ARTS & CULTURE

The world took notice of African art, music because of Fela, says Ambode

Published

7 years ago

October 16, 2017

FAB.NG

Lagos State governor, Mr. Akinwunmi Ambode, yesterday, said Fela Anikulapo-Kuti, popularly known by his first name, Fela, deserved to be celebrated with many monuments because he made the world sit up and take notice of the energy of African art and music.

Speaking at the unveiling of an effigy to immortalise Fela on his birthday, Ambode maintained that fela was an enigmatic artiste, who used the platform of his art to agitate for social and human rights by challenging the government and people to explore development through social and economic activities that are rooted in African values.

The governor, while noting that Fela would have been 80 years next year, said for his contribution to music, art and entertainment in Lagos, Nigeria and Africa, the Lagos State government believed he should be immortalised.

According to Ambode, Fela deserves to be celebrated with many more monuments and different artistic expressions. “Today, he is still alive in his music and in the music of Femi, Seun and other artistes who have followed his style of music. Fela will forever be accorded his position in the Global ‘Hall of Fame’ of artistes.

“The phenomenon that the world knows as Fela was deeply rooted in the evolution of Lagos State. The story of music, art, entertainment and tourism in Lagos and Nigeria cannot be told without an eloquent mention of the ‘Abami eda’.

“On this day, October 15th, which would have been Fela’s 79th birthday, the government and people of Lagos State celebrate Fela with the unveiling of this Liberation Statue,” Ambode said.

For the governor, though it has been 20 years since he passed on, the memories Fela left remain evergreen. “Today we celebrate a man who voluntarily turned his back on a life of comfort and privilege, and took up his saxophone as a weapon to fight for the liberation of our people from neo-colonialism and bad governance.”

Ambode said the Liberation statue unveiled was not an image of Fela but a symbol of Fela’s philosophy. “This artwork was created as a form of respect and remembrance to this legend; what he stood for and fought for with his music; his mythology; struggle for freedom; fight for human dignity; social consciousness; courage and Pan-Africanism.”

Speaking on behalf of the Fela Kuti family, Yeni Kuti, thanked Ambode for putting up the effigy. She disclosed that Fela never liked statue, so Fela would be happy that a monument put up to celebrate him was an effigy of his costume.

The Special Adviser to Governor Akinwunmi Ambode on Arts and Culture, Mrs. Adebimpe Akinsola, revealed that in the last two years, Ambode has given artists room to express themselves like never before.

According to her, Fela is part of the Lagos success story because it was the space he used to express his thoughts about the dignity and value of Africa.

After unveiling the effigy, the governor went to the Kalakuta Museum where he was received by Fela family members, including Femi, Yemi and Seun. Dignitaries at the unveiling included Femi Falana, Pa Benson Idonije, Jahman Anikulapo, Olu and Joke Jacobs, among many others.

Meanwhile, few minutes after they left the annual Felabration at the New African Shrine in Alausa, Ikeja, the duo of Moshood Olowu and Olasunkanmi Ogundipe along with their accomplices, who are now at large, allegedly robbed commuters in different parts of Lagos.

While Olowu and Ogundipe carried out their operations in Ketu and Ojota areas of the state respectively, another suspect, 22-year-old Rasak Adebola, was arrested by operatives of the Rapid Response Squad (RRS) in a separate incident for bag snatching.

It was gathered that 24-year-old Olowu and 26-year-old Ogundipe and their two other accomplices, now at large, left New African Shrine and were heading to Ikorodu through Ojota when they committed the crime.

Olowu said: “We were at Ojota around 5:00a.m. after leaving Felabration venue to board a bus to Ikorodu. I dipped my hand into another passenger’s pocket when we were rushing the bus. I removed his phone and passed it to my colleagues, Ayobami and Jide.

The owner held my hand and prevented me from joining the bus. Ayobami and Jide, who I gave the phone to, went away while RRS policemen who were passing by arrested me.”

Olajide on his part said he was in company of nine other accomplices from New African Shrine when they accosted one Pastor Adetayo Samuel, who was waiting to board a bus to Ibadan at Old Toll Gate, Ketu and collected three mobile phones from him and N6,000.

He said: “We fled the scene immediately and we broke into three groups. We were trailed by RRS patrol team, who received complaint from our victim. They arrested me while I was trying to board a bus to Ibafo.”

Confirming the incidents, the state Police Public Relations Officer, ASP Olarinde Famous-Cole, said the three suspects would be transferred to the State Criminal Investigation Department (SCID), Panti, Yaba, for further investigation and prosecution.

– Channels

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ARTS & CULTURE

Here’s The Interesting Story Behind The Word “Boycott”

Published

6 days ago

November 9, 2024

Adaeze Okechi

Captain Charles Boycott: Story Behind The Word "Boycott" | fab.ng

The term “boycott” is now widely used to describe organized acts of protest where people refuse to engage with a company, product, or country as a form of pressure. While it’s globally accepted today, the word’s origin is surprisingly interesting. It traces back to a British land agent named Captain Charles Boycott.

