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COMMUNIQUE’ PRESENTED AT THE END OF THE 2023 ANNUAL OSUN OSOGBO FESTIVAL

Theme: Osun Osogbo Festival: The Past in the Living Present

Date: August 12, 2023

The One-Day Annual Celebration of the Osun Osogbo Festival organized by the Centre for Black Culture and International Understanding on the occasion of the 2023 Osun Osogbo Festival, celebrated on August 11, 2023. The convener of the celebration on the platform of the center was Professor Siyan Oyeweso, Professor of History and Executive Director of CBCIU. The program was held at the Ulli Beier Auditorium, a Centre for Black Culture and International Understanding. The annual celebration under this platform incorporates both academic discourses and cultural evidence that illustrates the essence of Osun Osogbo as a Yoruba cultural, religious, and global identity.

HRM Oba Oyekanmi, Alasipa of Asipa

At the celebration, local and international participants arrived at the CBCIU Ulli Beier Auditorium on August 12, 2023. The celebration commenced with an elaborate opening introduction by the chairman and moderator of the celebration. The celebration was graced by the royal fathers among which include Oba Jimoh Olanipekun Oyetunji – Ataoja of Osogbo who was ably represented by Olori Kafayat Oyetunji and the Ataoja Traditional Chiefs in Council; Alasipa of Asipa – Oba Muftau Wale Oyehan Oyekanmi Ilufemiloye Fasina VIII; Agbongbon of Osogbo – Chief Fakayode Faniyi, Iyalode Osogbo – Alhaja Chief Awawu Asindemade. Other dignitaries present include Mrs. Ajayi M.O, General Manager, Osun Tourism Board; Mrs. Toyin Ajayi, Mr. Obadare Ayodeji from the Osun-Osogbo Grove; Mr. M.O. Bashir from the National Museum, Osogbo. The event was also graced by distinguished academics among which include Dr. Saheed Amusa from the Department of History, Obafemi Awolowo University, Dr. Mutiat Oladejo of the Department of History, University of Ibadan, Dr. Awoyera F.E., Bown University, Iwo, Dr. Sarafa Balogun and rs. Dara of the Department of History and International Studies, Osun State University, Dr. Raheem Oluwafunminiyi of the Department of Tourism, Osun State University; Osun Osogbo religious adherents, traditional religion and cultural experts. The event also witnessed the presence of the press which included Vanguard; Punch; The Nation; Amiloaded Media Hub and Insights Media

At this celebration, two academic lectures were presented: one by Dr. Saheed Amusa, the Head of Department, Department of History, Obafemi Awolowo University, Ile-Ife, and one by Lena Naumann, a curator and Junior Fellow at the Bayreuth International Graduate School of African Studies. Dr. Saheed Amusa examines the Osun and the Contemporary Greatness of Osogbo: The Myth and the Realities, while Lena Naumann discusses the New Sacred Art Perspective on the works of Susanne Wenger and the Movement in the Osun-Osogbo Sacred Groove. The celebration also witnessed an address by Robin Campell titled “The Aduni Olorisha Trust and Aduni Osun Foundation: Committed to the Preservation and Performance of the Oso Osogbo Sacred Groove and New Sacred Art.”

Professor Siyan Oyeweso

All in all, the three academic papers presented interrogating the undiminishing role of Susanne Wenger in the emergence of the Osun Osogbo Groove. Susanne Wenger occupies a bridge that links the traditional and contemporary worship, religious identity, and cultural identity of Osun Osogbo. The discussion also established the realities and position of Osun in the contemporary global and national identities of Osogbo. At the end of the celebration, the following positions and conclusions were reached, among others:1. That Osun Osogbo festival is an embodiment of the totality of Yoruba cultural and religious identity and richness. 2. That the primacy of Osun Osogbo in traditional and contemporary religious celebration across Yoruba land is historically established, culturally supported, and entrenched in Yoruba’s identity Susanne Wenger enjoys primacy in Osun Osogbo history as religious, spiritual, and cultural links 3. That the greatest legacy that Susanne Wenger bequeathed to the entire world is the worship and identity of the Osun Osogbo festival. 4. That annual celebration of the Osun Osogbo festival, which featured the roles of traditional rulers, religious leaders, cultural experts, and the people, shows that Osun Osogbo and Yoruba cultural and religious identity remain sacrosanct. 5. That Susanne Wenger played key roles in the revitalization years of the Osun Osogbo Groove, and the Aduni Olorisha Trust-Aduni Osun Foundation has continued to play a significant role in upholding the legacy of Susanne Wenger and the identity of the Osun Osogbo Grove. 6. That the worship and annual celebration of Osun Osogbo must continue to experience significant growth, through which it will become a global tourist center. that the government at all levels and international organizations such as UNESCO must continue to protect the cultural significance and relevance of the Osun Osogbo festival. 7. That there is a greater task ahead for the academic and non-academic historians, archaeologists, sociologists, anthropologists, linguists, and other scholars for further research and investigations into the Osun Osogbo festival for a deeper understanding and appreciation of the important role of Osun Osogbo in Yoruba history, culture, and political power relations.

