MEET MADAM EFUNROYE TINUBU

Nigerian businesswoman and patriot, after whom a prominent Lagos landmark, "Tinubu Square," is named. She lived in the 19th century and was born in Abeokuta, Ogun State, Western Nigeria, to a trading family.

After a period of trading apprenticeship under her mother, Tinubu went to Badagry, an important trading post on the outskirts of Lagos, where, despite her lack of formal education, she soon established a flourishing trade in tobacco and salt. The entreprising Tinubu was later to expand her trade, which brought her into contact with the European slave traders, with whom she dealt as a middleperson.

In 1846 Tinubu, now a successful businesswoman, played hostess to the exiled King Akintoye of Lagos who sought refuge in Badagry; she used her influential position to inaugurate a pro-Akintoye movement dedicated to the eventual return of the king to the throne in Lagos. Thus commenced her involvement in the politics of Lagos, which was dominated by men of wealth and education.

In 1851 Akintoye regained his throne and Tinubu was invited to Lagos where she soon transfer her business activity. She strengthened her position as an intermediary in the trade between the expatriate community and the indigenous population of Lagos on the one hand and the interior which include her birthplace, Abeokuta, on the other.

Her influence in the court of Akintoye grew to such an extent that she was often accused of beign the power behind the throne, a belief which in 1853 led to the rebellion of two prominent chiefs. By 1853, when Akintoye was succeeded by Prince Dosunmu, Tinubu's influence grew even more.

In 1855 she led a campaign against the Brazilian and Sierra Leonean immigrants in Lagos for using their wealth and power against the King and for subverting the ancient customs of the island, thus displaying a degree of nationalism which worried the British. The latter retaliated with mass arrests of the organisers, followed by explusion from Lagos. Tinubu and her followers were deported to Abeokuta in May 1856.

In Abeokuta Tinubu expanded her business activities to include a wide range of wares such as gunpowder and bullets. In time her influence began to be felt also in Egba politics in which she played two important roles; her contribution to the successful defence of Egbaland during the Dahomean invasion of 1863 following which she was awarded the title of Iyalode (First Lady) in 1864.

In the Alake succession crisis of 1877 her chosen canditate was installed. The conferment of the title of Iyalode placed her in a position of power, which she was denied in Lagos, for, by virtue of it, she not only acquire d a constitutional right to participate in Egba affairs but was also accorded honour and esteem in the community.

She died in 1887 when she was at the height of her popularity. Today in Abeokuta, a monument stands in the town square named after her, Ita Iyalode (Iyalode Square).

REMEMBERING OGUNDE HURBERT.

Nigerian dramatist, musician, dancer, actor-manager, film maker and versatile artist. Hurbert Ogunde was the doyen of modern Nigeria theatre. He was born in 1916 at Ososa near Ijebu-Ode, Ogun State.
His father was a Baptist Minister, Jeremiah Dehinbo Ogunde; his mother was Eunice Owatusan Ogunde. He had a babalawo (traditional healer and diviner) grandfather whose influence blended with his Christianity upbringing and created in him strong interest in both Christian and Yoruba traditional beliefs. these desperate influences shaped his dramatic output, as can be clearly seen in his early Christian plays and the strong flavour of traditional beliefs in his later plays and films.
He had his primary education at St John's School, Ososa (1925-28), at St Peter's Faji School, Lagos (1928-30) and at Wasimi African School, Ijebu-Ode(1931-32). Between 1933 and 1940 he was the choirmaster and organist of Wasimi African School, where he also taught.
He joined the Nigerian Police Force in 1941 and while serving there started (as an amateur) a theatre company called the African Music Research Party, and came out in 1944 with his first "Native Air Opera" called The Garden of Eden and the Throne of God. In 1946 he left the police and went professional and stormedthe stage with the production of Tiger's Empire, an opera which earned him a caution by the police. Later that year, in Jos, his theratre was banned for staging the play Strike and Hunger.
Ogunde's theatre progressed through different phases, from the opera concert party to the contemporary theatre it was at the time of his death. These phases are reflected in the different names he gave to his company. In 1945 it was called African Music Research Party, but in 1947 the name was changed to Ogunde Theatre Party. In the 1950s it became the Ogunde Concert Party and it was again renamed The Ogunde Theatre in the 60s and retain this name thereafter.
The thematic preoccupation of his plays varied; from folklore, he went on to tackle other themes, such as satire, history and politics.The themes that interested him are a reflection of the influences acting on his art. He was influenced by European theatre, an influence which he made use of creatively to come up with a unique theatre all his own. He was, perharps, more profoundly influenced by the classical travelling theatre of the yoruba called the Alarinjo theatre which had its beginning in the 16th century.
Ogunde's theatre become very popular, especially among his yoruba audience, because of its preoccupation with cultural nationalism. He catered for the interests of not only the nationalists but also the ordinary people. His theatre came to be closely identified as a vehicle not only for entertainment but also for social comment, political action and instruction. Thus, through his theatre he became a leading figure in the nationalist struggle. The colonial government viewed his theatre with disapproval and saw it as an effective voice in the agitation for independence and consequently did what it could to silence it.
Ironically, Ogunde's theatre also suffered persecution in the 1960s after independence was achieved and this time at the hand of Western Region Government under Chief S.L.Akintola(q.v) after the staging of Yoruba Ronu ("Yoruba Think") in 1964. The theatre was banned for two years until the ban was lifted bythe military government of Col. Fajuyi after the 1966 coup d'etat.
His theatrical performances were remarkable and memorable; he was a charismatic personality. His usual lively and dynamic presentations held his audience spellbound. His was a fascinating family theatre group constituted by himself and his many wives and children. Ogunde has over eight wives and numerous children, and most of them are member of his theatre. The commitment of Ogunde and his entire family to the theatre company which was the family business, was profound. Thus his theatre had a cohesion, durability and resilience lacking in many other yoruba travelling theatres. Ogunde's success in the theatre took him to many parts of Africa, Europe and the Americas where he performed to very enthusiastic audiences.
He was constantly writing and producing new operas and plays all his life. Among the most famous of his operas are The Garden of Eden and theThrone of God(1944), followed by Worse Than Crime(1945), Strike And Hunger(1946), King Solomon(1948), Bread and Bullet(1950), and MY Darling Fatima(1951). Some of his most remarkable plays include Yoruba Ronu(1964), Ayanmo(1970), Onimoto(1971) and Aiye(1972). A large number of his political works provoked a ban or caution from the authorities, but many of the political plays were well received by the government of the day. These works include Song of Unity(1960), a play commissioned by the Nigerian government to mark independence, Keep Nigeria One(1968) Muritala Muhammed(1976) and Nigeria (1977).
One of Ogunde's major contributions to history of professional theatre in Nigeria is thathe made the theatre accessible to the ordinary people, thus wresting it from the tutelage of court and church. He founded the Union of Nigerian Dramatists and playwrights in 1971 and by 1990 the union had a membership of over a hundred professional travelling theatres. He founded a film village in his home town of Ososa. In 1979 he set up a film company to record his most successful and popular plays for posterity. At the time of his death, he has four screen titles, including Aiye and Jaiyesinmi, to his name, in addition to 51 stage productions and eleven record titles, produced by his record company.
In 1982, Ogunde was honoured by his country with the award of Member of the Order of the Federal Republic. Ogunde , one of the finest and most productive dramatists Nigeria ever produced, was active as ever in the last years of life. He wore his age gracefully, and when he died on 4 April, 1990 at the age of 74, he was still a very dynamic and tireless actor and producer.

