Culture
2022 Winners of the Isaac Oluwole Delano Prize for Yoruba Studies
Published
2 years agoon
By
akonitvBabcock University, the Isaac Delano Foundation, and Pan-African University Press
Announce The
2022 Winners of the
Isaac Oluwole Delano Prize for Yoruba Studies
SUPERVISORY BOARD
Chair: Professor Bola Dauda
Chief Akinwande Delano
Professor Bola Sotunsa
Professor Michael O. Afolayan
Professor Olajumoke Yacob-Haliso
JURY, 2020-2022
Chair: Professor Toyin Falola
Members: Professor Tunde Babawale, University of Lagos
Professor Pamela Smith, Emeritus Professor, University of Nebraska, Omaha
Professor Akin Akinlabi, Rutgers University
Secretary: Mr Damilola Osunlakin, Ahmadu Bello University
The Supervisory Board and Distinguished Jury for the Isaac Oluwole Delano Prize for Yoruba Studies 2022 are delighted to announce two winners in two categories for the Prize this year. The winning entries are Akin Ogundiran’s The Yoruba: A New History (Indiana University Press, 2020), in the book category, and Tunde Kelani’s Ayinla (Mainframe, 2021) in the creative and performance category. The prize includes a citation, a certificate, $1,000 to be shared equally among both awardees, and public acknowledgment at the annual Convocation Ceremony at Babcock University.
WINNER IN THE BOOK CATEGORY
Akin Ogundiran, The Yoruba: A New History (Bloomington: Indiana University Press, 2020)
By their default social nature, humans are always seeking ways to connect with their fellow humans, concepts, or phenomena. This desire to connect is replicated in other aspects of human endeavors, particularly in academic disciplines. The interconnected nature of academic disciplines is well explained by the linkages between history, anthropology, and archaeology. Anthropology and archaeology lend credence to historical portrayals and studies, while history helps bring perspective and solidity to archaeology and anthropology. These three fields of study complement one another and are intertwined so that a skilled historian is also knowledgeable in anthropology and archaeology. In other words, it is difficult to trace the history of a people if we do not have some understanding of archaeology and anthropology.
This outstanding book, The Yoruba: A New History, is about connections at multiple levels. It is an intellectually stimulating book for anyone, particularly for academics and scholars in history, anthropology, and archaeology. The book takes the reader on a journey that begins at the climax of its message, reverts to the genesis of the Yoruba, then maneuvers readers through different historical developments in the existence of the Yoruba people, and then returns to the starting point — the climax — in such an all-around intellectual stimulation. Every chapter of this 562-page commentary on the Yoruba is a matching piece in the academic puzzle that Professor Ogundiran has neatly arranged to form the insightful book on a new Yoruba history with complex and understandable analysis. Readers are immediately drawn into the deep, propelled by Ogundiran’s deft use of language to unravel the wide-cracking gap that has classified the study of African civilization and history. Ogundiran criticizes the disposition towards African study from early on, which sees the advent of Christianity and colonialism as the defining point in the cultural evolution of Africa.
In the book, Ogundiran walks the reader through the need to study Yoruba history from the perspective of a holistic approach, one that includes comparative, theoretical, and empirical methods. This type of holistic study could help advance the research into the existence and evolution of the Yoruba people. It is easy to fall prey to the possible shallowness that mostly results from a study that does not look at history from varied perspectives. Ogundiran’s emphasis on portraying evolution and development during a distant time, not as independent capsules of time but as overlapping periods in continuous existence, is brought to the fore by how the book explores seven-time capsules as they overlap one another in the study of a new Yoruba history.
Furthermore, Ogundiran unearths the four pillars of the Yoruba cultural identity, starting with the “House,” a symbol of the socio-political organization of the Yoruba people; to “Divine Kingship,” which represents governance and its structures in a deeply political society; the complementary existence of the two recognized genders in Yoruba history — the one complementing the other, and vice-versa; to what is perhaps represented across cultures and not only with the Yoruba people, which is fundamental to the reasoning and being of all humans — a search for meaningful living, the thirst after immortality, which in itself births religion. Also, Ogundiran captures the turbulences that characterized Yoruba civilization in the fifteenth and sixteenth centuries. Although these upheavals did not destroy the Yoruba population, they displaced certain cities and engulfed other places like Owu.
