Am a video and photo Stringer who as been producing news and documentary content for over four years In Nigeria. I also have a news room experience as a senior regional correspondent for the first 24hours news station in Nigeria, I have work with international news agencies as a stringer like AFP, Africa Journal, Africa interactive, Tr Production, France Tv . Am interested in telling human angle stories, Art, nature and more of stories that affect people livelihood and way of life. I want to tell this stories because it focuses on what the life of a nation is and the people that live in them, their culture, belief and talent. I use the Canon 60d camera, JVC GY HM100E camera, 50mm lens, 18-55mm lens, 55-250mm lens, short gun mic, lapel mic, i use final cut pro for my editing and some other editing suit.
After a ten years of absence the Nigerian railway corporation begins transit on the Lagos-Kano route. The nigeria railway corporation relaunches services back on some major route in the country after improvements costings about 66 million dollars. The railways system is one of the oldest means of transport in Nigeria since 1898.The Railway systems as been deteriorated for more than 20 years now, most Nigerians who make use of the transport system are looking up to better services and more technological improvements as the corporation begins service back on major route in the country.
00:00 wide shot of train station terminal Lagos
00:02 wide shot of people lining up at the Train station
00:05 medium shot of people lining up at the train station
00:09 close up shot of people sitting at the train station
00:12 medium shot of Economy Class Transit sign
00:14 medium shot of people walking to enter train
00:17 medium shot of passengers walking in the train station
00:21 medium shot walking near the trains
00:27 wide shot of train railways
00:31 wide shot of train
00:39 medium shot of the inside of the train
00:44 wide shot of the train moving at the train station
00:51 Yinusa omotayo ( Passenger at the Train Station)
"What the government can do first is to encourage workers working at the train station and put in more money to do create more rails. This is my second time entering the train. The last time it was around the 80"s and during that time there was no AC . Thank God now there is AC in the trains. There were no restaurants, notting, you just entered and slept when you wanted to. But this time around they are trying to improve however they can still improve more. Now the water is not running may be with time they will do that so that the water can run. But most importantly is to encourage the workers working at the railway stations. Looking at what is happening in Nigeria traveling by road is more risky than traveling by train........"
BRAKES let out a deafening screech and steam fills the station as the Lagos-Kano train ends its 30-hour journey. Hundreds of passengers emerge wearily from brightly painted yellow, green and white carriages. It may be sweaty, crowded and very late, but after a ten-year absence this revamped link between Nigeria’s two biggest cities is a welcome relief. Travelling the 1,126km (700 miles) at an average speed of less than 50km an hour with endless stops, it is no wonder the trip takes so long. But for most Nigerians the low fares are worth it. A second-class ticket from Lagos to Kano costs around $12, roughly a quarter of the price of a more treacherous bus ride. “Hundreds of people were waiting at Ilorin [300km north of Lagos] but there wasn’t enough space for us all,” says a mother trying to appease a screaming child on her hip. “I had to stand the whole way.”
The service was relaunched last month after improvements costing $166m. Nigeria’s railways, started in 1898, have deteriorated in the past 20 years owing to those old engines of decay, corruption and mismanagement. Nigerians’ domestic travel options are limited. Most cannot afford to go by air, so take to the roads. Overfilled lorries, usually packed with dozens of passengers sitting on cargo, precariously negotiate crater-sized potholes. One stretch of road, nicknamed “Bauchi or Death”, after a northern state, is littered with overturned lorries and cars. well as being dangerous, Nigeria’s woeful transport network slows the economy. A rejuvenated rail network could unplug one of the biggest business bottlenecks. In the short run, freight trains are the priority. The cost of transporting goods on passenger trains is prohibitively expensive. “The charge is almost impossible,” complains Jibrin Bala, a cloth merchant. “On our way here, we had to transfer our goods onto buses.”
