Mairogo hits Benue

 

Mairogo hits Benue 

 

By Maik Ortserga - June 20, 2021

THE Theatre Complex at the second campus of Benue State University is a short walk from the gigantic Faculty of Arts building. At 4: 30 pm, recently, one could hear it buzz before one could see it. There was a crowd milling around the entrance in an attempt to get in and find a space at a good location to watch the consummation of the marriage between poetry and drama.

The director of the Benue Poetry Troupe (BPT), a wonderful guy called Oko Owi Ocho (aka Africa), already on his way to becoming an international star in spoken word poetry, was all smiles as he swaggered across the stage with an almighty spring in his steps. He and his crew had defied all challenges: lack of costumes, meager resources and with most of the crew members combining their school work with rehearsals, it was no mean sacrifice.

Inside the theatre, the Makurdi temperature climbed to 30 degrees with the overburdened fans making more noise than air. Yet, Eyes shone, teeth flashed, hearts thumbed; thoughts raced. The long awaited moment was here at last to watch Denja Abdullahi’s Mairogo: A Buffoon’s Poetic Journey around Northern Nigeria. The book itself was destined to be an artistic success as demonstrated in the critical attentions it has received by scholars at undergraduate, masters and doctoral levels across universities in Nigeria since it was published some years ago. The good news, however, is that this was the first time Mairogo would be performed on the stage.

By 5pm sharp, the poet, Sam Ogabidu, a former Chairman of ANA Benue, mounted the stage with his bamboo height and penetrating eyes of a critic to chair the panel session that preceded the performance of Mairogo: A Buffoon’s Poetic Journey around Northern Nigeria. He was followed to the stage by Mallam Denja Abdullahi himself in all the bulk of his frame. Immediately after they shook hands, Sam Ogabidu descended on the author of Mairogo with his proboscis and what came out was the standard of talent, artistry and the rare linguistic experimentation which characterized Denja Abdullahi’s Mairogo. Through the voice of the persona, who is a half –mad man, the poet creates a moral code against which various levels of the Northern Nigerian society are played to bring out the inadequacies of the people. Mairogo’s moral code is at least honest, especially in comparison with the hypocrisy of the rest of the society he is out to lampoon.

At last, the lights went down, the performance started, the cast danced on to the stage to the admiration of all. In 45 minutes they buried their individuality in the character of mai-rogo for the good of the group and the play as a whole. It was a perfect demonstration that with a good session of rehearsals, performance becomes a pleasure. The integration of beautiful Hausa songs into the play was awesome. The audience sat there entranced as they watched with their mouths agape. Right from the very first scene to last, there were good vibrations from the audience. The crowd did not know when they stood up and started cheering as the performance came to an end.

Among those who joined Mallam Denja Abdullahi to watch the performance were: The Director of News and Current Affairs, Radio Benue, Mr. Igba Ogbole, The Director of Programmes, Radio Benue, Barr. Onwanyi Ulegede, the Head of the Department of English, Benue State University, Prof. Moses Tsenongu, the National General Secretary, Association of Nigerian Authors (ANA) Maik Ortserga, the National Legal Adviser (ANA), Barr. Bentex Torlafia, the ANA Benue Chairman, Mr. Paul Ugah and ANA Benue Vice-chairman, Mrs Regina Achie-Nege, Others were Hon. Otse Otokpa, Mr. Abo Agbechenu, Barr. John Ifer, Queen Obekpa,  ANA Benue Secretary, Stephanie Abughdyer among numerous other dignitaries.

The visibly excited Mallam Denja Abdullahi who jumped on to the stage with his speech at the end of the performance said that the Benue Poetry Troupe (BPT) is determined above all to be taken seriously as actors, but they need support. He quickly extended an invitation to BPT to bring Mairogo to the stage in Abuja  August 2021 with a promise to provide all the necessary support that will ensure a better production.

The director of Benue Poetry troupe (BPT), Oko Owi Ocho (Africa) gave a short closing remark laden with extravagant praises of the Author of Mairogo and others who provided support to ensure the successful performance of Mairogo even as many people started making donations in support of the troupe.