Remarkably, the narration is rich and powerful, aided by archaeological, linguistic, anthropological, and historical evidence that one can almost feel as being present at the locations mentioned and connected with the individuals whose stories the book narrates to show the evolutionary development of the Yoruba people across timeframes. The Yoruba: A New History is a well-rounded book that has registered its place among the invaluable scholarly outputs of our time.
WINNER IN THE CREATIVE AND PERFORMANCE CATEGORY
Tunde Kelani, Ayinla (Mainframe, 2021)
Making a blockbuster movie is no mean feat. The arduous production process, the continuous refining of creative representations to ensure they project the finest of details, and the place of good storytelling, continuity, and the ability to connect with and sustain the audience’s attention cannot be overstated. Thus, when we consider Ayinla, the latest of Tunde Kelani’s movies, as a blockbuster, we should not only consider it as one of the top five highest-grossing movies in the Nollywood industry but also as a masterpiece that has registered its place as the defining point for biographical adaptations in the Nigerian entertainment industry.
Another factor that lends awe to Ayinla’s widespread success is that it is dominantly presented in the Yoruba language. Despite this, the movie found widespread acceptance among viewers. It was a hit in cinemas and has been among the top 10 trending movies on Netflix for weeks, further testifying to the strength of the movie’s broad appeal and how quickly it gained popularity among Africans and other lovers of good productions. The things that make Ayinla deserving of praise pale compared to the movie’s awesomeness as a work of art. The movie demonstrates the artistic and creative ingenuity of the cast and crew, especially the producer and the writer, for an apt summation of the life of Ayinla, the musician, in such a eulogizing way, and the director, for the intricate selection of the cast. This has to be lauded because Ayinla is a beautifully arranged masterpiece. Since the movie premiere, not only has the director and the producer been receiving laurels, but the actors and actresses have also received their own warm and large share of the accolades, particularly Lateef Adedimeji, who did not just take on the role of Ayinla but rebirthed himself as the protagonist of the movie. Àyìnlá is the winner of the 2022 Programmer’s Best African Narrative Award in Los Angeles, California, USA.
Literature is the mirror of life, and the Ayinla movie is another wonderful product of literature that mirrors different aspects of society during Ayinla’s existence and several circumstances that could have contributed to his untimely death. The portrayal of Ayinla in the movie is such that one cannot but love the protagonist’s character, regardless of his whimsical nature. Great commendation must be given to the director and producers for the attention paid to the movie’s setting. When one considers the financial resources pumped into creating a setting that suits the story, the intellectual capabilities forged together to birth the masterpiece, and the human resources pulled together to make the movie a success, one would realize that they must be priceless and invaluable.
Research must have been conducted to learn about Ayinla’s hometown and his life. We see Ayinla, a musician and band leader subject to the whims and caprices popular among musicians — reneging on promises, devising dubious means to slip out of performing engagements, womanizing unashamedly, downtown brawls, one of which eventually led to his death, and general controversies. Watching Ayinla, the average person, no matter how old, can easily relate the struggles of Ayinla as a thespian to the struggles of artists across all ages, from the new-generation artists to the much older ones, and across genres of music, from hip-hop to Apala, to afrobeat, to highlife, and the likes. During Ayinla’s time, the indigenous religion was still widely accepted. Thus, self-protection, war-enhancing charms, prophecies, and destiny-unearthing ritual prayers were popular and not frowned upon. The viewers are made to see that Ayinla’s life starts to take a turn for the better when he consults the gods of his ancestors and accelerates the manifestation of his glorious destiny.
Ayinla, the short-tempered, lovable, room-sparking musician, had at his fingertips the deft and rare skills of eulogizing to win people’s hearts and money. If viewers across countries and continents easily love the Ayinla character in the movie — so much so that the love has extended to Lateef Adedimeji for the excellent way he portrayed the character — one can only imagine how much people loved Ayinla during his lifetime. He was the typical Yoruba man who never shied away from saying what was on his mind — whether it was a profession of love, flirtatious words, abusive jabs for his enemies and sparse spenders, or huge words of praise for the big spenders. Ayinla was loved for this same reason. People did not just love Ayinla, the musician; they loved the full embodiment of Ayinla, the talented yet troubled virtuoso many easily misunderstood and the whimsical trouper whose fame was equally his downfall.
