The iREP Report

2018 iREP Newsletter Vol. 7, Issue 3 “We don’t know what we have”: An Interview with Remi Vaughan-Richards by IfeOluwa Nihinlola

To watch Remi Vaughan-Richards’ HID- DEN TREASURES - DAVID DALE is to encounter a tale now familiar—the story of a once illustrious Nigerian artist now forgotten, left to suffer in poverty. Yet, to hear Dale speak about his past, his work and his present condition with endearing charm is to see how each story is sadden- ing in their particular details. Since film- ing the award-winning FAAJI AGBA, a documentary that follows Kunle Tejuo- sho of Jazzhole, Lagos as he rediscovers some of Southwestern Nigeria’s master- musicians, Vaughan-Richards has docu- mented even more stories of Nigerian artists in a series titled HIDDEN TREAS- URES. And David Dale is her fourth subject. on in Faaji Agba – if we lose our identity, she thinks the narrative of old artists wal- “Old people seem to like me,” she says we lose our culture and sense of who we lowing in poverty will ever change. “How with a big laugh. “As you can see, I got are.” do you let this culture, this history go him to act very naturally. I have a way away? Why aren’t we combining it to do with people, especially old people.” She In talking about culture, a minor frown something really funky? Why are we let- didn’t intentionally set out to make a forms on her face, a rare break in her ting everyone else borrow our culture and record of these old artists post-FAAJI ever-present smile. “Punk, that punk do something with it and we’re just put- AGBA, but she was approached by a pri- movement came from Africa. All those ting it down?” vate collector who commissioned the earrings, the hairstyle, came from here,” interviews. “There seems to be a pattern she says. “Even Picasso the artist got his While we talk, another artist comes and and I love it, because I am seeing history. stuff from here. Everyone comes to mine tells her about his effort at making a doc- So, I’m really privileged.” ours, and we don’t know what we have. umentary and how they’ve tried in vain We are busy destroying it. I’m very sad to get money. She laughs as she tells him, Vaughan-Richards is indeed very con- about that. So, I keep doing these “But you know I made FAAJI AGBA cerned about history and culture. “I’m things.” with my money.” very very very passionate about our cul- ture,” she says, “and very worried that Next in the HIDDEN TREASURES se- She’s been making movies since 1990, Nigerians are too busy trying to be Oyin- ries is 83-year-old Nigerian artist, archi- and has been involved in many projects, bo to know they have an amazing culture tect and designer Demas Nwoko, who she some funded by institutions like the BBC here.” hopes to interview quickly. She talks and Ford Foundation, and others funded about him as one who is aware that she is from her own pocket. But whether the This is a sentiment she has also expressed in a battle against time. money comes in or not, she’s not ready in her director’s statement about FAAJI to stop making art. “It’s all I know. Art is AGBA, where she writes: “It is almost “Don’t you think you young people my life. I just have to do it.” like Nigerians are not proud of their lega- should get up and do something about cy…this is the message I wanted to pass it?” she asks in return, when I wonder if

gious Education, Western education is Understanding the Almajiri Problem also required for people to do well. by Amarachukwu Iwuala & Wome Uyeye ety because it is conceived to polish charac- Vital questions arise from READ, RE- ter. For that to happen, she says, it must CITE, MEMORISE. It has been reported Ishaya Bako’s documentaries are not only be rescued from neglect, underdevelop- that the 165 Almajiri schools constructed well-researched but employ suspense to ment and the fraudulent people who use it in several states in Northern Nigeria by the keep the audience on the edge of their to orchestrate child trafficking. Jonathan government have been aban- seats. FUELLING POVERTY and SI- doned. In February, 2016, the Kano State LENT TEARS, for obvious reasons, re- Lovatt, a retired educationist from New Government described the Almajiri main subjects of conversations in Nigeria Zealand, now lives in Kano where she runs schools built by the Jonathan government and beyond. His new work, READ, RE- her foundation, which rehabilitates street as abnormal. In September, 2016, the CITE, MEMORISE, takes on the Almajiri urchins by offering them education and Adamawa State Government said that the setting them up in business. same schools were too expensive to run.

