Eyes on Denja Abdullahi’s turf By Professor Mabel Evwierhoma
Eyes on Denja Abdullahi’s turf
Title: On his Turf: Collected Interviews on Arts, Literary and cultural
Administration (Volume II)
Author: Denja Abdullahi
Publisher: Something for Everybody
Ventures, Lagos
Reviewer: Professor Mabel Evwierhoma
An interview is a question and
answer session employed to elicit responses, views and opinions on relatable
and significant matters posed by the interviewer. This reviewer therefore
commences this session with some queries. What was the ‘overriding principle’
at the foreground of Denja Abdullahi’s administration as president of the
Association of Nigerian Authors (ANA)? This query hovers around the reader as
he/she encounters the collection of interviews in ‘On his Turf.’ Two other
major questions refer here: Are there writers who consciously weave sincerity,
passion and unwavering hope with fervour into a tapestry that delights the
reader? Should any writer-leader be deliberate about his/her superintendence
over a group or organization? The answers definitely are in the affirmative and
they reflect Denja Abdullahi’s sod of leadership of ANA, the apex literary body
in Nigeria. The author agrees that self-assessment, rather than peer review
seems immodest, but he declares to Ramalan: “you can seek ANA members honest
opinion about our administration” (Pp26-27). The autobiographical impulse is
clear in the book, especially as we see pointers to the circumstances of his
birth, nurture and familial conditions. From its dedication to his elder
brother Alhaji Abdulmumini Denja Abdullahi, it is evident that the author of
‘On his Turf’ is connected to folks who render service to the community. As we
pay particular attention to the contents of the book, this reviewer makes bold
to aver that the interviews are evidence that Denja led in different areas,
served and continued to create narratives that intersect the human condition
and creativity. The interviews first appeared in conventional and online
newspapers and one was published in a journal earlier. In all, the breakdown of
the artistic interrogations faced by the author from art and creativity
journalists, are two in 2019, which constitute the least. The periods of
interview as chronicled in the book are: 2016: March, August, October (twice);
2017: August 18 and 22, September, 1, 14 and 15, and October 15; 2018: April
(twice), March, and October; and 2019: June and July. The opening interview is
a tribute to the founding father of ANA, Professor Chinua Achebe and as a
marker discussion, with Yemi Adebisi, it sets the target for most of what the
Denja Abdullahi-led executive was to focus on during its tenure. A major aspect
was the ANA land in Mpape, Abuja. This interview highlights the executive’s
accountability sheet to which his manifesto of ‘The Pragmatic Deliverables’ is
also tied. The next interviews conducted by Ibrahim Ramalan span issues on
database of members, the intersection between ANA presidency, the authors role
as cultural administrator and serving public servant, fulfilment of his
campaign promises as well as the disputations within the ANA group. The ability
to be frank in his responses channels the reader to pursue after commitment in
service to the group that he leads. The strategic committees to turn around the
fortunes of ANA and the internationalization bid were well-marshalled out to
Ramalan. The dialogue with Evelyn Osagie further affirmed the planned
intervention of the Denja Abdullahi leadership in ANA, most pertinently in the
attempt to establish the impact of ANA “on the development of literature in the
country and the continent” (p. 20). The author’s response to this enquiry is
informative: “ANA through its numerous and constant programmes and projects has
raised the banner of Nigerian Literature and has been an Association to emulate
by writers in other countries of Africa” (p. 20). Nevertheless, the challenges
of publication and distribution costs, piracy are yet to be surmounted. One
should however state that Out of his Turf is an absolute scorecard for this
executive in the areas of ‘A-Book-A-Child’ project’ (p. 21), that calls to mind
the effectiveness of the Nigeria Book Policy where children’s literature is
concerned (p. 33). Where literary prizes are in focus, the interview with
Adeola Ogunrinde shows Denja Abdullahi’s scathing castigation of the Nigeria
Liquefied Natural Gas (NLNG) Prize for Literature: He affirms, “I was one of
the fiercest critics of the NLNG prize right at its inception in 2004” (p. 35).
He continues: “How much has NLNG invested in the arts and book industry in the
country beyond doling out winning sum each year? The artist is a critic and
primer for any agenda set to advance society. The proof is in the query of
established systems by Denja Abdullahi, in a bid for the literary community to
progress. Apart from the NLNG, the literary festivals and their fecund ways of
birthing artists are in his opinion projects that should be ‘‘self-sustainable
and should not be tied to the benevolence of an individual or a government in
power” (p. 37). The debate around the Abuja Writers Village and the endowment
fund for the arts retain prominent places in the book, as almost all the interviewers
had one or two issues to question about them. Victor Nze asks the question
pertaining to the land last in his interview, but it continues to generate
disputes in the polity of writers (Pp 45-6). Edozie Udeze’s interview also
dwells solely on the ANA land (Pp 85-90). One other hornet’s nest stirred by
the author is the gargantuan National Library which he refers to as museum.