Who was Captain Charles Boycott?

Captain Charles Boycott, a British land agent working for Lord Erne, a wealthy landowner in Ireland, played a key role in this term’s origin.

In the late 1800s, Ireland was under British rule, and tensions between British landlords and Irish tenant farmers were high.

Many tenant farmers faced unfair practices, including high rents and frequent evictions, especially during economic hardship or crop failures.

In 1880, a year marked by poor harvests, tenant farmers struggled to pay their rent and had no option but to request rent reductions. They hoped their landlords would understand their difficult situation and offer some relief. However, things didn’t go as they had anticipated.

The Conflict with Captain Boycott

In September 1880, tenants on one of Lord Erne’s estates approached Captain Boycott. They asked for reduced rents to help them survive the economic downturn.

To their disappointment, Boycott refused to grant their request and proceeded to evict tenants who couldn’t pay. This response seemed especially harsh, considering the widespread poverty at the time. Consequently, the community decided it was time to take a stand.

Irish politician Charles Stewart Parnell proposed a unique form of resistance at this critical moment. Rather than resorting to violence, he suggested a strategy of social ostracism as a way to protest.

Inspired by his advice, tenants and the entire community began to ignore Captain Boycott entirely. Workers on the estate refused to labour in the fields, local shops stopped serving him, and even the local postman refused to deliver his mail.

The Spread of the ‘Boycott’

The community’s collective action against Boycott escalated quickly, leaving him unable to find anyone willing to harvest the crops on Lord Erne’s estate.

Desperate to salvage the situation, Boycott hired workers from other parts of Ireland, but they required military protection due to hostility from the locals.

This effort became so costly that it far exceeded the value of the crops, highlighting the effectiveness of the community’s stand against unfair treatment.

The unprecedented event attracted significant media coverage. Soon, newspapers across Britain and Ireland began using the term “boycott”. They use it to describe the community’s collective refusal to interact with Boycott.

As news spread, “boycott” rapidly entered the English language as a term for nonviolent resistance through social or economic exclusion.

This form of protest, now known as ‘boycotting’, gained traction far beyond Ireland. It became a powerful tool for people worldwide to stand against injustice.

Captain Charles Boycott died long ago, but people still use his name when they use the term ‘boycott’. It symbolises the power of organized social resistance.

For more articles, check here.

ARTS & CULTURE

Here’s The Tallest Building In Nigeria

Published

2 weeks ago

November 2, 2024

Adaeze Okechi

The Tallest Building In Nigeria | fab.ng

The tallest buildings often shape a city’s skyline, and Lagos, Nigeria’s bustling metropolis, proudly showcases this in its towering structures. Rising above the city, the tallest building in Nigeria, NECOM House, dominates the landscape with its impressive height and unique silhouette.

This iconic landmark, visible from miles away, has not only stood the test of time but continues to represent Lagos’s architectural identity and economic progress.

As the tallest building in Nigeria, NECOM House remains a powerful symbol of the country’s ambitions, offering a historical perspective amidst a modernizing skyline.

Indeed, the tallest building in Nigeria serves as both a structural feat and a testament to the city’s vibrant growth and resilience.

The Tallest Building in Nigeria

NECOM House, previously known as the NITEL Tower and NET Building, proudly holds the title of Nigeria’s tallest building. This impressive structure reaches a height of 160 meters (525 feet) and spans 32 floors, symbolizing Nigeria’s bold architectural pursuits of the 1970s.

Completed in 1979, NECOM House embodied Nigeria’s rapid economic growth and met the country’s telecommunications needs in an era of modernization.

Positioned strategically in Lagos, this towering building served as a hub for telecommunications and broadcasting and also rose high enough to function as a lighthouse beacon for Lagos Harbor—a unique feature among skyscrapers.

At its completion, NECOM House claimed the title of the tallest building in West Africa.

British architects Nickson and Borys designed it with a reinforced concrete frame that represented cutting-edge engineering for high-rise buildings of that time. The Costain Group, a prominent construction company, executed the project, incorporating a mast capable of supporting the heavy telecommunication and broadcasting equipment essential for Nigeria’s expanding communications network.

Despite its impressive stature and engineering, NECOM House has encountered challenges over the years. In 1983, a fire broke out on the upper floors, damaging offices and equipment. However, the building’s robust construction preserved its structural integrity, underscoring its resilience.

After extensive repairs and reinforcements, NECOM House resumed its role as a landmark of Nigeria’s architectural heritage, standing as a testament to the country’s determination and growth.

