Arts & Culture

Okey Ndibe’s Arrows of Rain: The Leadership Curse In Africa And Its Etcetras

Published

2 years ago

April 23, 2023

NewTimes

Dele Jegede In Conversation With Prince Yemisi Shyllon

Prof. Toyin Falola

By Toyin Falola

There is a saying that “fiction” is fictitious — as there is no pure work of fiction devoid of insights and influences from actual occurrences in human societies. In Okey Ndibe’s work of fiction, Arrows of Rain, the veteran journalist, public intellectual and celebrated writer taps into the depth of happenings on the African continent to deliver on the most vital role of literature — mirroring society. Set in a fictitious country called Madia, Arrows of Rain is an aggregation of the experiences and implied experiences of the average African citizen, where everyone is supposedly equal, yet some are more equal than others, and political leaders can do and undo, knowing that executive and fabricated legislative immunity will absolve them of answering for their deeds. For far too long, Africans have learned that silence is not only golden but also a saviour; to speak is too audacious and dangerous to the country-ravaging mission of those in power. To speak is to be prepared to pay for being outspoken; to be ready to be punished, maimed, unjustly incriminated and imprisoned, or even killed.

Ken Saro-Wiwa and Wole Soyinka all have two things in common: one, their activism through different media, actively speaking truth to the military powerholders of the undemocratic era in Nigeria; and two, they were both incarcerated. For these men, it was either to forcefully go into exile or fall victim to an unjust death. Saro-Wiwa and the other eight members of the Ogoni Nine could not escape into exile and were executed unjustly. Wole Soyinka had to go into exile to save his life. All these happened because these men chose to voice out, speak truth to power, and defend and advocate for the masses.

Similar to these events is the central theme of Arrows of Rain, in which Ndibe beams the spotlight on the curse of leadership in Africa and the deprivation of citizens through the travails of Bukuru, who finds himself in trouble for his honesty. The book’s first few pages introduce us to Bukuru, who becomes the prime and only suspect in the death of an unknown woman because of his presence at the time of her death. We also get familiar with Lanky, whose theatrics are not unfamiliar to any African who has encountered public workers before. There is narcissism, for which he continues to retell the story of the woman’s death to remain the centre of attention. Also, there is embellishment and story-polishing every time he retells the incident, which shows that his supposed heroic ventures to save the woman were not based on empathy or genuine care but just one of those things someone would do to gain attention. Seeing as she is now dead, Lanky has little to no regard for the solemnity of the moment or for getting her justice. He is fine with weaving several versions of the story of her death to keep the attention to himself. This is akin to accident cases where victims lose their gadgets, money, and other items to the rescuers who steal outright from them — the supposed empathy that made those rescuers rush to save them did not extend to helping them keep their valuables safe.

Drawing on his years of experience as a veteran journalist in Nigeria, Ndibe kills two birds of ill with one stone by first unravelling the typical dealings of the average Nigerian newsroom in a frantic chase after stories, one that has no regard for the privacy of people or is true to reporting factually. Journalism, to many, is more of a business than a good social enterprise, and it is the sad and emotion-laden stories that the editors push their teams to chase. Sometimes, the pressure to break a story within a specific period causes journalists to fabricate stories or report from twisted, largely non-existent angles. It is a show of shame that eventually does society no good.

Early in the book, readers get familiar with one of the biggest menaces spearheaded by the police force in society — more prominent on the African continent than elsewhere. Just as the craze to break stories and gain virality from emotion-laden and bad news is fast and steadily consuming the journalism industry, so is the pressure and agitation to solve cases eating away at the police force. In a frenzy to uncover cases quickly, the police latch on to the slightest bit of evidence or seeming evidence, and woe betides anyone who looks remotely like a suspect. For the police force, the chief mission is to work until they arrest just one person and then wrap the entire case around that person, whether guilty or not. This way, they can quickly solve cases and move on to the next one that arises — especially since there seems to be an endless number of new crimes. The seeming effectiveness of this “hack” is only beneficial to the force and its detectives, who are either unwilling to pursue the case, have limited resources to continue on the case, or are simply too lazy and clueless to care.

In Ndibe’s Arrows of Rain, this phenomenon comes into play early in the first chapter, where Ladi and his police detectives make Bukuru, the madman, the fall guy for the woman’s death. Bukuru fits their ill-conceived profiling: he is psychologically sick, happened to be present during the woman’s death, and will most likely have no concerned family members or friends to stand for and defend him — all the qualities that make it easy to pin the murder on him. Bukuru is soon arrested and charged with the woman’s death due to the police force’s laziness in investigating the case thoroughly and for want of another suspect. Something similar is at play: Young Nigerians are profiled according to misaligned and pre-conceived notions, and criminal offences are fabricated and spilled into their laps. This phenomenon was the driving force behind the #EndSARS protest in Nigeria when young Nigerians got tired and demanded that the government reform the police force.