Being only human, Ayinla was prone to infallibility. He surrounded himself with people he could not fully trust, resulting in an abrupt and painful end to his life at a time when he was supposed to grow in popularity astronomically. He was not all saint — but then, is anyone? He snatched his manager’s girlfriend and stepped on some other toes.
Perhaps, what is most beautiful about the movie is how it is not only a representation of Ayinla’s life but also the way it reflects the lives of several other characters, which can be reviewed independently or seen as fragmented pieces of Ayinla’s life. In the Nigerian movie industry, Ayinla has set new standards in quality, details, directing, casting, and production for historical and biographical adaptations.
CONGRATULATIONS TO THE WINNERS!!!
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Culture
Nigeria launches digital museum to preserve cultural heritage
Published
3 days agoon
December 4, 2024By
LanreNigeria collaborates with IHS Nigeria to launch a digital museum, showcasing cultural heritage globally and promoting sustainable growth.
Nigeria is embracing digital innovation to preserve its cultural heritage through a transformative collaboration between IHS Nigeria, the National Commission for Museums and Monuments (NCMM), and the Federal Ministry of Art, Culture, Tourism, and Creative Economy (FMACTCE).
This partnership aims to establish a digital museum that showcases Nigeria’s rich historical artifacts, artworks, and cultural monuments globally.
Also read: Culturati Festival 2024: empowering SMEs and boosting Lagos’ economy through culture
The initiative aligns with President Bola Ahmed Tinubu’s Renewed Hope Agenda and the Digital Culture Initiative led by Honourable Minister Hannatu Musa Musawa.
The museum, the first major project under this initiative, leverages cutting-edge technology to provide virtual access to Nigeria’s cultural treasures.
It will serve as a vital resource for students, researchers, and enthusiasts worldwide, fostering education, sustainability, and innovation.
Honourable Minister Hannatu Musa Musawa emphasised the project’s significance:
“This collaboration positions Nigeria as a global leader while ensuring the preservation of our cultural legacy. It reflects our commitment to innovation, global partnerships, and sustainable advancement of our creative industries.”
IHS Nigeria, a leader in shared communications infrastructure with operations across 10 countries, brings its expertise to the project. CEO Mohamad Darwish highlighted the partnership’s importance:
“We aim to create a lasting legacy that bridges the gap between tradition and modernity, fostering education and sustainability.”
Olugbile Holloway, Director General of NCMM, added:
“This digital museum will engage younger audiences and adapt to global trends. It ensures our heritage remains accessible while providing a platform for learning and cultural appreciation.”
The museum will host virtual exhibitions, making Nigeria’s cultural history accessible to a global audience. It marks a bold step in safeguarding national heritage while advancing sustainable growth in the creative sector.
This initiative not only preserves Nigeria’s past but also enhances its global cultural presence, reinforcing the nation’s leadership in heritage digitisation.
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Culture
NAFEST 2024: connecting cultures and boosting Nigeria’s creative economy
Published
1 week agoon
November 28, 2024By
LanreNAFEST 2024 unites Nigeria’s diversity, fostering unity and showcasing rich cultural heritage for global recognition and economic growth.
The 36th edition of the National Festival of Arts and Culture (NAFEST) commenced in Abuja on November 22, 2024, with a renewed focus on fostering unity and leveraging Nigeria’s cultural diversity for economic growth.
Organised by the National Council for Arts and Culture (NCAC) in partnership with the Federal Ministry of Art, Culture, Tourism, and Creative Economy, this year’s festival, themed “Connected Culture,” runs until November 30.
Also read: NAFEST 2024 To Hold In FCT
Minister of Art, Culture, Tourism, and Creative Economy, Hannatu Musawa, represented by Dr Shaibu Husseini, highlighted the Federal Government’s commitment to nurturing the arts and culture sector to enhance its revenue-generating capacity.
She emphasised that Nigeria’s cultural richness and resilience present a unique opportunity for growth, urging citizens to embrace unity and collaboration.
First held in 1970 to promote national integration after the civil war, NAFEST remains a vital platform for celebrating Nigeria’s diversity.
Obi Asika, the NCAC Director-General, described this year’s edition as the most innovative yet.
He noted that the festival’s revamped approach seeks to broaden its audience base, including the Nigerian diaspora, and unlock the economic potential of the nation’s cultural assets.
