CURATORIAL NOTE on EBJ

CURATORIAL NOTE for the1st edition of the Biennial. HOME and ABROAD. For the curatorial discourse of this 2009 edition of ewaBAMIJO, we propose "HOME and ABROAD" as the theoretical basis from which we hope to explore our critical vision. under the Artistic direction of Qudus ONIKEKU. Context and Rationale: Contemporary dance in Africa has struggled for a while to overcome problems like accessibility by local audience, finance and lack of Infrastructures, power and lacks critically in legislation. Dance-forms other than traditional dances in contemporary Africa, are very similar to all imported or foreign activities in the society at large, reserved particularly for the expatriates and the elite class, it is obviously there present in the society but it has been suspending and surviving in a sort of extinction, never had the ability to come to rest and be integrated in the society we operate. Moreover, there is only a thin line between the artiste and his society, paradoxically we get fame and gain grounds outside our primary society, and all these is as a result of the standards and circumstances at which we operate our art "HOME and ABROAD." We are convinced that the notion of HOME for many artist of the 21st century varies, it could be only but, a series of thoughts, images and sensations - a CONCEPT - a cherished aspiration, ambition and ideal, it perhaps exist only in our self/deluding fantasy - Not in real-time. Maybe this earth is an eternal ABROAD after all, and so said Faustine Linyekula 'Maybe my only county is my body', but on what basis does our art excel at 'home'? The art market or its practice? Our proposition of "HOME and ABROAD" as the theme for this first international edition of ewaBAMIJO, is not a denial of the existence, importance and rewards of this intellectual tradition; but in many ways to further seek a place for the entrenchment of cultural and racial, economic and other fundamental differences under the machinery of globalisation. Reality has proved to us that, due to our lack of infrastructure and audiences structure, many African creators make their works ready mostly for exportation in order to survive as artistes, not only for economic balance, but for their sanity and survival of their creativity, productivity, and pride in the companies they run, this irreproachable trend also have a reverse effect on our primary society. As we have seen in the recent past that a higher percentage of African audience has practically lost interest of live arts to showbiz and home movies, The basic interest of this initiation is primarily to review our basis and bring back attention to the Theatre. We believe that at this present point of our encounters, after many decades of pre|post colonial exchanges and several hand shakes with the world, it is high time we became focused on internal issues. More so, as we live in a new media world saturated with technological advancement, coupled with our vast resource of indigenous professionals, we only need to appropriate all these ready made elements as our own means and apparatus, as well as using maximized effort to sculpt our art face and divert some sluggish energy into a steady and positive change reaction. A moment of reflection around DANCE in contemporary African... History itself is shaped and written in bias towards the present day reality, and slightly directed to favour the orientation at which the future is dreamt of by the powerful, and so as contemporary dance in Africa, America and Europe and elsewhere where 'political correctness' matter, the ideals and the writings of contemporary dance on a global world-view has enriched itself on the inevitable notion of identity, race, gender and class. Far from identifying the contemporaneity of our dance in Africa or branding it for that matter, but approaching it from a viewpoint which doesn't ignore the state of affairs of our collective economic, social, political and cultural reality as a people. In the era of post colonialism, post modernism and post world war II, other art forms had exercised continuous revolutionary concepts that transformed into leading discourses guarded by 'political correctness'. As 'African' dance practitioners, it is inevitable to disregard the question of identity, color and other baggage of history, due to the direct exposure of our naked bodies and the visible twist of cultural expressions, which has in turn triggered a series of resistance in the part of traveling dance practitioners, as against exoticism and second class validation, if not third. However, this construction and continuous resistance have also adversely developed an institutionalised pluralistic landscape that has today turned into a combative affirmation of an ideology, and unfortunately a new form of stereotyping. For some years, major international organisations and parastatals around the world, have worked towards building up 'discursive platform for a cacophony of African voices' outside Africa, and emphasizing 'correctness' in cultural politics; these have of course created more talks that hinder actions, it has stated more obvious problems than proposing solutions, but unconsciously succeeded to the neglect of the core existence of the young and alternative artist's project in the continent, creating further fiesta of the ex-colony and the ex-colonised, an independent pursuit of illusive relationship through artistic endeavors. Fundamental problems transformed into cocktails and social rendezvous of the dominant sect, through which the new order is defined to create restriction for liberal artistic expressions. In this first edition of EBJ we wish to draw attention to the 'political (in)correctness' of traditional trends which led to the dominative power play of multiculturalism, globalisation, identity politics and post-colonial discourse. Urgent issues facing contemporary dance today, that we wish to make a scandal of is; How do we establish an 'ethics of difference and mutual respect' within the framework of dissimilarities in cultural production and functionality? Is DANCE in contemporary Africa: An imported household branding or a local craft for export? How do we prevent 'Hegemony' without sacrificing the grounds already gained against the power status quo at Home and Abroad? By Re/Moving boundaries, are we certain of creating larger territory for dreams? Core principles of the EBJ biennial: Negations Africa has been told and shown constantly through western eyes, and in funny way we end up seeing ourselves through western judgment. To trail the proposition of the 3rd GUANGZHUO Triennial, ewaBAMIJO may be as well understood as a locus of questions for the international art world, boom time of fresh breeds hailing from cities yet to come around the world, as history has been written based on the intuition of a few and rules always made for us to follow, we have the conviction that there are lots of lies in history and we are set to deny everything regarded as 'truth' to lead the way for our discovery, the existence of this Biennial will be a process of discovery for ourselves; not just the fulfilling of preconceived ideas. Instead of claiming what this Biennial 'is', we wish to find out what it should not be. The Self Imagining of ewaBAMIJO is an Ètude in Negation ... Neither global nor local; Neither Western nor African; Neither mainstream nor independent, Neither tourist spectacle nor high art. Not multiculturalism; Not tribalism; Not post-colonialism; Not identity politics; Not sociological report; Not alternative modernity; Not showcase of new stars; Not competition for superiority; Not a celebration of our heroes and wins, Not further affirmation of all possible swear words, such as **gritudism... By saying 'Home and Abroad' we call for the renovation of the practices and theoretical interface of contemporary dance around the world, to depart from its all pervasive socio-political discourse, but work together with other kind of artists, scholars, students, critics and our audience, to discover new modes of thinking and develop new analytical tools for dealing with today's world, and bring attention to the 'limits of globalisation'. ----------------------------------------------