EKPE & ABAKUA: LINKING NIGERIA & CUBA.

Ekpe is an age -long traditional, sacred institution which served as an agent of cultural dispersal during the slave trade.
Ekpe is open to men in Calabar, and has over many centuries been a part of the hinterland, stretching from Akwa-Ibom to Abia, Imo and Ebonyi states.
Not too long ago, it was reunited with its Cuban counterpart, the Abakua.
These hand crafted cultural representations are carefully handcrafted by the villagers using dyed raffia and wool to create a true representation of the masquerade.
Only men are allowed to wear the elaborate masquerade costumes and in some cases, women are not allowed to look at the masquerades.
The masquerades are displayed at ceremonies, while songs and dances are usually accompanied by cultural drama.
They also come out during chieftancy title presentation and coronations, seasonal celebrations and other important events. It is an important cultural event and its roots are deep in traditional religion.
The Ekpe masquerade, the folklores (known as Ekong-Nkeh, Nke Ekon Abasi) and the Ikombi dance have won international recognition; they have become a form of entertainment to welcome important dignitaries to the state and at other events outside the state.

NOBERT YOUNG IS 50.

Friends, associates, colleaques and relations of beloved actor Nobert Akpojerharo Young will converge at his Isolo home today to felicitate with him as he turns 50.
Cultural tips bid our own Young Happy Birthday.

AYANGALU PASSES ON AT 65.

Celebrated drummer , Ayantunji Amoo, popularly called Ayangalu, has passed on at 65. He died on Thursday, and has since been buried according to Islamic rites.
Until his death, he was reputed to have performed on the Yoruba stage classics like, Ona koso, The Palmwine Drinker and many more. His talent and dexterity as a drummer is quite evident in Saworoide and Agogoeewo.

DURBAR, THE NORTHERN HORSE CULTURE.

Some people were of the opinion that the Hausas who are predominantly in the Northern part of Nigeria, are hardly known with any culture other than the ones borrowed from Islam or the Arabian world.
The asertion is very far from the truth, Nigeria is a country blessed with people of diverse cultures and traditional values.
The Hausas are known with so many cultures, but let treat the Durbar first.
Durbar is dated back to pre colonial days when clans, villages, towns, emirates engage in warfare to battle for supremacy over issues. During this period, each town, district and household was expected to contribute a regiment to the defence of the emirate.
This standing army are subjected to a kind of test, once or twice in a year, the emirate head invited the regiment for durbar parade for the emir and his chiefs.
During this parade, the regiments showcased their horsemanship, their preparedness for war and their loyalty to the emirate.
Now, the war parade has transformed to a festival used in honouring Important visitors, dignitaries to the northern part, i.e, visiting presidents, emirs and other people.
It has also been tailored with the two muslims most important festivals, the Id-ei-fitr (marking the end of muslims fast) and the Eid-el-kabir (the festival that is significant with ram).
The festival begins with each emirate racing across the square with their well decorated horses at a full gallop bearing a swords that will be glitting in the sun, they pass through the visitors and then stop abruptly to salute and pay homage.