Does it mean the state governments and the communi- ties were not con- sulted to make inputs in the Almajiri school project in order to make it worth- while? How can the huge danger posed by illiteracy be forestalled? “Why haven’t successive govern- ments made con- crete efforts to tackle the monster question, offering valuable insights into Bako’s film shows the deplorable condi- that the Almajiri system has become? this phenomenon, for which millions of tions under which the Almajiri children of Who knows the undue exposure that girls, children roam the streets endlessly when today live. They reside in overcrowded who are not shown at all in the film, deal they are supposed to be in school. rooms in makeshift accommodation, eat with? What is the connection between the The audience is informed that the Almaji- very little food, mostly with their un- mismanaged Almajiri system and child or ri system of education was conceptualized washed (bare) hands. They roam endless- human trafficking? to cater for migrating and foreign stu- ly, meaning that they totally lack parental What is the link between these abused dents, who received religious and Western guidance and support. children and crime: Boko Haram, kidnap- education simultaneously with a view to The small quantity of water available for ping and robbery? The above are some of making them well-adjusted individuals each child to wash his hands and feet dur- the questions and ideas that the viewer capable of contributing to the develop- ing ablution is unfortunate. The filmmak- hopes that the filmmaker will confront as ment of the society. The developments in er uses effective visuals in the narrative to he concludes the film, which is still work- Northern Nigerian is said to have been display the grinding poverty faced by these in-progress. made possible by these individuals. young children who are abandoned to Bako is commended for eliciting emotion- From education, which is fit-for purpose, fend for themselves. al response from his audience with his being Almajiri has however mutated to A young man, who grants an interview, redoubtable documentaries. When con- becoming synonymous with destitution. acknowledges that religious knowledge is cluded, READ, RECITE, MEMORISE Fiona Lovatt of the Lovatt Foundation not enough to make an individual self- will resonate like other documentaries by remarks that the Almajiri system, if well- reliant; he affirms that apart from Reli- the same filmmaker. harnessed, could become the jewel of soci- Kicking above his Weight There are so many documentaries that by Olumuyiwa Akinkuolie have cultural integration as a central theme. The approaches are somewhat know very well”. THE AFRICAN WHO be on the map of the sport. Yet, the un- similar. THE AFRICAN WHO WANT- WANTED TO FLY brings to fore the belief in a ‘son of the soil’ almost drives ED TO FLY is one of such movies but existing need for an image revamp about him back to China, but for persistence with an interesting twist. The twist being Africa. Most people in China know next and a willing few. the form (Martial Arts) through which an to nothing about the African Continent. The capture of the fun-side of Luc’s mar- African finds purpose and fulfilment. Their view of Africa, from Luc’s interac- tial arts practice, from the viewpoint of tions, portrays Africans as a disease- his family and friends, gives a comical Luc Bendza has always wanted to fly. stricken people, often plagued by hun- Chinese movies laden with acrobatic and ring to the documentary. martial arts displays catch his fancy, and the young Congolese boy creates a life- style of discipline, physical and mental exercise, and ultimately, a career from the sport. Always mocked, chastised but revered by his friends and family for his adoption of a foreign culture and imbib- ing it in its totality - more so that he speaks more of Mandarin than French -, Luc’s story typifies the average African youth: a believer in a prospect beyond his country; an adopter of a fad, with some extra dedication. A master of his chosen martial arts style ‘Wushu’, Luc’s voyage to China and his striving to be relevant amongst custodi- ans of the contact sport reveal that flying, The re-enactment of his training sessions for an African man in a foreign country, ger, and who revel in all manner of with compatriots gives wholeness to plot is more of a mind-propelling exercise crimes. of THE AFRICAN WHO WANTED than a limb-propelling one. Although the For Luc, spending over 30 years in Chi- TO FLY. Just like the films that inspired foreigners are impressed by his Mandarin na, working at the University of Beijing him to pick up martial arts against all and Wushu skills –in which he is more and getting to the pinnacle of the Wushu odds, Luc features in a couple movies proficient than most-, it does not protect martial arts form, is inadequate. His using the same medium, thus emphasiz- him from experiencing racism and nepo- home country Congo, - where he, like the ing the kindred spirit that could spark tism: According to Luc, “a foreigner can biblical stone was rejected and had now the interest of younger African martial never win in a Chinese technique they become the chief cornerstone- needed to arts enthusiasts.