General Isa Palat Bello is the succinct representation of many an African leader. Although many countries on the continent now boast of a seemingly free system of government, the mode of ruling in the countries and blinding thirst for political positions and to remain in power is similar to Bello’s life and situation. Many wonder why African leaders crave power by all means, spend a fortune to gain it, and even risk their lives for it. It would be a valid claim if we said African leaders do all of this because once they are in office, they would make incredulously returns on any financial investments they made to get into power. But then, the craze for power in Africa goes beyond the generational wealth that may come from it. It extends to the immunity and untouchable status bestowed on African political officeholders. To be elected a leader in many African countries is to have bought the people’s loyalty; it is to be assured of continued political leadership despite non-performance and to learn to mask autocratic rule in the cloak of democracy and impose the will of the very few as the decision of all.

This also played out in Arrows of Rain in how Bello dramatically announces his decision to continue to rule. Rather than present it as his fascistic, autocratic decision, he masks it in an announcement that over 90 per cent of citizens had voted in a referendum to have him continue as the leader. Yet, Citizen A knows that he did not participate in any referendum; so does his neighbour and his neighbour’s neighbour too. Who then voted? It is the same ridiculous way African leaders share nonsensical metrics with their citizens as supposed proof of their performance. It is how they announce that they have lifted 10 million citizens out of poverty, yet, the country’s poverty level continues to rise. It is how they claim to have brought education to 50 million out-of-school children, yet, the streets are full of children during school hours.

In Madia, every citizen is equal, but some are more equal than others. Bukuru learned this the hard way. In being honest about what he saw, thus revealing the complicity of the army, the government, and even the president, Bukuru steps on many toes. This caused his travails, including his arrest and incarceration and eventual silent murder, all orchestrated by the supposed guardians of the law.

Madia is Nigeria. Madia is Kenya. Madia is working hard in Sudan. It is every African country with no working system where the truth is one of the costliest prices to pay. It is every African country where the electorate is powerless, and the elected are demigods. It is the African countries perpetually cursed with bad leadership, where selfishness is so paramount that it has turned citizens into individualistic people who care little or nothing about what others are facing, so long as their own lives are not severely impacted. These people are like the passersby and onlookers at the beach when Bukuru is whisked away by the police with little to no evidence of his complicity in the crime. Madia is every African country where the guilty sit in judgment of the guiltless, and the law is turned on its head to benefit the few.

Ndibe’s three-part compartmentalization of the novel is an ingenious approach that helps group events according to the story’s development and an even deeper layer of thematic occurrence. This is further reflected in his choice of name for the parts — Mists, Memories, and Malaise — true reflections of Bukuru’s travails, his flashbacks, and his eventual fate. Like the narrator-journalist, one is made to ponder the importance of values in a deeply corroded country like Madia (read Nigeria, Kenya, or any other African country).

In 300 pages, Ndibe poignantly touches on the most critical questions we must ask if we will ever witness true development in Africa and the transformation of African states into functioning systems. First published in 2000 and republished in 2015, Arrows of Rain is a powerful novel, a compelling work of extraordinary imagination, and Okey Ndibe’s way of demonstrating to the world that he is made of the same stuff as Africa’s literary greats like Chinua Achebe and Wole Soyinka.

Related Topics:#leadership Africa Arrows of Rain curse Featured literature Nigeria novel Okey Ndibe

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Arts & Culture

Speaking Truth To Power: A Review Of Gbemisola Adeoti’s Stoning The Wind

Published

1 month ago

January 31, 2025

NewTimes

Prof. Toyin Falola

By Toyin Falola

The principle of equality is theoretically recognized as one of the fundamental foundations of democracy. Over the years, scholars have argued that equality prevents marginalization, and that the absence of marginalization signifies the existence of egalitarianism. It is in this context that Gbemisola Adeoti’s anthology, Stoning the Wind, flourishes and is to be appreciated.

The poems in this anthology explore the origins of Nigeria’s sociopolitical challenges by revealing the corruption in the system. One of the notable poems which vividly describes this is “The Chameleon and the Soldier Ant.” In this poem, the poet delineates the distinctive traits of the chameleon and the soldier ant, attributing the features of the former to the oppressors (politicians) and those of the latter to the oppressed (masses). The poem reveals and examines the nation’s recurrent challenges with authority, power, corruption, and violence.