Some Practical Policy Recommendations After the annual academic-cultural celebration at the CBCIU, the following recommendations are made for improving the state and status of the Osun Osogbo festival: 1. Osun Osogbo religious and cultural identity should be incorporated into courses of study in the departments of tourism, Yoruba language, fine and applied art, and history at Nigerian universities. 2. There is a need for government at all levels to further expand the scope of commitment towards the Osun Osogbo Groove in terms of maintenance of the groove facilities and its sustainability towards global cultural best practices. 3. Cultural institutions, traditional rulers, cultural experts, and all worshipers of Osun Osogbo must unite to protect this cultural heritage. 4. We must aggregate and harness the rich cultural and religious values in the Osun Osogbo festival as tools for Yoruba’s cultural identity, growth, and development. 5. The Yoruba nation today needs a workable and practicable cultural policy rooted in our indigenous cultures and histories, which in turn will enhance contemporary and future understanding and shape relations around the Osun Osogbo festival and other indigenous religious institutions. 6. The Federal and State Ministries of Cultures, the National Orientation Agency (NOA), the Centre for Black and African Arts and Civilization (CBAAC), the Centre for Black Culture and International Understanding (CBCIU), and other relevant agencies should provide proper platforms and policies for the promotion of indigenous cultural values. This is because our cultural values are capable of restoring our pride and providing the basis for our development, just as Paula Gomez of the Alaafin’s Palace noted that “If you preserve, you develop.” Therefore, we must know that there is no development for us without preserving our cultural heritage.

Conclusion The CBCIU-Annual Osun Osogbo Festival in commemoration of the 2023 Osun Osogbo Festival reflected on the importance of Osun Osogbo in the contemporary greatness of Osogbo and the role of Susanne Wenger in the movement towards the restoration of the Osun Osogbo Sacred Groove. Though the papers presented are sacred, their contemporary importance and future importance to Yoruba religious, spiritual, and cultural identity and development cannot be underestimated.

You are here: Home  Resources  Events  CBCIU CELEBRATES THE ANNUAL BLACK HISTORY MONTH

CBCIU CELEBRATES THE ANNUAL BLACK HISTORY MONTH

On Friday, 17th of February, 2023, the Centre for Black Culture and International Understanding, celebrated the annual Black History Month. The event themed; Get Up, Stand Up, Stand Up for your Rights, aligns with the globally adopted theme for the year 2023; Black Resistance.

Dr. Saheed Amusa during the delivery of the lecture

The event was marked with paper presentations by renowned scholars of African Studies woven around the theme, while there were also cultural performances and Dances. Scholars who made paper presentations include Dr. Senayon Olaoluwa and Dr. Sola Olorunyomi, both of the Institute of African Studies, University of Ibadan. Others are; Dr. Saheed Amusa Balogun, the Head of the Department of History, Obafemi Awolowo University, Ife; and Dr. Temitope Fagunwa of the Department of History and International Studies, Osun State University.

The event which was held at the Fela-Kuti Hall of the Centre had in attendance members of Staff of the National Commission for Museums and Monuments, Osun State Tourism Board, Osun State Art Community, and other distinguished members of the public.

cross section of the participants at the Seminar

It is against this background that Fela came to play an important role. By the time his music career took a shift, basing them on an anti-establishment posture, these songs became an avenue of expression of Pan-Africanism and an antidote to the crisis of neocolonialism. Fela’s music, according to Fagunwa, targetted the international capitalist countries and their agents, institutions and structures as well as members of the African petit-bourgeois ruling class. In International Thief Thief released in 1979, Fela pointed out the ‘nefarious’ activities carried out by these groups and exposed the corrupt relationship that existed between them. He also waxed several anti-imperialists. In an unreleased album titled Movement against Second Slavery (MASS), Fela presented this song against the forces of neocolonialism.The speakers reiterated the need for Africans to take pride in their culture and enjoined governments and policy makers across all levels to always look inward for African Development, stressing that no nation can attain sustainable development without integrating its culture into its national plans.