May 22, 2021 will forever remain indelible in the minds of the entertainment and fun loving people of Benue State as the day when Mairogo took his poetic journey to the theatre.

 

Denja Abdullahi’s ‘Mairogo’ leaves Abuja audience reeling with laughter

 

Denja Abdullahi’s ‘Mairogo’ leaves Abuja audience reeling with laughter

 

Mairogo consistently ridicules persons he believes do not measure up to his 'moral standard' thus eliciting mirth and laughter from the audience.

byTosin Omoniyi - August 28, 2021

It was an evening of fun and artistry at its zenith at the Cyprian Ekwensi Centre, Abuja on Friday when Denja Abdullahi’s Mairogo: A Buffoon’s Poetic Journey around Northern Nigeria, was dramatised on stage to a thrilled audience.

The audience was held spellbound for over two hours as the Benue Poetry Troupe creatively reenacted the book which has attracted positive acclaim even beyond the shores of Nigeria.

The troupe is the first to adapt the book, written 20 years ago, for stage performance after it first performed it on May 22, this year at the Theatre Hall of the Benue State University.

The Abuja performance also served to celebrate the birthday of Mr Abdullahi, the immediate past president of the Association of Nigerian Authors (ANA).

The evening event, interspersed with other dramatic and poetic performances, was attended by participants spanning the nation’s literary world.

Mairogo

Mairogo, which received honourable mention at the 2001 ANA/Cadbury Poetry Prize, depicts a ‘mentally challenged’ but humorous persona, who thrills the audience with his apt appraisals on stage of some of the perceived ills of northern Nigeria and seeks to challenge entrenched societal mindsets through humour-tinged criticism and buffoonry.

The ‘half mad’ poet, through a series of ‘trips’ through swathes of North Nigeria hilariously displays a ‘moral code’ and behavioural ethics he sways the audience to support even as he point out the inadequacies, at times hypocrisy, of some segments of the region.

Mairogo consistently ridicules persons he believes do not measure up to his ‘moral standard’ thus eliciting mirth and laughter from the audience.

During the panel discussions at the event, Mr Abdullahi, a poet, dramatist and arts administrator who has published 13 books so far, said Mairogo is actually a real life character whom he met years ago and who served as an inspiration for the powerful work.

“Mairogo is a real life character who used to wander around my area in Birnin Kebbi…at times he would come to the place where people are praying and would point to someone: ‘you are an hypocrite’ but since he was seen as a ‘mad man’ people would ignore him. But if it someone who is sane who says such a thing, people could come around to deal with him. “So I combined those characters together and came up with ‘Mairogo’. All the things I said there (book) are very critical things to the northern society which they cannot even react to it adversely because I laced it with humour and empathy. When you lace such a work with empathy, you have the licence to say what you want to say.

“The character is a real life one who I just extended his behaviour. I put a lot of words in his mouth to talk about a lot of places in the north. When you talk about the bad, you also talk about the good. When you do that, your criticism will flow. I did a lot of that in the book.”

Meanwhile, Oko Owi Ocho, the creative director of the Benue troupe said he has no regrets embarking on the project of bringing Mairogo live on stage.

He said he ‘stumbled’ on the book through a friend and became immediately attracted to the storyline. “Immediately I read it I knew it was what we needed at the theatre group.”

“It said so much. There is so much in the book. Morality, feminism, Africanism, etc. So I couldn’t ignore the book and we went for it.”

The troupe plans to take the production to other states across the nation, soon.

 

https://www.premiumtimesng.com/news/more-news/481729-video-denja-abdullahis-mairogo-leaves-abuja-audience-reeling-with-laughter.html

‘Of foot-soldiers and hybrid visions: Festschrift in honour of Denja Abdullahi’

 

‘Of foot-soldiers and hybrid visions: Festschrift in honour of Denja Abdullahi’

 

The theme of the event was tagged: Leadership and Institutional Building in the Creative Industry and had a rich panel made up of distinguished literary figures on the nation's landscape.

byTosin Omoniyi - July 10, 2021

It was a time of camaraderie, entertainment interspersed with a brain-storming session at the July Literary Discourse organised by Orpheus Literary Foundation in honour of a former President of the Association of Nigerian Authors (ANA), Denja Abdullahi, at the Eugenia Abu Media Centre, Abuja on Thursday.

