a renewed gaze set on promoting a healthy and hygienic environment for its habitants. The community was delighted to host the Sorority, as they had done many times in the past with its constant stream of tourists.
School children in attendance of the commissioning. Photo by Adinkra Craft Village, Ntonso
In her speech Sorority President Rasheeda S. Liberty cited the group's interest in the development of the communities and fostering a lasting and meaningful relationship as a testament to their commitment to service.
The event marked a historical moment in Ntonso, Ghana, that brought out the entire community, including school children.
about Adinkra CRAFT Village Ntonso
Located near Kumasi, Ntonso is known as the homeland of the hand dying and stamping of Adinkra symbols on Ghana’s most popular cloth - the Kente. It is also regarded as a beautiful tourist site, that yearly hosts hundreds of thousands of tourists from across the world. The community spirit is felt by visitors, both old and young under the leadership of Peter Boakye, popularly known as Alhaji.
In his inherited role as the current Head of Family, since taking the reins from his Uncle who passed away in 2016 Boakye says he doesn't take it for granted. He does his best in continuing in the tradition handed down by his forebears - to build an organized community structure with attention to duties and details. Ntonso remains a tourist haven that takes time to teach and offer classes about the origins and techniques of Ghana’s ancient symbols. In Ntonso tradition, the men continue to weave, while the women do the dye jobs.
Adinkra Craft Village, Ntonso is featured in the biographical documentary DELA, as one of the early influences in the art of El Anatsui - the globally reconignized Sculptor.
Photo/Video by Adinkra Craft Village Ntonso