The success of the Lagos-Kano route, however slow, indicates the demand for a modern rail network. There are plans to invest in rehabilitating lines along the eastern corridor between Port Harcourt in the south and Maiduguri in the north-east. There is even talk of monorails in a couple of cities. As people scramble on board the new train, it is clear that the Nigerian Railway Corporation will be puffing hard to keep up with demand.
Inspired by the spirit of convergence for which Lagos remains pre-eminent, the Lagos Black Heritage Festival celebrates African creativity within a carnivalesque of traditional and contemporary Dance, Music, Painting and Photo Exposition, Drama, Design and Fashion Display, an International Symposium, Film and Video Fiesta and other artistic and intellectual offerings, both inter-state and international. In a seven-day cultural manifestation during which hundreds of performers will animate the ancient city of Badagry and cosmopolitan Lagos with a passage of the traditional and the modern, Lagos State will welcome thousands of visitors with a feast to engage the mind, entrance the senses and linger in the memory for years to come.
The Lagos Water Regatta is about water-based cultural sporting and recreational activity was put together to showcase what the various coastal communities have to offer in terms of water sport, cultural beauty and aquatic splendor.
The regatta consist of large fishing boats, ferries, water lightening, barges and other marine vessels adorned with each depicting the social, cultural, traditional folklore's and occupational aspects of the Lagos people.
The second is the LAGOS STREET CARNIVAL - which traditionally rounds up the Festival, preceded by an innovation that enlarges the scope of youth participation in the event with colorful display of art, Dance and talent ant participant from all around the world to witness the event.
-.Soundbite 1-Otunba Olusegun Jawando.-(male)Chairman Regatta Planning committee. -Soundbite 2-Female dancers -Soundbite 3- Akinlolu Osudonire- Male-Tourist
2013 Lagos Heritage Week takes place within an event framework that the Festival has designated The Year of Brazil. After Italy and the Horn of Africa in the series – THE BLACK IN THE MEDITERRANNEAN BLUE - comes the turn of Portugal, once a great European maritime nation, and the first European nation to establish diplomatic relations with an African counterpart – the Benin Kingdom. Alas, this historic encounter between equals would later degenerate into participation in the infamous slave trade, but would also result in the greatest “rainbow” nation in the world – The Republic of Brazil!.
Brazil, inevitably, once a Portuguese colony, became an irresistible magnet to the Festival planners. There, the African identity emotion runs deep, rendered vibrantly in cultural retentions in forms of worship, largely of the orisa of the Yoruba (the candomble), in performance modes, cuisine, language, attire and music. Such was the enthusiasm from Brazil that it became necessary to transform the Festival into a two-part celebration, so as to provide more time for the participation of the Afro-Brazilian Diaspora. To them, the Festival promised the fulfillment of the lifelong dream of homecoming. The second part – October 1-10 may yet prove the largest Diaspora Return since the Black and African Arts Festival in Lagos, 1977, better known as FESTAC 77.
What has now turned into THE YEAR OF BRAZIL was formally launched in December 2012 by the award-winning Thobias de Vai Vai Samba Group. Lagos will not soon forget that uniquely sinuous collaboration of costume and motion at the dedicated Festival venue – Freedom Park. The performance signaled a formal declaration that the Brazilian calendar had been brought forward - on the authority of the Yoruba orisa – A-ase! - thus inaugurating an Afro-Brazilian year that commenced in December 2012. The year now progresses into the Festival’s regular Easter calendar in a feast of Thematic Exhibitions, Dance, Drama, Debates and Spectacles with a special cultural presence by the Afro-Brazilian descendants of Nigeria.