Here, Anote Ajelourou draws the ire of the author who condemns and at the same
time derides the government he is part of, for shirking in its duty to provide
books, libraries, the latter as “sanctuaries for knowledge and the hallowed
spaces where you can still go to think and write and come out with a sense of
achievement” (p. 52). Writing is a sphere for knowledge production could also
transcend to one for monetary profit. Henry Akubuiro, highlights the foray into
the economics of writing in the interview with Denja Abdullahi. Boastful as the
assertion may be, ‘We are set to Make more Millionaires’ is a caption that may
alarm and encourage at the same time, though much focus is not diverted to it
in ‘On his Turf.’ Of crucial note is the deserving attention that academic
publications should get and the market for books in Nigeria. Abubakar Adam
Ibrahim’s interview with the author is one of the longest in the book and
covers an array of discursive matters like an assessment of his tenure, which
had been earlier asked by other colleagues of his in the book. The Nigeria
Writers Series as imprint of ANA, royalties for authors published in the stable
of ANA, hosting conventions that reflect value for money and input of other
resources, and grants received. The interviews so far interrogate and boldly
ascertain the value of creativity on the side of the government and the
governed. The interview conducted by Onyekachi Onuoha, throws up the novel
chance for Nigerian writers to broadcast their written or oral works in digital
form as the cybernetic space is yet to be explored by them. The author
advocates that this should be taught also. Putting the author on the spot,
Kolade Olanrewaju Freedom takes him across time and the local and international
space to focus mainly on the author’s poetry and his author’s leadership
position in ANA. The interviews that bring up the rear of examination session
with Denja Abdullahi are with Edozie Eze, and three others, the crux of whose
intervention was the Yusuf Ali Literary campaign which commenced in 2012, with
a yearly grant to ANA. Of the grant the author declares: “Many Yusuf Alis are
not here today because people …are ignorant of where they can leave indelible
memories for generations unborn” (p. 111). The heated poet continues “The
corporate bodies are not different; they are forever in search of profit
without thinking of responsibility to their communities”. He continues in the
livid manner: “They commit huge funds to beauty pageants and Ajasco dance shows
on the streets but avoid the theatre, film, literature and the likes because of
their short-sighted thinking that nothing will be gained in return” (p.
111-112). This is a call to Corporate Nigeria for responsible duty and
accountability to Nigerians. The next three journalists AbdullHafeez Oyewole,
Nathaniel Bivan and Ibrahim Ramalan (Ramalan for the third time), focus on the
endowment for the Arts, counsel for young writers, hosting rights, the National
Examination Council (NECO) Teen Prize won by Ernest Ogunyemi and the
politicization of the prize. Arguably, Denja Abdullahi’s angry outburst against
Corporate Nigeria applies also to public institutions in the country, NECO
being a case in point. Merit serves veritable causes across times and seasons
and cannot be faulted when applied to sundry situations. The banishment of
money, ethnicity and religion as basis for electing its stewards and other officers
or granting hosting rights for ANA conventions become the crux of the last
interview in the book. It functions as an assessment interview used to cap the
views expressed by Denja Abdullahi in ‘On his Turf: Collected Interviews on
Arts, Literary and cultural Administration (Volume II).’ One declares here that
Denja Abdullahi must always be held accountable for the opinions expressed
therein to gauge if he shall veer from them several years from now. Challenges
are meant to be prevailed over and that he faced many of such during his tenure
should not be refuted. What matters to the evaluators after his tenure is his
score card. This book is certified as such. In all, Denja Abdullahi has
constructed a historical document with which the progress of his tenure would
be tracked. It is worthy to note that his text sets the schema for his
successors in office. Other leaders who would want to profile their goals,
input and output in service have a trail to follow on Denja Abdullahi’s ‘turf’.
One only hopes that the critical standpoints of his on the administration of
culture would not draw punitive responses from his bosses in the sector. That
ANA belongs to all writers is a sense of ownership that should be underscored
by every leadership committee. He has given highlights of his next step after
disembarking from the ANA leadership carriage, which thankfully, did not hit
any roadblock.
Read more: https://www.dailytrust.com.ng/eyes-on-denja-abdullahis-turf.html
Read more: https://www.dailytrust.com.ng/eyes-on-denja-abdullahis-turf.html
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