You are here: Home  Resources  Events  NATIONAL WORKSHOP ON RELIGION AND NATIONAL SECURITY

NATIONAL WORKSHOP ON RELIGION AND NATIONAL SECURITY

Prof. Siyan Oyeweso, Director, CBCIU during the delivery of his welcome address

National Workshop on Religion and National Security: The Role of Islam, Christianity and African Traditiinal Religion in Fostering Peace, National Security and International Understanding, held on Thursday, April 21, 2022, at the CBCIU re-engaged the role of the three major religions in Nigeria in fostering national and international peace and cooperation.

Chaired by eminent traditional ruler, the Aragbiji of Iragbijiland, HRM Oba Abdulrasheed Olabomi Odundun IV, panelists include HRM Oba Qamarudeen Adeyanju, The Olororuwo of Ororuwo, Professors Aderemi Ajala, Rotimi Omotoye, Rafiu Adebayo and R.O Raheemson, Oluomo Dr. Oluseyi Atanda, Dr. Gbenga Efuntade, Priestess Adedoyin Talabi Faniyi, Chief Oyelola Elebuibon, and Fadilat Sheik Abdullahi Olohunlomerue.Representatives and members from the Osun State Muslim Community, Christian Association of Nigeria and Traditional Religion Worshippers Association graced the workshop. The high point of the workshop centered on the need for all three religious adherents to live not only in peace and harmony but to ensure that tolerance and cooperation are emphasized in their daily lives towards the promotion of national and international development.COMMUNIQUEThe workshop on fostering peace, security and understanding through religion was organized on 21st of April 2022 by Centre for Black Culture and International Understanding, Osogbo(CBCIU). The workshop had nine panelists and three other contributors drawn from academia and religious institutions who discussed different perspectives of religious promotion of peace, security and understanding within African traditional religion, Christianity and Islam perspectives. Moderated by His Royal Highness, Aragbiji of Iragbiji, the workshop was attended by no fewer than 300 people physically and another 150 people who attending virtually. Cultural displays through chanting of Oriki and drama sketches focusing religious integration and accomodation were staged as part of the entertainment during the workshop.The panelists and contributors established that:1. Religion in Latin means binding together of human relations. It is a human invention aimed at promoting solidarity among humans.2. All religions have roles to play in fostering peace, security and understanding.3. The state of insecurity is appalling and worrisome in Nigeria.4. The years 2010 till 2022 are characterised by numerous forms of insecurity than what were witnessed in the previous years since Nigerian independence.5. Contemporary insecurity featured banditry, ethnic conflicts, kidnapping, separatist movements crises, domestic violence, labour union crises, armed robbery, internet fraudster, political and ethnic conflicts and various forms of domestic violence among others.6. All these forms of insecurity have caused economic crisis in the country, dented the international image of the country and make the state to be fragile.7. Government’s attempts at solving insecurity have failed because little attention is given to community approach which includes using family system, community and religion to foster peace, security and understanding.8. Religion plays a fundamental position in maintaining security.9. Since religion is for humanity, it is an institution, which should be maintained to foster peace and security.10. Christianity preaches peace and security.11. As suggested by Jesus Christ, anger and provocation should not attract violence.12. The tenets of Christainity focusing on christhood should be engaged to address the current insecurity in Nigeria.13. Christianity must continue to preach peace, equity, fairness and love beyond religious beliefs.14. Christianity must not assault other religions.15. Christianity must emphasize tolerance