The March events pay homage to the late Afro-Brazilian playwright, painter, revolutionary and senator, Abdias do Nascimento, whose life-long dialogue with the orisa will dominate the exhibition galleries. His spiritual play, SORTILEGE, also takes the stage for the first time in West Africa. Abdias is the most impassioned Brazilian link with the continent in the realm of culture, racial identity and political struggle. Exiled in Nigeria’s Yoruba cradle of humanity, Ile-Ife, for some years during the Brazilian dictatorship, it is only fitting that this radical humanist be brought back to his most memorable place of exile. He remains the dynamic symbol of African affirmation in the face of historic odds, the vitality of her cultures, and the assertiveness of racial identity. Befittingly, his widow Elisa Larkin do Nascimento will flag off the year’s Lecture series with a lecture on Abdias’ life, art and struggle.
The GRAND PARADE OF MASQUERADES, drawn from all corners of Yoruba land, a moving mosaic of colour and motion, ushers in the Festival. The programme dedicates each Festival morning to featuring the O’odua states – the modern offspring of the revered Yoruba ancestor and nation-builder – Oduduwa. This year also introduces a modern brass band, the legacy of the Afro-Brazilian returnees who dominate the area around Campos Square, famous for its surviving Brazilian architecture. The Bariga Kids will inject youthful verve into the general medley of rhythm and motion.
OBA KOSO, the tragic music-drama of the late Duro Ladipo opens a window into the tragic vision of the most talented tragedians of West African traditional theatre. OBA KOSO scored many firsts world wide, but most relevantly, as the first Nigerian dramatic work to tour Brazil. A drama of the rise and fall of an Alaafin of Oyo, inducted into the Yoruba pantheon as Sango, god of lightning and thunder, it had great resonance for the Brazilian spectators whose preservation of the deities of their original home defied all efforts at suppression by their slave masters. On the same theatre bill is the Festival premiere of Wole Oguntokun’s dramatization of a slice of Lagos history in her early colonial throes – OSHODI TAPA – a key historic role player in the colonial encounter between Lagos traditional governance and the imperial sway.
Brazil and Nigeria again meet in the Video and Film sector. Synopsis of Brazilian films will be provided where the reels have no sub-titles. These film encounters are of course primarily for audience enjoyment, but they are also planned to offer alternative ideas – including technical aspiration, to the now increasingly adventurous Nigerian cinema.
VISION of the CHILD – the Children’s Art Competition – features an unusual – but highly topical – theme. The Festival talent scouts have already visited nearly 400 schools – formal and informal - since the Festival’s inauguration in December – and assembled the lucky talents for their final contest, and a date with recognition at the Gala Award Night.
DO YOUR OWN THING means exactly what it says – a platform for individual or group talent/experimentations/creativity etc, culminating in the Final adjudication and prizes. Jugglers, singers, instrumentalists, formal and street poets, illusionists, choreographers, mummers etc are free to showcase their specializations, or indeed any kind of inspired lunacies. At the end of these capers, some Surprise Prizes – and perhaps opportunities from hovering talent scouts?
Festival 2013 also introduces a special feature – a Guest Company. Inaugurating that slot is the Rwandan Dance Company, known for its elegant, levitating display of balletic poise even in numbers dedicated to warriors. While in Nigeria, they will conduct a joint workshop with Nigerian counterparts, instigating perhaps a new dance synthesis in the search for contemporary idioms for African dance expressions.
Such exertions require a base of nurture. And so the Festival will play host to the Afro-Brazilian Food Fair. Nigerians will discover that akare-je is none other than the akara of the Ita Igarawu or Ilesha market and street stalls, or that their Easter moyo and frejon are adaptations that re-entered the continent at the hands of the returnees who made it back to homeland.
Memory forms a critical dimension of the Festival – memory as history formative, as evocations of achievement, but also – as pain and anguish. The dark history of the continent is commemorated and its victims honoured in the solemn FITILA (Oil Lamp) Procession, a reminder of the Slave Era, and the triumph of resilience and survival. Venue: Badagry, beginning with the Point of Embarkation and terminating at the Point of No Return, with traditional rituals and invocations. Heritage Week dedicates this night event to the Rites of Collective Reflection, drawing strength for the present and future.