by Adefoyeke Ajao like unwanted guests and replaced with Hope Restrained shots of the park’s signpost or the art- Lingering images of various landmarks enabling structures. Hence, it is under- works that dot its premises. For a film that across Nigeria’s Centre of Excellence dom- standable that Adeniji skirts the park’s relies heavily on testimonials from artists inate the opening scenes of HOPE RE- dark history and emphasises its present and visitors who frequent the recreation STORED; THE ARTISTRY OF FREE- appropriation as an art hub. Without prej- spot, it is often difficult to hear what is DOM PARK. Laitan Adeniji’s 19-minute udice to Adeniji’s talent, HOPE RE- being said in this film as the quality of documentary spotlights Freedom Park, a STORED; THE ARTISTRY OF FREE- sound is poor and music regularly over- former prison yard reconstructed into a DOM PARK might have made judicious shadows dialogue. Although HOPE RE- public recreation centre by the Lagos State use of its running time had the filmmaker STORED; THE ARTISTRY OF FREE- Government. Redesigned by architect, focused on Freedom Park itself. Adeniji’s DOM PARK is an attempt to show how Theo Lawson, Freedom Park has earned a visuals dither more on Lagos’ landmarks impactful Freedom Park has been on artis- reputation as a place that accommodates and Freedom Park’s aerial view than they tic development and expression, it comes performing artists and allows them to do on the park’s structures or their func- across as a lacking venture that doesn’t freely express their talents - thanks to its tionality. Whenever the buildings do quite hit the nail on the head. come into the frame, they are rushed out GALAMSEY: Actors in a Tale of Plundering ABIKU: The Cost of Biological Ignorance by IfeOluwa Nihinlola by IfeOluwa Nihinlola It is to Derek Bok, president of Harvard Stories of harnessing natural resources on The Chinese were booted out of the University, that this observation couched the African continent are singular in con- country in 2013, but they left behind in sarcastic questioning is attributed: If tent. They are the tales of outsiders plun- equipment, which became of use to locals you think education is expensive – try dering the resource-rich continent to who tried to get their own share of the ignorance. This is now generally called furnish their capitalist desires. gold out of their land. Bok’s law and has been used to terrorize This plundering goes on with an intent wayward school students for ages. Howev- to keep wealth gotten from the resources This mining process that involves an in- er, the true cost of ignorance is felt the away from the locals, while also ignoring troduction of mercury and other harmful most in places outside the school. One of the environmental impact of their activi- substances into the country’s waterways is such expensive costs of ignorance is the ties. In the telling of these stories, howev- performed with knowledge of its reper- loss of pregnancies and children to rhesus er, the locals can sometimes be presented cussions. But the people just want to incompatibility. as naive victims who are innocent to the make money. GALAMSEY follows a crew evils done to their land. of these local gold prospectors, whom Jamiu Shoyode’s ABIKU: A TALE OF RHESUS FACTOR begins with the story of three women – one speaks English, the other two Yoruba – who are all victims of rhesus factor incompatibility. Before sci- ence caught up with the reality of losing children, their stories would have been accepted as just another case of still birth caused by abiku or ogbanje, spirit beings who are reluctant to live in the flesh. But secondary-school biology lessons reveal that most of these children are lost be- cause their mothers carry negative rhesus factors. Yet, this knowledge isn’t wide- spread enough as to minimize the loss of children to the myth. Shoyode’s film is not just the tale of these women and the physical and emotional trauma they suffer due to inherited traits GALAMSEY: FOR A FISTFUL OF director Johannes Preuss and his team (one of them is known in her street as the GOLD tells the story of locals exploiting gain access to via a crafty plan thought up aunty who loses her pregnancy). ABIKU their own land with practices similar to by his Ghanaian guide. The film moves is the story of the Rhesus Solution Initia- the outsiders (Americans, Europeans, quickly over land and water, with clear tive (RSI), a non-governmental organiza- Chinese, etc.). graphics offering an explanation of the tion founded by Mrs Olufumilayo Opa-