Since the dawn of the Fourth Republic, Nigeria’s elections have consistently been plagued by anomalies, malpractices, and violence. This ugly reality has forced many Nigerians to question whether their votes truly matter. According to an article by Budgit.org, the 1993 general elections remain the fairest and freest election the country has ever had. However, its annulment by then-Head of State, General Ibrahim Babangida, serves as a stark reminder of Nigeria’s history of dictatorship and abuse of power. The annulment of the election symbolizes corruption and misuse of authority. While in democratic theories, power belongs to the people, in practice however, it is concentrated among a select few, that is, the oppressors who wield power at the expense of the masses.

The depiction of the Chameleon “saluting the ground beneath the belly” and the “fallen leaves that keep a date with destiny” implies a veneration for the status quo and the government’s consistent nonchalance to the plight of the populace. On the contrary, the soldier ant, symbolizing the downtrodden section of Nigerian society, is equipped with a “flimsy trunk, a fat head, and two cruel teeth as tools of terror.” Despite the soldier ant’s ferocious nature, its power stems from “solidarity and the martial oneness of a centurion,” which underscores the significance of solidarity among the subjugated in the presence of formidable oppression. Perhaps a revolution is Nigeria’s only path to redemption—or perhaps not.
Gbemisola Adeoti suggests that true emancipation from internal colonialism (that is, from the ruling oppressors) lies in unity despite diversity rather than outright rebellion.

In 2019, Omoyele Sowore, a Nigerian activist and journalist, initiated the #RevolutionNow movement, pushing for nationwide rallies to confront the sociopolitical crises affecting Nigeria. It is noteworthy that such uprisings are not unprecedented in Africa; we can consider the Arab Spring upheaval in Egypt as presenting a compelling parallel. Following nearly three decades of President Mubarak’s unjust and autocratic rule, the youth and other concerned factions of the country mobilized en masse, compelling Mubarak to resign on 25th January 2011. Tunisia under Ben Ali is another significant example of an autocratic government. Ali ruled for over two decades without any evidence of economic growth and with widespread violations of fundamental human rights. This incited a revolution in the nation, compelling the dictatorial president to flee in 2011. Recently, protests in Kenya were instigated by contentious proposed tax increases, and the movement has transformed into a fierce campaign for more governmental accountability.

In the poem “Ballot Box,” Adeoti further critiques the widespread electoral manipulation that afflicts Nigerian democracy. The opening line of the poem, “The ballot box is a resonant box that hums himself of hope and gloom,” signifies that the voting box embodies both hope and despair in Nigerian electoral traditions. This is apparent in the nation’s electoral history, characterized by frequent controversy, violence, and claims of rigging. The analogy of the ballot box as a “harlot’s trunk box” illustrates how corruption has wrecked our electoral processes through greed and deception. This is one of the images which carefully depicts Nigeria’s corrupt electoral system. The 2007 general elections are a testament to this claim, as there were numerous negative reports regarding the electioneering. According to the Department for International Development, the April 2007 general elections were said to be the most unjust in post-independence Nigeria. Thus, there is additional proof that elections in Nigeria only benefit the privileged.

According to The Republic’s article “The Many Sins of INEC,” the author conveyed disappointment with INEC’s logistical difficulties in several regions of the country during the last elections. Moreover, multifarious reports of violence and voter suppression were made in major cities of the country, such as Lagos and Rivers. This further corroborates the claim that the innovations of INEC, that is, the introduction of the Permanent Voters’ Cards (PVC) and Bimodal Voter Accreditation System (BVAS), have only brought retrogressive developments to the nation, as the body still struggles to conduct credible elections. The lines “Voters don’t count much as the counters of votes in power” mirror the tainted 2023 presidential election, which was marred by reports of irregularities from journalists and election observers, both local and international observers.

In a 2019 article by Yiagi Africa, it was reported that the 2019 general elections experienced one of the poorest turnouts in the country’s history, with only 32% of the registered voters participating in electioneering. Among the factors that were considered to decline mass participation in elections include inefficient security, violence, and unfulfilled electoral promises. This challenges the legitimacy of authority when the populace abruptly becomes apolitical. Currently, voter suppression serves as a mechanism for manipulating electoral outcomes by dissuading and obstructing individuals from casting their votes. Yiaga Africa stated that the 2019 gubernatorial elections did not occur in about 26% of polling units in Bayelsa. This action resulted in thousands of voters being unable to cast their ballots or make electoral choices—a well-calculated action that ultimately served the interests of a particular group or political party.

