ANA structured to assist upcoming authors –Denja Abdullahi

ANA structured to assist upcoming authors –Denja Abdullahi

by Security Monitor - 10/09/2017

Denja Abdullahi, the National President of Association of Nigerian Authors (ANA), has described the association as a platform for upcoming authors to test their creativity and also forge a mutually beneficial relationship with established authors.

Abdullahi stated this over the weekend in an exclusive interview with SECURITY MONITOR’s Special Correspondent, Rowland ‘Shuwa in Ilorin.

According to him, “The structure of ANA itself is designed to assist upcoming authors as it is a platform for upcoming authors to come test their creativity, forge relationship with established authors and get the needed mentoring towards becoming assured in their crafts. A lot of writers who later became popular and great cut their teeth in ANA or were put up for showcase in ANA.

“Many upcoming authors were also first published in ANA in anthologies, journals and reviews. Some were even singly published by ANA. Beyond that ANA has existing mentoring scheme such as Teen Authorship and the Young Writers Mentoring Schemes. ANA also does a lot of literary agency works for upcoming authors.”

Abdullahi who faulted the popular notion that Nigerians have apathy to reading explained that a lot of reading is done by Nigerians both traditionally and online. He however queried the context of the reading done.

He said, “A lot of reading is been done by people traditionally and on-line with the advent of the digital age. What we may query is the kind of reading being done. People read a lot of junks online these days and the good old reading of books for leisure and general awareness is what has gone down. But that can be improved upon if we migrate good stuff to where people are reading and re-introduce the primacy of general interest reading into our schools.”

The ANA president who is also a Director of Performing Arts at the National Council for Arts and Culture, Abuja however lauded for its impact and contributions to raising the level of consciousness for books in the country.

According to him, “In its 36 years of existence ANA has been the most consistent literary association in Nigeria that has done a lot to develop Nigerian literature.ANA is a household name so to say with its outreach programmes to schools and the larger society over the years.

“Daily I receive calls from young and old people trying to find out how to join the Association and benefit from its programmes. Among our numerous programmes, we have been awarding literary prizes all these years and we have not failed to organize a yearly convention rotated across Nigeria and dwelling on germane literary issues of the day for the past 36 years.”

Giving his scorecard for the past two years, Abdullahi said his administration has strengthened communication with the state chapters. “We have uploaded a lot of documents on our revamped website for membership development. We have strengthened communications with the chapters and we have given visibility to a lot of our chapters through the traditional and social media.

“The ANA/Yusuf Ali nationwide literary awareness project that has been on since the year 2012 has greatly enhanced the visibility of our chapters as they regularly receives grants from the project’s fund to carry out activities in their domains. We have also encouraged democratization in the leadership of our chapters and they are stronger than before.

“I have fulfilled my major campaign promises. If you go back to look at my campaign document of 2015 called “The Pragmatic Deliverables” vis a vis my scorecard for the near two years I have been on the job, you will discover I have achieved with my team, not less than 70% of what I promised.

“Some people have even told me, after reviewing our Scorecard which is already a public document on the social media and on our website that we have done too much for just two years. I will certainly be re-contesting for a final term of 2 years.”

On the forthcoming convention of the association which will be taking place in Makurdi between October 26-29, 2017, the president disclosed that some new features at the event will be the flag off of the A-Book-A-Child campaign by the wife of the Imo State Governor, Nkechi Nneoma Rochas Okorocha who is the Key Facilitator.

“There will also be the presentation of a book arising out of the Arrow of God@50 Celebration which took place in 2014.There will also be award of fellowship to three distinguished members of the Association, Prof Sam Ukala, Prof Akachi Ezeigbo and Prof Idris Amali. Of course we will invest two new patrons of the Association in person of the host Governor himself, Dr Samuel Ortom and a member of the House of Representatives, Hon Jerry Alagbaoso.

“Beyond all these the Makurdi Convention is being packaged to be culturally thrilling and hospitality will be the best the State got to offer. We shall be showcasing new books and some other new projects to be embarked on by the Association in 2018.”