The session had in attendance many members of ANA, the literati, academia, civil servants and friends of Mr Abdullahi who was the immediate past president of the elite Nigerian writers’ group.

The theme of the event was tagged: Leadership and Institutional Building in the Creative Industry and had a rich panel made up of distinguished literary figures on the nation’s landscape.

The panellists included Mike Ekuno, of the National Film and Video Censors Board; Patrick Nwagbo of the National Institute of Cultural Orientation and Lois Otse, a former caretaker lead in ANA, Abuja.

The event specifically served as a platform for unveiling a rich compilation of writings in honour of Mr Denja and his activities: Leadership and Institutional Building in the Creative Industry , a 736-pages book edited by Ezechi Onyerionwu, Ismaila Bala and Chinyere Egbuta.

The panellists spoke glowingly about Mr Abdullahi’s achievements in academia, journalism, activism and the literary world. They also x-rayed the major national issues in the compilation, which equally depicts Mr Abdullahi’s uncanny ability to bestride various sectors of human activity.

The session, moderated by a writer, Salamatu Sule, was brightened with an exhilarating musical performance of ‘A thousand years of thirst’ by Paul Simon, a ‘musical journalist’ and a short reading of ‘Chalice of healing’ a literary piece by Ms Sule.

Submissions

Mr Ekuno, describing Mr Abdullahi, likened him to the story of the seven blind men describing an elephant by touching it.

”Any part you take is still valid, any angle. I encountered him (Abdullahi) through his level-headedness. He is approachable, he is a true Nigerian. He is deep, he is not frivolous,” he said. ”He belongs to the generation that has been described as ‘wasted generation’ but he also has a foot in the generation that is serious-minded, educative, diligent and hardworking. I am proud he is part of my generation.”

He also added: ”What he did with ANA during his presidency is a commendable legacy because it is not common in these our parts. But the fact that now that he has handed over, we can see what ANA is like, more or less makes you know that what he went through to be able to stabilise the association must have been enormous.”

Describing the book, he said it was ”worth its weight in gold”.

The span and kaleidoscope, what it covers, it ranges far and wide across the literary firmament of Nigeria. I was wowed by the assemblage of writers who made contributions to the different aspects of the book.”

Ms Otse also said the book inspired her and would serve as a guide for her future works. ”The book is very inspiring for me and I am even adopting it for many things including my further writings. I am so happy that today my boss, Malam Denja Abdullahi is being celebrated. I wish him many more celebrations.”

Inspiration

On the inspiration behind the compilation, Mr Abdullahi said: ”It was just by accident that I am a subject of the book. The editors would be in a better position to tell you why they chose that title.

He, however, added: ”When they were working on the book, I was not there. I gave them the freedom to define what they wanted to define. I don’t believe in forcing the process. When things are to be done I always want people to reveal their true nature. By the time you intervene in things that are going on, you distort the job.”

He said the work took about three years before it could be completed.

”It was supposed to come out during my 50th birthday in 2019. They said no, that they had to do a good work. And they did a lot of work,” he explained. ”All the 145 pictures you saw there, they selected them. When they gave me the title and I looked at it, you know one can quarrel with it. When we discussed about the title, what I told them is that the title must go with the issue of hybridity. I am an ‘hybrid’ person.