Festivals do not end on a sombre note. The joyous face of human concourse is displayed along the lagoon that slices across Lagos, winding round some of the newest hotels and restaurants on the island. This is the route along which the WATER REGATTA will light up the lagoon with decorated crafts, fluttering pennants, synchronized paddles, a display of marine skills and ethnic symbols created by cultural groups, labour unions, youth organisations, craft guilds, warrior descendants etc etc., with some floats narrating the histories of the riverine and sea-going communities. The land equivalent of this ‘peacock parade’ – THE LAGOS STREET CARNIVAL - traditionally rounds up the Festival, preceded by an innovation that enlarges the scope of youth participation – The Children’s Street Carnival. A percussive medley of voices, instruments and pounding feet take to the streets along a designated route that begins from Awolowo Road and ends in Tafawa Balewa square with the crowning of the Pageant Beauty Queen.
Once again, Lagos opens her arms to men, women and children of all races, histories, and cultures, in her mission to animate the past, celebrate the present, and illuminate the future.
Fourteen years old Nigeria girl created a generator that produces electricity for six hours using a single liter of urine as fuel .
Girl power generator with urine in Nigeria.
Taiwo Adeleke / --
Duro-Aina Adebola (Female), Urine power Generator initiator (Student)
Omotayo Fakinlede(Male), Professor of Engineering
Olatuji Araoye (Male), Engineer
Patrick Uloba (Male) Teacher.
LAGOS, NIGERIA, JANUARY 2013
VAR of student starting the Generator.
VAR of cylinder and filters
VAR of bulb and socket with electricity
VAR of students talking
VAR of School University
VAR of Man in the Office
VAR of Lagos Street at Night
VAR of man starting generator
VAR of generator sounds
VAR of secondary school building
VAR of teacher with student in the classroom
SOUNDBITE 1, Duro-Aina Adebola (Female), Urine power Generator initiator (Student) (English, 00:14:18 seconds ):
"I got the idea when i went on net and i saw a family of five (5) killed by carbon-monoxide poison. its now stroke me that people are dying regularly from generator poison and that what could be done that wouldn't releases any harmful gases into the environment . Urine is a waste material definitely Nigerians will opt for urine since is a waste material, Nigerians like cheap things "
SOUNDBITE 2, Omotayo Fakinlede(Male), Professor of Engineering (English. 14:01 seconds)
"we can view hydrogen as the hydro carbon minus the carbon. There are very good properties that its as one of the most important thing is the environmental friendliness".
SOUNDBITE 3, Olatuji Araoye (Male), Engineer (English 10:18 seconds).
"Its depend on the cost of the generator first and i will look at the durability at the same time".
SOUNDBITE 4, Patrick Uloba (Male) Teacher.(English 20:18 seconds)
"We have done several other project before this, we are hoping that with the volume of information that as gone out on this project, we are trusting that somebody will come and pick up this project , so that it can be mass produce and it can be there in the market.
The short documentary shows the everyday life of some Graduate youth in Lagos Nigeria who faces the daily challenges of unemployment and the hard economic situation in the country . Some of them narrated their experience with me and how they were able to find a means of livelihood for their self by been entrepreneur and how government as not fund the small business owners in the country.
Name: Afromystrerics Art.
Journalist: Taiwo Adeleke
A Nigerian born Artist and musician use his works of art to interpret the mystery of the African thought pattern and the weak economics situation in Nigeria from the fuel scarcity, crisis and killings , political power tussle and the challenges of Africa Artist at large. Images and soundbite of people at the art exhibition.
Artist use his work of art to interpret the Economic situation in Nigeria and Africa at Large.