Why I want to lead ANA, by Denja Abdullahi

Why I want to lead ANA, by Denja Abdullahi

February 22, 2015 

Vice President of the Association of Nigerian Authors (ANA), Denja Abdullahi, has declared his interest in the presidency of the association when elections for the body hold this year. He made the declaration in an interview he granted Jerry Adesewo of the Abuja-based Arojah Royal Theatre.

 “Naturally, I should be interested in becoming ANA president at the next election, going by my long years of service to the association,” said Abdullahi in response to whether he had intention to contest.

Abdullahi added that establishing a chapter of the association in the early 1990s in Kebbi State when he was lecturing at the Waziri Umaru Federal Polytechnic, Birnin-Kebbi, among other achievements, makes him eminently qualified to head ANA.

 “I moved to a public service career in 1998 and revolutionised the operations of the association in the FCT where I have become one of the pillars of the association,” said the author who has only just been promoted director in the civil service.

 The art and culture administrator, who has since released his manifesto, explained that in 2001, he was elected into the National Executive Council (NEC) of ANA as an ex-officio member, and in 2003, was elected assistant general secretary.

 “In 2005, I was elected as the substantive general secretary and returned unopposed for the same position in 2007; between 2009 to 2011 after the expiration of my very eventful tenure as general secretary under the Dr. Wale Okediran presidency, I reverted to the position of an ex-officio member by constitutional provision; and in 2011, I was invited to contest the position of vice president, which I won,” he stated.

 He said it was only natural that he aspires to be the next president, since he has served the association in so many capacities, making him the longest serving member of the association in the NEC.

 “I have rendered innumerable services to the association and I have been faithful to the ideals and causes of the association and it is only natural and a matter of duty for me to offer myself to serve again at the highest level,” he stated.

 In his over 2000-word manifesto titled ‘It’s All About Service’, Abdullahi said, among other things, that he would run an all-inclusive administration where every member, at home and abroad, will be given the chance to contribute his or her talents and expertise to the development of the association in an atmosphere of sacrifice, integrity and conviviality.

 Cooperate and advocate with other creative associations for the establishment of the national endowment funds for the arts, so that the creative sector can access funds for viable programmes and projects, and internationalise the operations of the association by collaborating with other writers’ unions across Africa and the world.

 Abdullahi’s intention is also to return ANA fully to its fundamental objectives of being a writers’ craft union committed to the advancement of the interests of its members, repackage the developmental objectives of the association and make the staging of workshops, seminars, conferences, going on local and international residencies and hosting celebratory activities routine activities.

 ANA elections will hold this year to elect officials into the national body for writers in the country.