”I can be many things…I can stand in one place and thrive and also go to another place and be well received. I have been in the academia, I have been a journalist, I have also been in the public service. I have done a lot of other things so I told them – whatever you come out with must reveal the hybridity of my person…”

https://www.premiumtimesng.com/news/more-news/472764-of-foot-soldiers-and-hybrid-visions-festschrift-in-honour-of-denja-abdullahi.html

Denja Abdullahi as Protean Literary Spirit

 

Denja Abdullahi as Protean Literary Spirit

 

February 2, 2021

By Sunday Agollo

When beggars die, there are no comets seen; the heaven themselves blaze for the death of princes. The world is a stage and the people in it merely players. If a child washes his hands clean, he can eat with kings and elders. These three aphorisms popularized by William Shakespeare and Chinua Achebe received fulfillment recently with a publication of a festschrift in honor of Denja Abdullahi, an Abuja-based culture technocrat, playwright, literary critic and poet. The festschrift, published by Kraft Books, a publishing Company resident in Ibadan, Nigeria, is a collection of learned papers written by culture experts and erudite scholars and packaged to mark the 50th birthday anniversary of the cultural and literary icon, Denja Abdullahi, which came up in 2019.

Titled in the iconographic mode, “Of foot-soldiers and Hybrid Visions: A Festschrift in Honor of Denja Yahaya Abdullahi”, and in 721 pages, it x-rays in the broadest sense critical issues concerning Nigerian cultural heritage and its limits in the attempt to tackle national questions of corporate existence and unity. It also beams light on Denja’s literary reputation and artistic works before zeroing-in on the aesthetic and socio-political considerations under-girding his cultural and artist productions. The festschrift is packed in nine sections, each of which represents a cognate mode of cultural, literary and artistic discourse. Section one sub-titled “Art, Culture and Gender Advocacy” comprises five essays perfected by notable Naija cultural egg-heads, such as Ahmed Yerima, former director of National Troupe, Lagos and Sunday Enessi Adodo, renowned theatre academic. The section examines the contours of Nigerian literature and culture and their potentials in the development and prosperity of the country, and the inadequacy in the efforts so far made in exploiting or harnessing that potentials for optimum performance and utilization to promote the nation’s national interests. What echoes here is the in-depth excavation of the enormous possibilities of Nigerian arts and cultural heritage as well as a veiled scathing indictment of the Nigerian governments for not doing enough of the needful to galvanize its arts and culture agencies and platforms towards a realized optimal result in the nation’s art and culture sub-sectors.

Section two sub-titled “Popular Culture and Social Media” consists of three essays written by culture experts of the professorial acme reflects the importance of cultural awareness and adjustment in mitigating culture shocks among Nigerians, negative cultural attitudes that trigger conflicts and violence and how to stem the tide, and also the burgeoning stand-up comedy which I termed elsewhere Nigerian laff-laff theatre from its original miserly cradle to a money-spinning industry. Many of the comedians were singled out for praises or commendations for their creativity and resourcefulness. Some of the essays focus on how culture and arts can contribute massively to the economic prosperity of Nigeria. The success story of the social figures is a good hint that environment fostering cultural awareness can be a source for capacity-building and wealth, even in a highly competitive and diversified economy.

Section three, comprises of fifteen essays hewed mostly by academics, and sub-titled “critical Appraisal of Denja Abdullahi’s works”, particularly his dramatic and poetical writings, “Abuja Nunyi”, “Death and the King’s Grey hair”, “A Thousand Years of Thirst” and “Mairogo”. The essays appraise the works as literary texts steeped in the appropriate literary traditions. All the critics return a verdict that in Denja’s works, the trend had been to comment on cultural and social issues in terms that handle his sensitive material skillfully to balance between the demands of social commitment and artistic objectivity. Furthermore, his plays and poems are shown to derive of myths, his characters are life-like and his themes based on human dispossession or abandonment receive expression in wide ranging theatrical and figurative language.

Section five consists of five essays on contemporary Nigerian literature covering historiography, feminist responses to Nigerian civil war, 1966–1970, Elechi Amadi’ contribution to Nigerian literary heritage, Ojaide’s poetic evocations on Nigeria’s colonial and post-colonial experiences, and Zainab Alkali and Timothy-Asobele’s forays into using literature as a means to peace-building and closure of the gaps issuing from ethnic plurality in Northern Nigeria. The discourse here is dialectical cum didactic enough to enable the reader grasp the relationship between culture, history and literature, state of Nigerian literature and the importance of literature in facilitating unity in a heterogeneous society.

