By Anote Ajeluorou
Last week Friday at Oba
Akenzua Cultural Centre on Airport Road, Benin City, the NYSC Theatre Troupe,
Edo State Chapter staged its Arrows in
the Art, as part of its preparation for the national NYSC Cultural
competition that was held in Abuja. It was a lively afternoon inside the main
hall of the cultural centre, as act after act and NYSC’s cultural troupe
thrilled audience with their performances. that was put together by the Edo
Cultural and Tourism CDS.
Although designed to raise money for the
troupe’s trip to Abuja, audiences got far more than they expected with the
various performances that was on display. From Prince, White Angel, Jide sax to
MC Maleke, the audience got a fair dose of singing, dancing, comedy and
cultural dances and songs.
More traditional dances also followed. But
what was clear from the initiative of NYSC Theatre Troupe, Edo State Chapter,
was that there is hunger for sustained stage performances and other cultural
offerings in the ancient city of the obas.
Although token gate fees ranging from N200 to N1000 were charged, Corpers as
well as folks from Benin trouped in to see what artistic offering the amateur
Corps members had on offer.
From the sheer enthusiasm, it was clear that
the ancient city is in dire need of artistic and cultural revival of sorts.
Poor patronage by the state government and lack of support for local troupes
are just some of the hindrances for artistic flowering in the city reputed for
its tradition as a performance centre in years gone by.
The attitude of state government towards
culture is allegedly a disincentive to cultural offerings. The Adams Oshiomhole-led
government repeatedly shuns the Oba Akenzua Cultural Centre for its events that
ought to help it put up occasional cultural shows. Government prefers to
patronize private events’ centres in the city and pays three times more for
such places than it costs to rent the government-owned centre.
For a state that has an abundance of youth creative
talent and a rich cultural heritage to woo the world, government has repeatedly
failed to harness the state’s creative potentials to give employment to its
youths and create cottage industry through the creative arts. Such woeful
neglect has made a migration of youth creative energy to Lagos and other more
friendly centres, where talent is treasured and rewarded.
In an age where such states as Lagos, Rivers,
Cross River, Ekiti, Niger and Osun have long realized the importance of culture
and art as components of tourism investment, states like Edo and Delta that
ought to be at the forefront on account of their youth potentials still lag
behind and hasten the rot in their youth energy, which is often conveniently
unleashed in kidnappings, oil bunkering, armed robbery and other vices!
BUT on the foyer of the Oba
Akenzua Cultural Centre, a visual art exhibition was mounted with works by four
Corpers – Gbadebo Oluwaseyi, Taiwo Owoyemi Raji Ade and Seyi Fajimi. They were
works that showed budding talent in painting. Particularly, Fajimi’s works
stood out from the rest. A graduate of Ladoke Akintola University of
Technology, Ogbomoso, Fajimi’s ‘Reflections’ on three ladies looking at
themselves in the mirror and ‘Lovers’ kiss’ of a man and a woman in lovey-dovey
mood. But ‘Night reading’ and ‘Landscape’ give a glimpse of Fajimi’s prodigious
talent as a painter.
Also an animation guru, Fajimi particularly
caught the attention of filmmaker, Lancelot Oduwa Imasuen, who promptly engaged
him for a TV animation cartoon series on such characters as Adesuwa, Oguara the giant and other folk heroes that would specifically
appeal to African children as against Disneyland’s cartoons that orientate
African children away from their cultural backgrounds. The next day, Fajimi was
taken to the palace of Enogie of
Obazagbon on the outskirts of Benin City to see the 198-year palace where the
setting of some of the cartoons would be based, as a model of Africa’s enduring
architecture.
A play skit, E don die, was performed by the troupe to the excitement of the
audience, which remained wondering at a woman’s exaggerated wailing over a death
that captures the imagination of a community, which joins in what becomes a
communal mourning when it isn’t known exactly who has died. But when questions
begin to be asked, it becomes clear the cacophony has been about the death of a
fowl that belongs to the woman who raised the alarm! One after the other, all
the sympathetic mourners begin to disperse to their various activities in
disgust, as they leave the real mourner to her incredulous frivolity!
The audience applauded endlessly in
appreciation of the suspense generated and the success of the anti-climax
generated.
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