Moreover, the depiction of the ballot box as a “presiding priest at the festival of hoax” implies that the electoral process is often a mere facade or mere formalities, with results “preordained” by those in power. The poet alludes to the “chameleon” nature of the voting box, which “swiftly” changes “coats and color” and obstructs the genuine wishes of the electorate.

In “Pandemic,” Gbemisola Adeoti not only criticizes the government but also expresses his worries as a social scientist, recognizing that individuals are influenced by governmental policies, biases, as well as social and environmental factors. The COVID-19 pandemic and its global repercussions are indelible, as the poet asserts that the virus resulted from the global community’s inadequate response to previous pandemics, such as Ebola. The poem continues by examining the unequal effects on the most vulnerable societal members and, at the same time, asserting that the pandemic served as a great equalizer, revealing the frailty of even the most powerful and affluent individuals.

The poem also evokes a sense of responsibility that fosters unity among nations. During this period of devastation, a strong sense of global solidarity emerged. The lines in the poem serve as a poignant critique of the pandemic’s effects on the global economy and geography. The phrase “Many play the flies that follow the corpse to the coffin” implies that many Nigerians have been compelled to adapt to the new reality of the pandemic, while many others grapple to endure in an economy grossly affected by the virus. The line “dying other people’s death in homeland and exile” is a tribute to those who have been compelled to abandon their homes and communities in pursuit of safety, only to encounter the unprecedented challenges of surviving in an unfamiliar and hostile setting.

The poet responded to the Covid-19 pandemic and other evils that have afflicted humanity with his poem “The Next Evil.” “The Next Evil” is a poem that dwells on hope and resilience. The poem’s opening line is a rhetorical question that challenges the thought that hopelessness is the worst affliction we can endure as humans. The lines: “What is the next evil that can befall a man who wakes up from a sleepless night thinking he has lost all light to multiple layers of plight?” is an assertion that hope is the foundation of our beliefs and credence as humans, even in our most desolate moments. In a world that has experienced several physical wars, conflicts, pandemics, lockdowns, and violence, this is a reminder that optimism remains the sole remedy for an uncertain future.

I can’t think of a better way to end this review than by enclosing it with my own poem:

You are the one who speaks truth to power,

The one whose pen breathes for justice

In a land where truth is forbidden

You are the one who challenges the authority

Of the snakes who lure their people

into a den of torture

When the gates of fairness are locked

You command your pen to seek redress.

If not you, what then is the meaning of justice?

And when the voices of the oppressed are silenced,

you amplify their cries, a beacon in the night.

Your words are a ray of hope and a call to action to fight for what is right.

Arts & Culture

Ojude Oba Poised To Become A Global Event – Abiodun

Published

9 months ago

June 19, 2024

NewTimes

L-R: Former Governor of Ogun State, Aremo Olusegun Osoba; former Senator representing Ogun East, Senator Lekan Mustapha; Ogun State Governor, Prince Dapo Abiodun and the Awujale and Paramount Ruler of Ijebuland, Oba Sikiru Kayode Adetona at the 2024 Ojude Oba festival held, at the Ojude Oba Pavilion, Ijebu-Ode on Tuesday.

Ogun State Governor, Prince Dapo Abiodun, has said that his administration is poised at making the Ojude Oba festival a global event.

The governor who stated this on Tuesday at the 2024 Ojude Oba Festival held at the Ojude Oba Pavilion in Ijebu-Ode, said the annual event has grown from a mere gathering of Ijebu people to felicitate the Awujale to an event that attracts both national and global audience.

According to the governor, the festival, which has become a tourist attraction, symbolizes and reflects the collective unity of the people known for hard work, perseverance, and industry.

He said: “Ojude Oba festival is not only a cultural heritage for the indigenes of Ijebuland but has now become a significant event that attracts local and foreign tourists to Ogun State, showcasing our hospitality and enviable tradition of Ijebuland to the national and global audience.

“This festival serves as a symbol of our unity, tourism and a rallying point to all the Ijebu sons and daughters to celebrate the life and times of our tradition, culture, and revered monarch.

“It has become a catalyst for the development of Ijebuland, and this undoubtedly underscores the importance of preserving our traditions for future generations.

“By standing for unity and harmony, we elevate our community and set an example for others to follow. The essence of unity and harmony in Ijebuland can be seen willingly in cultural events like this festival.

“Our administration is deeply committed to supporting the initiative to make it a permanent event in the global tourism industry,” he said.