processes. Characters are introduced by mire with the goal of ensuring no woman the narrator like figures in an action mov- Galamsey is a pidgin word formed from loses a child to rhesus incompatibility. ie: their name, their abilities, and their the English words gather and sell. It is The film is shot almost exclusively with part in the story. used to refer to small scale mining, which talking heads, giving it the feeling of a also implies illegal mining. late-night news report. Medical practition- Two galamsey are killed by policemen, ers, including traditional birth attend- and unravelling the stories behind their For years, Ghana’s gold was mined by big ants, offer sound bites about the preva- death reveals an underbelly of corruption corporations with large scale operations lence of this otherwise simple problem that seems ubiquitous on the continent. that employed very few Ghanaians. But and how the work of RSI helps alleviate It’s easy to see the evil of all the actors in around the year 2000, Chinese prospec- it.The lives of the three women who form this tale of plundering. It is also easy to tors flooded the country with equipment the emotional core of the story aren’t understand their motivations: They’ve that facilitated small scale mining. In the adequately shown as to make the audi- watched wealth siphoned off their lands process, they replicated the terraforming ence understand their experience visceral- and waters and are eager to grab a fistful act of mining that transforms lush, green ly. But one thing is clear, biological illiter- of that for themselves too; murder, mud landscapes on the gold coast into brown acy is expensive. And the film, however and mercury poisoning be dammed. wastelands around the country. inelegantly told, makes its cost very obvious. for creatives to nurture their ideas, even Disrupting the status quo if they are currently employed. by Olumuyiwa Akinkuolie made is the need for collaboration among To end the session, a set of videos by the various teams in the IBX (Integrated One of the leading brand schools in Nige- creatives so as to create engaging content. Brand Experience) programme of Orange ria, Orange Academy was at the 2018 For him, there is a direct correlation be- Academy were shown. The videos were iREP International Film Festival to give a tween the existence of problems and the campaigns aimed at creating awareness feel of what they teach: an experience. need for solutions. He also spoke about and canvassing support for people living The Provost of the academy who is also the need for creative people to run the with dyslexia. the convener of iREP, Femi Odugbemi creative business, as most times, core admonished the students to make the business people make decisions that frus- trate a creative process. How equal are we?

by Lucia Edafioka

It is true that all humans are born free and equal, Linda Diatta however tells a different story with her 25-minute short film JACKENSON.

JACKENSON explores the struggle of a teenage boy from one of Haiti’s most notorious slums Cité Soleil, who dreams of becoming a world class boxer.

The boxing club was formed by former members of the community, who escaped the hard life of the slum community through boxing. They returned to give hope to the younger boys, to keep them occupied from engaging in dangerous activities and joining gangs. The club also instils in the young teenage boys a sense Again, like it does in most public fora most of the session and also explore the of brotherhood, and esprit de corps. where career is discussed, the question awesomeness and essence of ‘Freedom The young boys lack everything needed about the employability of Nigerian Park’. for their training, from equipment to youth sprung up and Akintunde-Johnson gear and even footwear. They train in the Having been in the business of imparting was of the opinion that most job-seekers open with their bare feet. A lot of the practical knowledge for over a decade, are unemployable. He hinged his argu- boys show up for practice in tattered clothes, and sometimes without any food and having churned out media profes- ment on the premise that Nigerian gradu- ates are mostly a product of theoretical in their stomachs. The coaches are frus- sionals who are doing well in the media trated. Sometimes there is barely any stuffing from their various institutions of space, the academy held its first edition money to buy sachet water for the boys, learning. The practical sides to the job of ‘Orange Exchange’, an interactive ses- but they must keep training, they must sion between Orange alumni who have description that Orange Academy and keep practicing to keep the boys safe, to iREP provide are often left out. Another give them a ticket out of the slum. gotten cognate experience, and current students in school. twist to the recurrent narrative which is Jackenson is the one of the brightest the ‘jack of all trades’ expectation from boys, not only at boxing but also at One of such Alumni is Bada Akintunde- employers, especially for creatives wasn’t school. His coaches and team mates have Johnson, a seasoned creative who has addressed. high hopes for him. As Jackenson pre- worked for several brands and agencies pares for his big fight, with only the in- structions of his coaches, director Linda and also, a former sports pundit. Another alumnus, Chinedu Abili-Mordi, Diatta slowly takes the audience through Akintunde-Johnson shared with the stu- co-founder of VIBEOO Media, a disrup- tive radio platform, spoke about the pow- the practice sessions focusing on the odds dents his life trajectory as a creative and against Jackenson. some challenges he encountered along er of ideas and how to refine ideas into a Will he win his first big fight? the way. One of the salient points he viable product. He spoke about the need cluding the holding of a joint meeting Caesar Kagho, the Disco Historian of the Mid-West with thirty opposition parties on May 31, 2014, against the then president Caesar Kagho was 27 when he returned by Amarachukwu Iwuala Compaoré. from England in the late 1970s and was given the option of working as a political brothers should locate a few of them. Kabore's camera is focused mainly on or entertainment reporter with The Ob- Sams K The Jah and his trusty side-kick server newspapers, a popular newspaper in The film-makers also need to work on the Smockey. An unpleasant fact considering then Bendel State, which before then was subtitle. There are typographical errors that there were several other opposition known as the Mid-Western re- here and there. Repeatedly, ‘were’ was party leaders who played a key role in this gion. Bendel was split into Edo and Del- written as ‘where.’ Bongos Ikwue’s sur- struggle and eventual uprising that were ta States by the military government of name was written as ‘Ikwe’ while there is not featured, let alone mentioned. They could easily have been mentioned using Ibrahim Babangida in 1991. place in the interview where Caesar uses the voice of God method. slash i.e. stroke or -cum-, the word is writ-