beyond gender, status and religious beliefs.16. Yoruba demonstrates religious tolerance and accommodation, this virtue must be respected by Christians.17.Islam is a religion of peace and several verses of holy Quran testify to how Islamic religion promotes peace.18. Islam does not license killing of fellow human beings.19. Quoran and Hadith being the bedrock of Islam teach human relations beyond space.20. The Muslim’s five daily prayers suggest accommodation and fellowship among humans across the beliefs, sex and colour.21. Truth, justice, sincerity and equity preached in all religions must be upheld tenaciously.22. Islam forbids tribalism, nepotism and favouritism, So government should not engage these practices as instruments of power relations.23. Politics is a game of chance, where somebody will win and someone else will loose. Either winning or losing is not a certificate to heaven or hell. So politics must be conducted with humanity in mind.24. All that are acquired on earth will be left behind and no one is buried with his or her wealth. Wealth acquisution must not be used to cause harm against fellow human beings.25. Law is no respecter of anybody. So, law must be obeyed without reference to status.26. Traditional religion is sacred, tolerant and accommodating.27. Traditional religion does not preach religion but preaches humanity and making the world a better place to live in.28. There is a need to have proper conceptualization of beliefs across all religions in such a way that positive knowledge of every religion is promoted.29. The mythology of Yoruba pantheon suggests that no one should be left out in building a peaceful society.30. Spirituality and religion should not be used to promote insecurity, rather common religious spirituality should be engaged to foster peace, security and understanding.31. Throughout the ifa verses, the messages of peace, security, understanding and humanity are clearly stated.32. Peace is an essential virtue of the Yoruba, which is clearly emphasized in traditional religion.33. Ifa verses of Obara forbids greed and bad governance and encourages benevolence in human relationship. While benevolence can cause peace, bad governance and greed can cause insecurity.34. Another ifa verse also preaches love and good health. Insecurity is caused by hatred and bad livelihood. So, if government promotes access to good quality of live, there will be security, peace and understanding.35. Ifa verses also charge the leaders of people to employ their authorities to proffer peace, security and understanding. Kings and community leaders must ensure peace, security and understanding in their different communities by engaging traditional norms of peace building.36. Traditional religion emphasises that leaders must be true leaders who have power to maintain peace and security in their domains.37. Indigenous knowledge especially in language, philosophy and skills must be promoted in Nigerian schools to promote understanding.38. All religions must ensure oneness of love, equity, justice, fairness and humanity to foster peace, security and understanding.39. Every religion must translate religious ideologies to realities and practices of peace building and understanding.40. Traditional cultural practices like norms, ethics, values and morals must be applied to foster peace, security and understanding.41. Religious integration through interdenominational prayers and fellowship can work to foster peace, security and understanding in Nigeria.42. Politicians should be warned against the use of thuggery and violence during elections. Legitimization of thugs in Nigerian politics must stop.In conclusion, the participants and audience agreed that the workshop was timely and very necessary for Nigerian development. The workshop presentations addressed lots of security challenges in the country. Thus, it was recommended that ideas and opinions generated at the workshop must be translated to actions.