Timi Inekoba (Woman) Participant at the Exhibition
Stanley Ibansu (man) Business man Participant at the Art Exhibition
Laolu Senbanjo (man) Artist / Musician
ABUJA, NIGERIA, NOVEMBER 30, 2012, AT THE ART EXHIBITION
ABUJA NIGERIA, DECEMBER 02, 2012 AT THE MUSIC CONCERT
VAR of a Artist drawing
VAR of Artist art exhibition in Abuja
VAR of people registering at the Art exhibition
VAR of Artist show casing his Art work to Audience
VAR of Artist playing is Guitar and singing to the audience
VAR of Artist Playing his music alone in the garden.
VAR of Artist at his music Concert in Abuja at the city park Abuja Nigeria
SOUNBITE:1 Timi Inekoba (Woman). Participant at the Art Exhibition ( English, 00:00:07:24 ). "My second favorite pieces is about the visual cycle, all the random things that as been going on in Nigeria, the subsidy things, the oil thing, the corruption thing is like he just recycle everything. Am pretty sure you know its art and music it comes together, so he translate everything from art to music , music to art. I think this will stand any were and its good. i like his art because its abstract, its beautiful, its something else,but i think it we go very far".
SOUNDBITE 2 : Stanley Ibansu (man) Business man Participant at the Art Exhibition. (00:00:51:17) "A picture speaks volume. i mean in thousand words , now pictures is in millions of words his art speaks millions of words , its mind blowing , i love what he does, most of what he as done envoy round the women fold , and all this while, why the event was going on i was thinking about why the women but you know discover that its actually the women its a woman world,everything involve around the woman , he has been able to, i had something very peculiar today somebody said that if you are able to change the woman, 80% of the challenges we have in the society is handle and that is the truth. What he is doing is affecting the women fold and i must tell you this is cutting across the change we expect and to tell you the truth he is making the impact that is needed with that ".
SOUNDBITE 3: Laolu Senbanjo (man) Artist / Musician. ( 00:00:47:08)
"My name is Laolu Senbanjo and am an artist and also a musician, my style of art is called Afromysterics art which simply means the mystery of Africa thought pattern, and what i do is hat i like to use my art to interpret different scenario and situations. I draw inspiration from methodology, symbols, Africa life, the Africa third pattern, everyday life and you know what we do is a narrative of a busy mind. An African mind is very busy is thinking of many things at the same time, so with this i try to tell you a lot of stories with just one picture, i take you through a story in a particular painting.
After having exhibitions outside the shore of Nigeria, i have been to few exhibitions am in a position to compare and contrast what the acceptance is like, you know you cant compare the monetary value in terms of appreciation in terms of the value of the artist itself. We in Africa, we need to do more , we need to value our artist and treat therm better because its sad to know that a lot of artist don't even have art galleries.
the major challenges is that of perceptive and understanding of what art is and a lot of people, like i tell people you don't pay an artist for his labour, he is not a laborer, you pay an artist for his site and ability to see what you cant see and put it in imagination on canvas ability to connect what is in your mind to your art. That is what people should value and that is priceless in the sense that when you see a work of art you see people price it like its a commodity like tomatoes and its very heart breaking sometimes the way we treat our own artist and this is something that is absence somewhere like i had exhibition in Germany , the artist are treated with respect and dignity and you know what ever costs a work is the value behind the work , basically you cant price art.
Afromysterics is going on loud , we are launching out and what we want is to take the message of our people , we want to take it to the world in charcoal something that the world have not seen, we want to take it out in a very unique manner, there is notting fetish or demonic about africa art, we should stop demonizing our history , our root because that is what saddens me the most , because most people see carving, mask , they start saying its as this and that , many people have been brain watched, and its painful , very very painful, i menthes are beautiful things that is been appreciated globally , this is what makes us unique, i mean while should be more European than an European, i mean he doesn't want to see the like of Michelangelo , Da vinci, of this world, i mean while not do what is natural to you , we have our styles of art , we have what cones to us naturally and the reasons while am doing this is that , this is what comes to me , this is what i feel, this is what i imagine and this is what am dreaming , i mean my art , i that is what am actually doing here i just sit down and let it flow that as been my life i let it flow."