Caesar Kagho first became a political ten in the subtitle whereas the punctua- reporter, but was discouraged by his fa- Using a handheld camera, which resulted tion mark (/) should have been applied in a deliberately imperfect yet unique ther after the latter read one of the for- there. imagery, Kabore takes us behind the mer’s reports. The older Kagho, himself scenes of this revolution process. A huge a politician, did not want his son to be Beautiful cinematography combined with chunk of it seemed almost like a musical good sound and editing result in an illu- consumed by the wiles of politics. Caesar epic of sorts: public awareness concerts, minating, engaging and seminal film that requested to be transferred to the enter- reforestation campaigns and especially will surely be selected to film festivals at tainment desk and so he came in contact exchange meetings in different neigh- home and abroad. Kudos to Idhebor and with the popular musicians and disc jock- bourhoods or villages conducted under Akpor Kagho for MY FATHER'S eys of that era who were from that part of trees and at night, in schools far away BOOK. the country. from the capital Ouagadougou.

He left the job in the early 1980s, but The Revolution is Live Indeed, this film contrasts with several decided to write a book, chronicling his others like it, take for instance, BURK- sojourn as a reporter. Thankfully, he by Wome Uyeye INABE RISING by Iara Lee, which fo- makes the book, Bendel Deejays, very pic- cused more on the revolutionary spirit of torial and includes cuttings of his report- In 84 minutes, the documentary film Thomas Sankara, killed in a coup d’ etat age in it. Caesar is eulogized for consid- PLACE À LA RÉVOLUTION plunges led by his best friend and advisor Blaise ering Bendel Deejays an important legacy the viewer into the moments of struggle Compaoré. to bequeath to a younger generation be- leading to the fall of Burkina Faso's for- The fact that PLACE À LA RÉVOLU- cause, according to him, he sold his mer president, Blaise Compaoré. The TION comes off as entirely focused on Volkswagen Beetle in order to fund the Director, Galadio Parfait Kabore is par- the Citizen Broom’s leaders was more publication of the book. ticularly interested in the organization, than compensated for by their first-hand the mobilization, the sensitization and reaction to riot police brutality in various the fight led on the ground by the lead- His sons, Idhebor and Akpor, a director forms. Kabore’s camera techniques take of photography and screenwriter respec- ers of the Balai Citoyen (Citizen Broom) tively, ingeniously decide to make a docu- against the modification of the article 37 of the Constitution of mentary film on Bendel Deejays. So, they Burkina Faso. conduct a hilarious interview with Cae- sar, incorporating pictures and re- This move allowed Compaoré, enacting a DJ at work. The DJ is admira- at the time, to seek a new term bly portrayed by Brutus Mfon Rich- of office and to establish his ard. The inclusion, in the film, of several power for life. PLACE À LA reports written by Caesar Kagho is a visu- RÉVOLUTION attempts to al delight. summarise the Burkinabe peo- ple’s political struggles as led by Caesar describes himself as a partygoer the Citizen Broom Party, whose and a reporter who was courted by fame- two main leaders Sams'K Le seeking musicians. It will be fascinating Jah and Smockey founded the party in viewers from their comfort zone and land to know what some of the people he the summer of 2013. They were inspired them inside the documentary, on the mentioned in the documentary think by the ideas of Thomas Sankara. Both about him, meaning that the Kagho organized various protests in 2014, in- frontlines. Pelu Awofeso, a CNN /Multichoice Afri- Archiving Africa’s Teutonic Remnants can journalist awardee in the Tourism category has witnessed over 60 festivals by Adefoyeke Ajao across Nigeria. Although he has a pub- THE FIRE, A FOWL AND AN UN lished book titled ‘WHITE LAGOS’ on conclusion that “the knowledge you get (FORGOTTEN) PAST, by Jürgen Elling- the Eyo festival, Awofeso takes a bold depends on where you go and who you haus is a 13-minute short film that step into showcasing an audio-visual for- speak with”. explores the contemporary remnants of mat of his documentations about the Togo’s colonial history. On the other Kasper and Musquiqui, on the other glamorous festival which is held in down- hand, Gregor Kasper and Chih Mus- hand are more interested in how official town Lagos. quiqui’s CAFÉ TOGO is a 27-minute accounts and commemorations favour The documentary’s opening scenes of film that queries the politics of street- “perpetrators of colonialism” as opposed rhythmic percussion and accompanying naming in Berlin. It was previously to