You are here: Home  Resources  Events  A National Colloquium in Memory of Oba Adetoyese Laoye I, The Timi of Ede (1946-1975)

A National Colloquium in Memory of Oba Adetoyese Laoye I, The Timi of Ede (1946-1975)

At the National Colloquium organized in honour of the memories of John Adetoyese Laoye 1, by the Center for Black Culture and International Understanding (CBCIU), Osogbo. The event which was held on zoom, had traditional rulers, historians and scholars from different parts of the world in attendance and the focus was “The life and legacies of Timi Adetoyese Laoye 1; 45 years after”. Renowned professor of history, Toyin Falola moderated the session.
In his opening remark, the Chairman of the Center, Prince Olagunsoye Oyinlola described the late monarch as a promoter of culture, adding the he dedicated his life to the service to humanity. Oyinlola said Oba Adetoyese spirit of Culture and Arts illuminated both the young, old, African culture experts and western cultural apologists who appreciates the essence of culture .
“In his path to upholding the culture, Oba Adetoyese consistently supported individual and groups ambition on matters related to the culture and arts of Yoruba land especially in drum, music, festival, and entertainment.
“The relationship between Oba Adetoyese Laoye and the German culture experts – Ulli Beier is a vivid example. As the Regional Tutor for the Extramural Studies programme of the University College, Oba Adetoyese welcomed Ulli Beier into Ede community. Between 1951 and 1954 which marked the period of the inter – personal life – long relationship, Oba Laoye shows Ulli Beier the true beauty and power of African cultures and Arts. It is on record that Timi Laoye had very close interactions with Ulli Beier, and a relationship which was mutually beneficial.” the presenterIn his address, the Royal Host, Oba Munirudeen Adesola Lawal, Timi of Ede said the late Oba Laoye laid foundation for the development of Ede that everyone is enjoying today.
The Monarch said Oba Laoye’s record as the first educated monarch in the old Oyo province is an attestation that the late King was an embodiment of intellects as he attended several conferences both within and outside Nigeria.
According to Professor Siyan Oyeweso, the Executive Director of CBCIU, the late monarch combined royalty with culture as he lived for the promotion of Yoruba culture and tradition. He said the center will continue to identify great Nigerian men and women who have in the past dedicated their lives for the advancement of African culture.
He said, “Given the corpus of his publications and academic engagements, there is certainly no doubt that Timi Adetoyese Laoye I was an intellectual monarch. His published works have remained indispensable roadmap for scholars of African Studies and the bedrock of many masters’ dissertations and Ph.D. theses. He was a practical man of letters, a man who lived his thoughts. He was an avid participant in many international conferences with focus on the deepening of African culture and civilization. He was a gift of the 19th and 20 century and the contemporary society. We urge our contemporary traditional rulers to emulate his best practices in education, professionalism and mentoring of young monarchs, artistes, scholars. “The bane of traditional institution today is that many of the rulers are yet to fully grasp the essence of history. When people are looking for relevance and upward mobility in life, they use history as the platform. When they have attained the Olympian height of their choice, they abandon history. A word is enough for the wise.” Oyeweso called on the governments at various levels to ensure they use culture promotion for national integration and development. Also speaking at the webinar, the Orangun of Oke-Ila, Oba Adedokun Abobarin described the the late Timi Laoye as a man with great vision for the development of his kingdom.

He said every developments in terms of education, economy and social amenities have their roots dated back to the era of Oba Laoye. “Whatever you see in terms of education development, economic, social amenities and others have their roots dated back to the era of Timi Laoye. They are not products of the immediate.” Oba Abobarin said. Oba Abobarin also called on Yoruba communities to checkmate the excess of any monarch who is derailing from the traditional norms, adding that “people have power to checkmate any misbehaving monarch. They enthrone and if need be, can dethrone any erring Monarch.” Foremost Yoruba Veteran Actor, Chief Adedeji Aderemi popularly called Olofa Ina narrated the life history of Oba Laoye. The Chief Sobaloju of Ede told the gathering that Oba Laoye was born Muslim but converted to Christianity, making him a man with knowledge from both sides. He said the dressing style of the late Timi was royal and he was a man with large heart to accommodate every views.
Among those who delivered papers at the event are Professors Tunde Lawuyi, Jelili Ojuade, Oyeronke Olademo and Ahmed Yerima. Others are Professor Olutayo Adesina, Chief Muraina Oyelami and Dr Zacchaeus Olupaimo.

Design :CBCIU IT Unit
REPORT :CBCIU Research Unit

You are here: Home  Resources  Events  A National Colloquium in Memory of Alhaji Maitama SULE (1929-2017)

A National Colloquium in Memory of Alhaji Maitama SULE (1929-2017)