The event, Prince Abiodun observed, creates opportunities for an advancement which has brought about the socio-economic development not only to the axis but the state as a whole.

While thanking President Bola Ahmed Tinubu for showing interest in expanding the festival, especially with plans to include it in the UNESCO’s world cultural heritage, the governor said his administration was committed to providing the conducive environment for business to thrive.

He said the festival provides an opportunity for the Ijebu people to take stock and project the future. He called for unity and harmony from people across the state, adding that it was time to work together to build a virile state.

“The state government will continue to create a conducive atmosphere for community development across the state and I solicit the support of the people, especially all the sons and daughters towards the 20th National Sports Festival, Gateway Games, 2024, part of which will be hosted right here in Ijebu-Ode,” the governor concluded.

Minister of Arts, Culture and Creative Economy, Hon. Hannatu Musa-Musawa, who was represented by Rev. Ben Ugo, Director of Cultural Industry and Heritage, said her ministry was working towards promoting and preserving cultural heritage of President Tinubu’s administration with the creation of economic expansion to the tune of $100bn.

He acknowledged the cultural diversity of Nigerians, noting that the federal government is working towards making the country a cultural hub by the year 2030.

The Chairman of the 2024 Ojude Oba festival, Chief Olu Okuboyejo, appreciated the governor for his support for the festival and the people for turning up en masse to grace the occasion.

Arts & Culture

Meet Shaibu Husseini, The New Sheriff At NFVCB

Published

1 year ago

January 13, 2024

NewTimes

Dr Shaibu Husseini

By Esther Kainebi-Daniel

President Bola Ahmed Tinubu on Friday, January 12, approved the appointment of Dr. Shaibu Husseini as the new Director General of the National Film and Video Censors Board (NFVCB), succeeding Adedayo Thomas.

Dr Shaibu, is a celebrated journalist, performing artist, cultural administrator, public relations and media expert, and film curator. He is an alumnus of Lagos State University (LASU) where he studied Mass Communication at the institution’s School of Communication and earned a Bachelor of Science (B.Sc First Class) in Mass Communication, the University of Lagos (UNILAG), where he earned Master of Science (M.Sc) wiith Distinction, and Doctor of Philosophy (PhD) in Mass Communication . His PhD was on film studies as his thesis examined the ‘Structure of Film Production Companies in Nollywood’.

A trained and seasoned theatre, film, broadcast, public relations and culture expert, he is reputed as one of the most consistent documentarists of Nigeria’s vibrant film and movie industry Nollywood and he is an astute commentator on arts, theatre and film development in Nigeria and the continent of Africa.

In 2014, he was honoured for his contributions to the development of Nigerian film industry by Nollywood Film Festival in Germany.

He has been the chairman of the College of Screeners and a member of Jury Board of Africa Movie Academy Awards (AMAA) for many years.

An alumnus of the United States International Visitors Leadership Programme and the AIG-Public Leaders Programme of the Blavtanik School of Governance of the University of Oxford; Dr Shaibu was one time Secretary of the Governing Board of the National Theatre/National Troupe of Nigeria (from 2011 to 2015). He was appointed Director of Dance and Music and Head of the Strategic Communication Unit of the National Troupe of Nigeria.

Dr Shaibu has been the Chair, for 16 years running, of the Selection Committee of Africa’s premier film award – the Africa Movie Academy Awards (AMAA) and a member of the prestigious AMAA jury.

He has attended several conferences, workshops and festivals and has sat and currently sits on a number of local and international Committees on film, theatre and allied matters including serving on the Board and on the jury of a number of Festivals, Awards and Committees including the Board of the Mainframe Film Institute run by the legendary Tunde Kelani, the board of In-short International Film Festival and on the Board of the Bank of Industry (BOI) Nollywood Fund.

Author of ‘Moviedom: The Nollywood Narratives’, Dr Shaibu is a Senior Teaching and Research Fellow at the Mass Communication Department of the University of Lagos and he was a former member of the Nigeria Official Selection Committee charged with the responsibility of deciding Nigeria’s entry for the Best International Film category of the Oscars.

He is currently a voting member of International Golden Globes Award and a consultant to the Berlin International Film Festival. He has served and still serves as a resource person, trainer in the field of theatre, culture and mass communication.

The new NFVCB DG was a pioneer artiste of the National Troupe of Nigeria; he has considerable theoretical, practical and field experience in the area of theatre, cultural administration as well as in public relations, advertising, journalism, broadcasting and film.

He considers himself an enthusiastic, dedicated, detailed and capable theory cum practically oriented professional who is able to improve the ability of an organisation to deliver outcomes that matter.