the victims. They explore this subject dance steps by celebrants of the festival screened at the 13th Forum Expanded of by re-enacting history based on the intro- sets the tone for a voyage into rich cultur- the 68th Berlinale, earlier this year. Pro- spections of Abdel Amine Mohammed - a al practices. The Eyo festival, which is ducer/filmmaker, Barbel Mauch, engaged black activist whose resolve is to nudge over 300 years old, is actually a festival in the directors of both films on their moti- the superpower into taking responsibility honour of the dead, who have contribut- vations for exploring post-colonial percep- for its colonial actions - instead of relying ed to the growth and development of tions of Germany’s incursion into Africa. solely on government-commissioned doc- Lagos. The five royal houses in Lagos are uments. Though the filmmakers confessed that involved in the process and procession of both films are low-budget, they gave de- Ellinghaus’ mention of dusty, untouched the festival. A full week is dedicated to tailed consideration to the structured boxes of personal and national archives the festival and the date for celebration is violence that characterised Germany’s and Musquiqui’s observation of street often determined by Ifa (a Yoruba con- invasion of Africa, and recreate a more sulting deity). comprehensive and affective account of Awofeso’s focus on the commercial bene- history by depending on both oral and fits of partaking in the festival, especially documented explanations. by food vendors, tailors, hat makers, mu- During the session on ‘Managing Coloni- sicians and so on in downtown Lagos al Archival Materials in Germany’, the does the perfect PR for the festival. filmmakers give the impression that Alongside the narrative of the festival, he memories of German colonialism in Afri- also debunks the widespread notion that ca are skewed: while there’s emphasis on women aren’t allowed to participate in Germany’s role in countries such as Na- the festival thereby putting away the gen- mibia, colonies such as Togo seem to der discourse. Although only men are have little or no prominence in public allowed to wear the white Eyo mask, the recollections. This influenced the curiosi- signs celebrating imperialists is evidence women hold sway mostly in the commer- ty of Ellinghaus whose documentary de- that both countries actually keep account cial realization from the festival. cided to explore this history through both of their shared history but differ in their In as much as the documentary has good oral and archival accounts of Teutonic attitudes towards these records. The colo- pictures and a rich script, the suspension invasion of then ‘Togoland’. As Elling- nised seem blissfully indifferent to their of the underlying sound and music al- haus questions perceptions of colonial- colonial ancestry, while the colonist most every time the narration begins, ism across both divides, he reaches the proudly flaunts its imperialist legacy. makes the narration sound more like a long report than a documentary. Although the producer did not use Asa’s Masquerading Lagos by Olumuyiwa Akinkuolie Eyo song due to the bottlenecks of copy- right, one would think that an alternative The most populated city in Africa - Lagos, prime city in Nigeria and a landing spot song with a mature upbeat tone could fill Nigeria - is known for many things. Some for all fortune- and fun-seekers. up the space. The choice of music (which actually played for too long toward the of them are its yellow buses, its ever busy, Another salient reason the city bustles is end of the documentary) by a young in- ever vibrant, ‘endless possibilities’ vibe; because of the famous Eyo cultural festi- digenous artiste the producer met at the its business prospects; its ‘area boys’ val. As it is in most climes, cultural festi- festival brought on something of an anti- whose chants and gesticulations simulta- vals are celebrated in Nigeria and the Eyo climax. neously amuse and annoy to name a few. festival of Lagos is one of them. Lagos or Eko as it is fondly called is the Says in a Lagos weekend paper. Fela who Inside Fela’s ‘Rascal’ Republic chanted victory songs as soldiers broke his bones and whipped him. by Lucia Edafioka What became the bone of contention among the audience after the film wasn’t unbelief in new facts about Fela’s life and the Kalakuta Republic. The contention was on rights to Fela’s work. After Fela died, his family signed some copyright deals to protect his work and legacy. Today those deals have it made difficult for Nigerians to get access to materials/ records by Fela. Emotions hit the roof. "He was our Baba" Mabiaku insisted: "It has been 21 years; we shouldn’t have to beg foreigners for rights to get access to his work."