The Board of Trustees, Management and Staff of Centre for Black Culture and International Understanding (CBCIU), Osogbo, over the weekend, precisely on August 22, 2020, held the second edition of its Webinar Colloquium aimed at celebrating eminent Nigerians that have impacted positively on Nigerian history, culture and national development.
The Webinar in memory of Late Nigerian Nationalist,where Alhaji Yusuf Maitama Sule was described as a unique, exceptional and revered statesman, who used everything he had during his lifetime to promote unity among Nigerians and prosperity of the country. This was made known by scholars, historians and associates of the late Dan Masanin of Kano during a National Colloquium organized by the Centre for Black Culture and International Understanding, Osogbo on Saturday. The colloquium, which was held virtually through zoom, had in attendance scholars drawn from different Institutions across the country, former diplomats and associates of Maitama Sule. Former Minister of Interior, Lt. Gen. AbdulRahman Dambazau chaired the event, while Registrar of Joint Admission and Matriculation Board, Prof. Ishaq Oloyede was the moderator. In his opening remark, the Chairman of the Board of Trustees of CBCIU, Prince Olagunsoye Oyinlola said Maitama Sule was a foremost Nationalist, politician of repute, intellectual orator and a consummate diplomat, adding that he became the emblem of hope and aspiration as Nigeria faced diverse challenges.
Extolling the legacies of Maitama Sule further, Oyinlola said, “Alhaji Yusuf Maitama Sule stood against military dictatorship and all forms of misgovernance, and ultimately stood for peace and unity of Nigeria. No wonder, he’s fondly called the geniuse orator and the golden voice by reason of his oratory prowess, where he laid emphasis on his greatest dream for Nigeria among leagues of nations.” address, the Executive Director of CBCIU, Professor Siyan Oyeweso said the centre has continued to recognize the hard work, dedication and truth of noble Nigerians with the intention of re-orentating younger generations.
Speaking on the choice of Maitama Sule, the University Don said the worthy legacies and invaluable contributions of the honouree are what attracted the centre. “The choice of Alhaji Maitama Sule is predicated on the Centres entrenched efforts at extending its frontiers to other parts of Nigeria where outstanding individuals with sterling qualities and invaluable legacies are singled out for celebration. Without gainsaying, Alhaji Maitama Sule eminently qualify for such honour. It is for this reason that I celebrate with all Nigerians, the people of Kano and the family of the great Nigerian we are celebrating today whose impact on the unity and progress of our dear country remain indelible. “The late Maitama Sule was a widely known figure across the length and breadth of the country and cast a very respectable personality within the international community. He was at different times a politician, diplomat and elderly statesman who used his rich experience for the progress and to stir national development for our great country. the presenterAlhaji Yusuf Maitama Sules life and times is replete with important lessons and legacies worthy of emulation for contemporary Nigeria youths.” He said. .
Lakemfa described the late Chief whip of House of Representatives as a man with good quality of leadership, a bridge builder and cultural promoter, who excelled at both national and international assignments. The Chairman of the event, Dambazau called on Nigerians to imbibe the spirit of patriotism and leadership qualities exhibited by the Sule. In her contribution, the Director of Gender Studues, Bayero University, Kano, Prof. Aisha Abdul-Ismail said, “For me the lessons from Danmasani’s life and speeches is on the breakdown of the family institution, respect for elders and constituted authority. The family is the nucleus of the society and the feeder of the society where the values of respect, justice, leadership, teamwork, cooperation, kindness and fairness. “His ability to speak truth to power should be emulated by other elders and those that have the opportunity to do so. He used every opportunity to stress the significance of justice and qualities of leadership for a united Nigeria.
Others are Amb. Fatima Bala Abubakar, Former Ambassador to Botswana and Chairperson, National Governing Board of NYSC; Prof. Abdulkadir Adamu, Department of History, Ahmadu Bello University, Zaria; Dr. Bashir Kurfi, Director, Network for Justice, Kaduna.

Design :CBCIU IT Unit

REPORT : CBCIU Research Unit

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A Third Of Artworks In Bayreuth Museums Are From Africa