Section six comprises five essays based on Denja Abdullahi’s literary works and done by different reviewers. The reviewers, themselves literature teachers and critics focusing on thematic trusts as well as stylistic, literary and linguistic resources appropriated in his creative writings. Section seven is personal interviews during which Denja unveils the philosophy under-girding his artistic and literary theory and praxis. Section eight consists in tributes or heartfelt creative apprehensions and expressions of gratitude and praises to Denja Abdullahi by colleagues,contemporaries and mentees. Finally, section nine comprises poems, crafted in form of lyrical odes, and giving pungent expression to his outlook, mien, acme and amiable personality.

Bigots, like Marxian scholars or other sectarian, self-acclaimed literary behemoths now peeping from fox-holed libraries or study centers might, in envy, impulsively ask: Does Denja Abdullahi deserve the accolade of having such a robust festschrift packaged in his honor, such that he now ensconces at the foci of Nigerian literary high-table, beside Chinua Achebe, Wole Soyinka, J.P. Clark, Ola Rotimi and other literary giants whom such honor has been bestowed on in the past? The answer to this question is not difficult to proffer. As Chinua Achebe has pontificated in his classic novel Things Fall Apart (1957), a child who washes his hands well can eat with elders. Denja Abdullahi has indeed washed his hands enough in the realm of literature, culture and arts, and so he eats with kings and elders.

Born 51 years ago at Idah, Kogi State, Nigeria, Denja Abdullahi is a budding poet, playwright, performer, essayist and a culture technocrats” (see Festschrift 683). His journey to stardom and iconography in the culture and art began soon after graduating from the University of Jos in 1993. he taught English Language in a federal polytechnic for five before transferring his service to the National Council for Arts and Culture in 1998, where he rose to his current status and position of honor as a director, consequent upon his fruitful engagement in the realm of culture, literature and art. Besides writing, acting and contributing to state policy on culture and art, he had also been active in culture politics, and this paid off when he was elected as President of Association of Nigerian Authors (ANA) in 2015. Besides positioning ANA as a visible organization in Nigeria and even beyond, Denja is on record to have promoted countless literary events and workshops that led to discovery and nurturing of young promising writers, the immortalization and canonization of past and living writers from Nigeria, like Chinua Achebe, J.P. Clark and Ikeogu Oke, establishing of a platform for publishing of the works written by both established and up-coming ANA members and the construction of befitting writers’ village in Mpape, Abuja.

“Foot-soldiers and Hybrid Visions: A Festschrift in Honor of Denja Yahaya Abullahi” is therefore a well-deserved honor for a man whose name is widely regarded as symbolizing the appropriate personage, charisma and vision required for a result-oriented articulation, production and promotion of Nigerian heritage art and culture in the immediate present or in the future. Any one perusing this festschrift anytime or anywhere is bound to confront the perfunctory spiritual and enigmatic aura of Denja masquerading in its grand pages. Its oeuvres tacitly imbue him with an image reminiscent of the mythical lovebird Leandro whose romantic dares across Helensport in search of his true love, Hero, was truncated by jealous breeze which extinguished the candle lighting his way from Hero’s tower window across the waters and got drowned. Unlike Leandro, Denja himself remains unrestricted and unperturbed in his pursuits of cultural and literary programs; and he has continued to float on Nigerian cultural and artistic waterways, his passion fanning the bonfires of literary and cultural arts into flames in-extinguishable, flickering unperturbed in simmering heat over the canvas.

As “Of foot-soldiers and Hybrid Visions: A Festschrift in Honor of Denja Yahaya Abdullahi”, goes into global perusal by readers, there is no missing of its essence as an epoch-making document that presents Denja Abdullahi as a literary Protean spirit, making full use of a unique cultural, literary and linguistic arsenal

https://www.vanguardngr.com/2021/02/denja-abdullahi-as-protean-literary-spirit/