A Changing Skyline

Although NECOM House remains a significant landmark, Nigeria’s skyline continues to evolve with the development of newer and taller buildings. Notably, Lagos’s emerging financial district, Eko Atlantic, hosts the Champagne Pearl, a 34-floor skyscraper built in 2017.

However, at 134 meters (440 feet), it still falls short of NECOM House’s impressive height. As the city’s skyline grows, NECOM House maintains a unique place in Nigeria’s architectural and historical landscape. Also, it captures the spirit of a generation that sought to make a mark on the world stage.

For more updates, check here.

ARTS & CULTURE

The History Of Nok Culture

Published

3 weeks ago

October 26, 2024

Adaeze Okechi

The history of Nok culture, which flourished in what is now Nigeria from approximately 1000 BCE to 300 CE, remains one of the most enigmatic in West Africa. Its most notable legacy is its remarkable terracotta sculptures, which reveal a sophisticated understanding of artistry and craftsmanship.

Although they did not work with bronze, the Nok culture is often associated with the early development of ironworking in the region. This made their contributions to metallurgy significant in the broader context of African history.

History and Identity of Nok Culture

The history and identity of the Nok people and their culture have long puzzled researchers. While archaeological evidence suggests that they were among the earliest societies in Nigeria to produce terracotta sculptures, the specific details of their social structure, language, and cultural practices are still largely unknown.

Some scholars hypothesize that the Nok culture arose from a combination of indigenous practices and influences from neighboring regions. However, definitive proof remains elusive.

Artistic Achievements

The Nok people are particularly renowned for their terracotta figures. Consequently, it often depict human heads with intricate facial features and elaborate hairstyles.

These artifacts is not only as artistic expressions but also as important historical documents. They give glimpses into the aesthetic values and possibly the religious beliefs of the society.

Notably, many of these sculptures were found in burial sites. Apparently, they may have played a role in funerary practices or served as markers of social status.

Influence of Nok Culture on Later Cultures

One of the most intriguing aspects of the Nok civilization is its potential influence on later cultures. Particularly, this holds true for the Ife people who inhabited the region from around the 11th to 15th centuries CE.

The Ife civilization is celebrated for its exquisite metal sculptures, especially those of human heads. These sculptures exhibit a high degree of realism and technical skill. Scholars have debated whether the artistry of the Nok people laid the groundwork for the advancements seen in Ife art.

While there is no direct evidence linking Nok art to the Ife civilization, some researchers argue that the stylistic elements of Nok terracotta might have influenced Ife artists.

For instance, the intricate details seen in Nok sculptures, such as facial expressions and hair designs, could have informed the aesthetic sensibilities of later Nigerian cultures. Nonetheless, the lack of written records from both societies complicates this analysis. In turn, this leaves much to speculation.

Technological Innovations

In addition to their artistic achievements, the Nok people are believed to have developed advanced techniques in ironworking. Interestingly, this predates similar developments in other parts of West Africa.

This ability to smelt and forge iron was a transformative advancement. It allows for the creation of tools and weapons that improved agricultural productivity and defense capabilities.

Thus, this innovation likely played a role in the establishment of more complex societies in the region.

Societal Structure and Economy

Nok settlements were primarily located in the central part of Nigeria, an area rich in resources. The society relied on agriculture, cultivating crops such as millet and sorghum, which were staples in their diet.

Evidence from archaeological sites indicates that they engaged in farming as well as hunting and gathering, reflecting a diversified subsistence strategy.

Regarding social organization, the structure of the Nok people remains largely speculative due to the limited archaeological evidence. However, the scale and sophistication of their art suggest a society with a certain degree of social stratification.

The presence of large terracotta figures may indicate that some individuals held positions of significance, possibly as leaders or religious figures. This idea is supported by the discovery of large clusters of these sculptures in specific sites, suggesting communal or ceremonial uses.

Decline of the Nok Culture

The decline of the Nok culture is another area of interest that invites further exploration. Various theories have been proposed. These theories range from environmental changes, such as drought or soil depletion, to social upheaval or conflict.

By around 300 CE, the Nok culture had seemingly diminished, leading to a transformation in the region’s cultural landscape. This transition set the stage for the rise of subsequent societies. This includes the Ife, which inherited and adapted many aspects of earlier traditions.

Conclusion: The Legacy of the Nok Civilization

In conclusion, while the Nok civilization remains shrouded in mystery, its impact on the history of West Africa is undeniable. The artistic and technological advancements of the Nok people laid important foundations for future cultures in the region. Even if the exact nature of their influence is still debated, it holds true.

As researchers continue to explore Nok artifacts and sites, a clearer picture of this ancient civilization may emerge. It would reveal the complexities of its society and the richness of its cultural heritage.

Ultimately, the Nok legacy, particularly through its terracotta art and early advancements in ironworking, continues to be a vital area of study for understanding the evolution of art and technology in African history.