The iREP Report Newsroom

The life of the Abami Eda, Fela Aniku- Kalakuta is an institution. It was like a lapo Kuti has always been controversial. community within a country. But it was Contributors: Who is Fela? Was he just a weed-loving, Showboy who tells the story of how Amarachukwu Iwuala free-living musician? Was there more to "Fela’s House" became Kalakuta Republic Agnes Atsuah Fela than his music and political activ- in 1974. Adefoyeke Ajao ism? What did Fela do when he was not Kalakuta was coined from Calcutta, a cell on stage? How did he start and run his in Alagbon police station. After one of Wome Uyeye Kalakuta Republic? their many scuffles with the authorities, Lucia Edafioka Ayo Adewunmi, an independent Nigeri- members of Fela’s household were an filmmaker based in Canada addresses thrown in a cell named Calcutta. After Olumuyiwa Akinkuolie these questions with his short film titled their release, Fela renamed the house IfeOluwa Nihinlola

KALAKUTA REPUBLIC, which was Kalakuta Republic in their honour. It was shot at the Kalakuta Museum in Ikeja, later the group found a meaning for the Photographer Lagos. word Kalakuta, which in Swahili meant ‘rascal’. Opeyemi Balogun To take his audience inside Fela's Kalaku- ta Republic, Adewunmi interviewed peo- In Kalakuta, everyone was welcome. Graphic Designer: ple who had lived, worked and interacted From musicians, intellectuals, govern- with Fela. There were members of Fela’s ment officials to miscreants; everyone Aderemi Adegbite Egypt 80 band - Adedimeji ‘Showboy’ found a home with Fela. In spite of all Fagbemi; Dede Mabiaku; Lekan Animas- the chaos, there were house rules that Editor: haun, also known as Baba Ani; Iyabo guided the day-to-day living inside Fela’s Aderinsola Ajao Adeniran; the graphic designer responsi- Republic such as the ban on physical ble for 26 of Fela’s album covers, Ghari- violence against anyone and the rule that Published by oku Lami, and his son, Seun Kuti. under no circumstance must any man hit Relying on the memory of these members a woman. “Women came first in Kalaku- of Kalakuta Republic, Adewunmi expert- ta Republic,” Iyabo Adeniran adds. ly takes his audience inside the organized As Showboy told stories with exacting chaos that was Kalakuta Republic, and details, Dede Mabiaku exposed the audi- events that led to the burning down of ence to the mind of Fela - what he called the first Kalakuta Republic building. Felasophy: thinking Fela, the man who First, what is Kalakuta? spent hours studying; one he was so amazed by he called him a ‘manputer.’ Lagos City Hall, "Kalakuta is a force, a movement, a place Dede talked about Fela the prophet, Fela 30, Catholic Mission Street, that became the freest place in the who drew inspiration to write songs from Lagos Island. world," says Dede Mabiaku. For Seun the chirping of birds. The man who Tel: 01-454 9515 Kuti, "Kalakuta is not just a building or wrote a weekly column titled Chief Priest place. It is a state of mind." Baba Ani says