Passionate about art, Dr. Ulf Vierke, Director, Iwalewahaus, Germany, is committed to making sure that artworks are properly preserved for posterity. Despite his tight schedules, the Iwalewahaus boss made out time to be at the unveiling of Ulli Beier Archives and Duro Ladipo Museum both situated in the premises of the Centre for Black Culture and International Understanding (CBCIU), Osogbo, Osun State.
The two facilities are not only important landmarks for Centre for Black Culture and International Understanding (CBCIU), Osogbo, Osun State, but are the nexus of happening in Iwalewahaus Germany. Thrilled by the proficiency of Nigerian artists, Vierke said Nigerian art is not only powerful, but also intelligent. He added that it is a unique combination of the structured and sophisticated thoughts of Nsukka School of modern art rooted in the Igbo culture and the Osogbo School rooted in the Yoruba culture.
According to the curator, Nigerian art is a source of inspiration and energy for art movement, and art culture across the globe, saying Nigerian art is going to be one of the big players in the global scene. He observed that this is going to be influenced by two factors – the existing art tradition and the modern art, which dates back to over 60 years.
According to him, there is this rich history of classical art like the Ife and Benin arts, which exist alongside the emerging art scene from the 1960 to date. “When it comes to the arts, Nigeria is like a continent. There is a vibrant group of young and educated artists in the country that is the strength. Some of them do not have the prerequisite academic background, but they know what they are doing,” he said.
Convinced that Nigerians have the ability to preserve their works despite the nation’s poor technology, the art and culture maven who also visited some of the traditional rulers in the state and saw the locals’ raw art, observed that before modern technology was introduced, a lot of artworks were already preserved in the palaces. Taking a mental calculation of some of the artworks he saw in the palaces of some of the traditional rulers, he said some of them date back to hundreds of years. According to him, some of the artworks include the beaded crown, statues, carvings, the architecture, among others, which have been preserved for the present generation to see. Regretting that most of these artworks are in the hands of families and individuals, Vierke noted that the vital point is the value that is drawn to these works, saying it is the value that gives art its strength when it comes to the surface.
He stressed that preserving an art piece is not about museum techniques, but the respect and understanding of the item. According to him, technology helps, but it comes to play more on the side of the editing and making the artworks accessible in different format. As part of his contribution to the development of the Nigerian arts and culture, and the two facilities in CBCIU, Vierke partnered other German African art lovers to put over 20,000 photographs taken by Ulli Beier while in Osogbo in film format.
Commenting on the project, he disclosed that Ulli Beier founded the Iwalewahaus (Iwalewa House) in 1981. The institute, which today is a part of the University of Bayreuth, embraced some of the ethos of Ulli Beier aside engaging in research, exhibition, teaching, collecting and taking care of archive, providing residencies for artists as well as presenting, recent developments in contemporary African and Diaspora culture in refined form. “Iwalewahaus has become part of German culture. The idea came from Osogbo and it continues to Germany. The focus of the House is on visual arts, everyday culture, the media and music,” he said. Revealing that the House would in 2021 celebrate its 40th anniversary, the director noted any artist that wants to know more about some of the collections in the facility would have to come to Nigeria to see what their teachers did.

According to him, such people will have to know where the ideas they are fascinate about came from, adding that there is quite a number of Nigerian artworks from the 1960s to 1980s there. He disclosed that the works might not be the extreme artworks, saying they are mostly in sketches, drawings and paper works that tell Nigerian art history. Comparing the quantity of artworks in the CBCIU to that in Iwalewahaus, the director reveled that Iwalewahaus has more works because the ideas behind the two establishments are different. He said: “The idea behind the establishment of CBCIU is broader and art and culture-based, while Iwalewahaus is only trying to narrow the idea down to modern art. So, we are complementing CBCIU.”

Vierke said he was not only in Osogbo for the unveiling of the two facilities, but to also exhibit in digital format, the over 20,000 photographs Beier took when he was around. He disclosed that despite the over 60 years period the pictures were taken, they still look good and wonderful to behold. According to the Iwalewahaus director,”there are over 20,000 of the pictures, which have been made into small and middle size formats. We have only digitised about 98 per cent of the photo collection and have brought them to Osogbo, but we believe CBCIU can use this project to tell the history of Osogbo’s arts and culture to the people. The collection also dealt on a number of artists or individuals that have been active in Osogbo art; so, it gives faces to the ideas behind art history in Osogbo. It is wonderfully illustrated and gives depth to what we are.

“Our idea with CBCIU is to exchange programmes and exhibitions in future. So, I would love to see the art collection of the centre grow in the next five years,” he noted. Vierke disclosed that art and culture is a huge business and called on artists, art collectors and even governments to take advantage of the global market and reposition themselves to invest in the sector. He observed that investment in arts and culture is the best investment anyone can think of because it deals on a nation’s or groups identity, aside highlighting events and enticing people to embark on tours.
“Art connects one to culture, history and the future. It gives you the idea of what the future would be like. We need art to push our boundaries of thought. The art and artist could come inform of authors, poets, playwrights, design and designers, among others. Art and artists are important in the society,” he said. On returning some of the African arts taken from Africa during the colonial period to Africa, Vierke disclosed that one-third of the artworks in Bayreuth museums are not from Poland or Germany or any other country in Europe, saying such works might have come from Nigeria, Kenya or any country in Africa. He stressed that the issue with returning the works is the case of which African country to artiste of take them to because they do no have specific country of origin, even though some of them will be really good to be in African museums.

A graduate of African Studies, Vierke, the fifth director of Iwalewahaus, developed interest in museums because of his love for artworks. According to him, handling different artworks has exposed him to different cultures and people. He said: “I am not an artist, I cannot create, but can only appreciate. The museums give me the space to see different artworks, appreciate them and come closer to other people’s culture. And working in a museum as a director, I come in contact with different artworks; I see and feel them with my hands. I can feel their weights, smell them and turn them around. They bring me closer to real artworks. And another thing you have to do with the works is to encounter and dialogue with works. Sitting and taking stock of artworks is boring; so, taking photo of art works, measuring it and turning it around 100 times you build a relationship around it. This on its own gives one a different level of understanding the artwork,” he said.