“Nigeria’s culture is an asset that can be monetised and made profitable. What binds us as Nigerians is far greater than what divides us,” Asika remarked.
Asika’s extensive background in the media and entertainment industries—including founding Storm 360, a key player in Nigeria’s music scene—underscores his vision for merging cultural heritage with economic development.
The festival’s opening ceremony featured a vibrant parade of cultural dance performances by contingents from Nigeria’s 36 states and the Federal Capital Territory.
Adorned in traditional attire, dancers showcased unique moves that reflected their heritage, symbolising the unity in diversity that defines NAFEST.
Programmes during the nine-day event include arts and crafts exhibitions, music and dance performances, and discussions on enhancing global recognition of Nigerian culture.
Bayelsa State Commissioner for Culture and Tourism, Dr Iti Orugbani, praised the federal government’s renewed focus on positioning Nigeria’s creative industry within the global value chain.
Participants like Saaniyol Akiga of Benue State’s Council for Arts and Culture expressed excitement about the festival’s new direction.
“This initiative to ensure global recognition of NAFEST is timely and necessary,” Akiga said, adding that Benue’s contingent aims to uphold their tradition of excellence.
With NAFEST 2024, the Federal Government seeks to not only celebrate Nigeria’s rich cultural heritage but also harness its potential for driving economic growth.
By re-tuning its art and culture sector, the government aims to establish Nigeria as a global hub for creative and cultural excellence.
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Culture
The Benin Art Fair: redefining Edo’s artistic and cultural legacy
Published
2 weeks agoon
November 25, 2024By
LanreThe Benin Art Fair, a 10-day celebration of Edo’s art and culture, reclaims the region’s prominence in the global creative scene this November.
In a bid to rewrite the narrative surrounding Edo State and spotlight its rich artistic and cultural heritage, The Benin Art Fair (TBAF) is set to take centre stage in Benin City from November 29 to December 8.
The 10-day art festival, themed “Homage to the Red City”, promises a vibrant showcase of Edo State’s traditional and contemporary creative brilliance.
Also read: Afropolis Festival 2024: global celebration of arts and culture in Lagos
Held at Abstract Backyard, 33 Aiguobasimwin Crescent, G.R.A., Benin City, TBAF aims to re-establish Edo State as a premier arts and culture destination in Nigeria and Africa.
The event is a dynamic platform celebrating the state’s artistic legacy while fostering innovation among its traditional and avant-garde artists.
Director of The Benin Art Fair, Olorogun Jeff Ajueshi, emphasised the fair’s mission to challenge negative stereotypes associated with Edo State, such as violence, human trafficking, and other social vices.
Instead, TBAF will shine a spotlight on the state’s profound cultural contributions and establish its position on the global arts map.
“We want to rejuvenate Edo’s allure by showcasing its talent in traditional art and the international creative industries. This fair is a restoration process, placing Edo’s artistic and cultural sites in their rightful place on the global tourism map,” said Ajueshi.
The long-term goal of the fair, curated by Mr James Irabor, is to preserve and promote the cultural and artistic identity of Edo State. Ajueshi added that the event would create a lasting legacy, celebrating Edo’s history while encouraging investment in its cultural preservation.
The fair will feature a diverse array of activities, including:
- Antiques and cultural showcases highlighting Edo’s traditional art forms.
- Contemporary art exhibitions featuring local and international artists.
- Live wood sculpting and performance art displays.
- Discussions and workshops with renowned artists like Dr Bruce Onobrakpeya and Enotie Ogbebor.
- Panel discussions on topics such as art education, cultural preservation, and photography’s role in history.
- Benin Art Fair Concert Night, featuring Edo music legends.
This year’s fair is proudly supported by a host of sponsors, including Hyde Energy, Coronation, and the Edo State Government.
The Benin Art Fair aspires to position Edo State as a central player in the international art scene. According to Ajueshi, the event will generate revenue for the state while enhancing its reputation as a cultural hub.
“This festival is not just about celebration; it’s about evolution—transforming Edo into a cornerstone of the Nigerian art subsector and a major contributor to global cultural conversations,” he noted.
As Edo’s art and culture come alive this November, The Benin Art Fair represents a significant step toward reclaiming the state’s rightful place as a beacon of creativity and heritage in Africa and beyond.
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