http://www.thenicheng.com/want-lead-ana-denja-abdullahi/

You can belong to any profession and still be a writer – Abdullahi

You can belong to any profession and still be a writer – Abdullahi

Denja Abdullahi is a consummate writer, and Deputy Director, Performing Arts,National Council for Arts and Culture(NCAC). He was also a General Secretary and incumbent Vice-president of the Association of Nigerian Authors(ANA). He is currently researching for a PhD at Nasarawa State University, Keffi, on Multicultural Aesthetics in Dramatic Literature. Here, Denja recounts the story of his journey into the world of books. By BENJAMIN NJOKU Background I’m Denja Abdullahi, born to the family of Alhaji Hamid Abdullahi and Hajiya Amina Abdullahi of Agbaja in Lokoja Local Government Area of Kogi State. I am a little above 40 years . I had my primary education at St Barnabas Primary School Ilorin and my secondary education at Govt. Secondary School Ilorin. I got my first degree in English at the University of Jos in I990 where I emerged the best graduating student with a second class upper degree. I did my National Service in Katsina State where I taught at the GGSSS Malumfashi. After that, I proceeded to acquire a Masters degree in Literature from the University of Ilorin in 1992. I started my working experience as a lecturer in The Polytechnic, Birnin Kebbi now known as Waziri Umaru Federal Polytechnic where I taught English and literature as well as managed a theatre troupe(Tashimana Theatre) as an artistic director. Abdullahi I was in Kebbi for 5 years from 1993-1998 when I transferred my service to the National Council for Arts and Culture, Abuja, where I work presently as a Deputy Director, Festivals and Performing Arts. I have been, in between all these studying and working life, a practising journalist, playwright, director, poet, literary consultant, culture consultant, UNESCO expert on intangible cultural heritage, researcher and administrator. I have held several executive positions in the Association of Nigerian Authors(ANA), the last being the National General Secretary of the Association from 2005 through 2009. I’m also the incumbent Vice President of the association. I am presently researching for a PhD in Nasarawa State University, Keffi. My research interest is on Multicultural Aesthetics in Dramatic Literature with the plays of Ahmed Yerima being my focus areas. Childhood My childhood was one of endless acquaintances with the love showered on me by my parents. My father was a policeman and a state security personnel in that order while my mother was a hard working and business-minded housewife. Due to the nature of my father’s work, we traversed Nigeria as he was moved from one location to the other and we moved with him. That equipped me with a lot of knowledge about Nigeria and the various people making up the country. That may also have broaden my horizon, getting me prepared for future encounters with the multiplicity of this country. I never lacked anything during my childhood days as my parents provided all I needed and even more. My parents were also not the overbearing type who set too much boundaries for their children. My father was a complete gentleman though my mum may be referred to as a disciplinarian in a loving kind of way. I was allowed, with all my siblings, all the freedom a child should have to discover himself or herself. In short, it was a very happy childhood where neither me, my parents and my siblings had cause to be disappointed in ourselves or on anything. Life as a writer, civil servant and author You can be anything else professionally and still be a writer. We have had all sorts of combination of other kinds of vocations with writing. In this our environment, writing is yet to become a full time obligation except may be journalism which I know is not the kind of writing you are alluding to. So you have teacher-writer, medical doctor-writer, pharmacist-writer, lawyer-writer etc. In my own case, I work in an arm of the public service where creativity is encouraged and in a department where we mainly relate with artistes and other people in the creative and cultural industries. So, I can say I am in a familiar and inspiring environment to do my writing. Meanwhile I have not left literature since I studied it at my undergraduate and postgraduate levels. So you can call those of us who studied the subject at the higher levels of education as first born sons and daughters of the field and some of us who developed aspiration for writing coming from that field became natural writers. I have four published poetry books to my credit; Mairogo:A Buffoon’s Poetic Journey Around Northern Nigeria(2001),Abuja Nunyi- This is Abuja (2008),The Talking Drum(2008) and A Thousand Years of Thirst(2011). A writer can be the most patriotic person in any nation. They are the conscience of the people, they look beyond the ordinary. They see with an inner eye and such kind of people always want the best for the citizenry. With a writer worth his name, you can be assured of justice, unfettered freedom within the ambits of the law and the dictates of humanity. I Why I write I write imply to express myself, to tell my own stories in the way I can with the hope that someone out there will read and enjoy my efforts. No one writes to change the world if that is what you expect me to say. All the same, if someone reads what I write and decide to change himself or something for good, then that is welcome. State of Nigerian literature Nigerian literature is as vibrant as Nigeria, rich in resources, talents and awaiting usage by the nation for its own human capital development. We have the good, the bad and the ugly in Nigerian literature but there is more good than bad. Our literature awaits greater exploitation by other sectors of the society; for example the film industry is yet to tap into it and neither has government for the purpose of general education and re-orientation. How literature and books should be projected in Africa African people must see literature and books as fountains of knowledge and indispensible in the quest to build a knowledge-based society. We should move away from our perennial quest for the self and start thinking of others and our society at large . It is only a broadly and adequately informed mind that has been nurtured on books that can think in this selfless manner. Future of Literature in Nigeria The future is bright. The nation should court its writers with lots of support and invest in intellectualism and the infinite possibilities of the world of imagination.

Read more at: https://www.vanguardngr.com/2012/02/you-can-belong-to-any-profession-and-still-be-a-writer-abdullahi/

Eyes on Denja Abdullahi’s turf By Professor Mabel Evwierhoma

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