Culled from: Guardian Newspaper

Photograph : CBCIU

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CONFERENCE ON POETRY AND PERFORMANCE IN THE INDIGENOUS LANGUAGE

The Theme of the conference was: Poetry Performance in Nigeria. It was held 12th to 15th Dec 2012 at CBCIU Conference Hall in Osogbo, Osun State.Karin Barber, the keynote speaker, stayed throughout the duration of the conference; so did notable Nigerian poets like Niyi Osundare, Femi Osofisan, Odia Ofeimun, Remi Raji and Lanrewaju Adepoju. Notable indigenous (folk) performers included a Hausa poet from Sokoto, Ifayemi Eleburuibon, Alabi Ogundepo, Jaigbade Alao (a dadakuada muisican) from Ilorin, Sango of Africa, Gbonka Ebiri and a troupe from Ghana. Paper presenters came from all over Nigeria.

PARTICIPANTS & OBSERVERS

Professor Karin Barber, Centre of West African Studies, University of Birmingham, United Kingdom was the Chair of the conference and more than thirty academics from different Nigerian Universities. Most notable among whom were Femi Osofisan (academic and foremost Nigerian playwright), Niyi Osundare (academic and formost Nigerian poet), Odia Ofeimun (foremost Nigerian poet and social critic).

AREAS OF DISCUSSIONS:

• The Significance of Cultural Space in Urhobo Oral Poetry Performance

• Playing Migrants and Performing Ownership: The Politics of Space in Ojaide’s Labyrinths of the Delta.

• Ija G’Ampene: Performing Playground Poetry in Agatuland.

• A Reflection on the Ife Poetry Festival

• What the images whisper to the words: The video performance poetry of Chuma Nwokolo

• Content and Performance of Traditional Yoruba Chants.

• Aesthetics of Performance: The Case of Okinba Launko’s Commemorations.

• Drum Speaks, Man Chants: An Aesthetic Evaluation of Selected Yoruba Poetry Performances.

• Aspects of Poetry in the Invocatory Segment of Efe Performance.

• Coded Communication in Ede Masquerade Performance in Oka Akoko, Southwestern Nigeria.

• Reinventing Poetry for its Survival: The Poetry of Akeem Lasisi

• Poetifact: Typology, Context, and Aesthetics of Poetry Performance in Nigerian Theatre.

• Creation and Recreation Processes in Yoruba Oral Poetry Performances.

• From Village Square to Digital Space: performance Poetry in Akeem Lasisi’s Wonderland.

OTHER STAGE PERFORMANCES INCLUDED:

• Perfomance by Ifayemi Elebuibon

• Performance in Ibibio Poetry: The Case of Uto.

• The Bride in Marketplace: Performance in Ilugbedjo Bridal Chants.

• Content, Context, and Performance in Ekute Songs of the Remo People of Ogun State.

• The Gospel According to Omokaro: Performance and Topicality in the Poetry of Emen Omokaro.

• Court Poetry Tradition and Performance in Oyo Kingdom of South Western Nigeria.

• Neo-Performance, Second Orality and African Poetics

• Poetifact: Typology, Context and Aesthetics of Poetry Performance in Nigerian Theatre

• Old Bride, new Tears: Progress Report on Revitalisation Efforts on the Yoruba Bridal Poetry, Ekun Iyawo

• “Thematic Dynamics in a Per formative Tradition: Idoma Alekwu Oral Poetry”

• Against Reading: A Performance Analysis of Remi Raji’s Lovesong”.

• Rotimi Omoyele Fasan, Osun State University, “The AlterNative Songs of Odamolugbe”

• Jendele Hungbo, University of the Witswaterstrand, “Poetic Vision and a New Episteme in Yedenou Adjahoui’s “Nusisi”

• Functions of Ogu Gospel Songs

• In Praise of the Oral Poetic Word : Negotiating the Intertextual Dialogue Between Tiv Swange and Recent Nigerian Poetic Performance

• Nine over Seven :Preliminary Comments Toward a Typology of Gu Oral Praise Poetry