Yk Projects. info@ewabamijo.com +2348055276317

ewaBAMIJO Media Campaign

Latest on ebj

If you've been wondering what's next on EBJ. the media campaign took us round the doorsteps of the following confirmed EBJ Dance Ambassadors: Dr Ahmed Yerima, Ambassador Segun Olusola Tunde Kilani Jimmy Jatt Peter Badejo (OBE) ASA and Nomoreloss. On the other side of the Mediterranean sea, Qudus Onikeku, the EBJ Dance guru himself, held Paris in hostage and he is set to take the gospel of EBJ round Sao Paolo, Belo Horizonte (Brazil), Buenos Aires (Argentina), Bogota (Colombia), Maine and New York (USA). With the aim of creating new and lasting relationship with other territories other than our familiar acquaintances in Europe. See this for yourself and share the word. http://www.facebook.com/video/video.php?v=93707865876&ref=mf... EBJ will be kicking off with its strategic international relation and mobilisation in Sao Paolo, Brazil on the 8th of June 2009, hosted by the Matilha Cultural; http://matilhacultural.com.br/. It will be followed by a cinema screening of our documentary film "Do we need cola cola to dance" and a Non conventional space performance on the 13th of June 2009... Followed by a second Showing in New York on the 25th of July 2009, also followed by a studio screening of "Do we need cola cola to dance" and a solo Performance hosted by the Dance Theatre Workshop. New York. http://www.dancetheaterworkshop.org/ A third showing will be during a residency at the Bates Festival between 19th of July - 9th of August 2009, with a cinema screening of "Do we need cola cola to dance" and two solo Performances on 6th and 7th of August 2009, during the "Different Voices" Hosted by the bates Dance Festival in Portland Maine. http://abacus.bates.edu/dancefest/performcalendar.php --------------------------

-------------------------- Watch out for more intriguing update on the journey to EBJ 2009. Before then, HOW MANY PEOPLE HAVE YOU INVITED TO JOIN THE GROUP ? Its not enough to support by sending us email and wishing us success, no one can clap with one hand, it will be appreciated if you can go to the group page and click on the Invite people to get all your friends list to join the train, that will not cost so much and also join the discussion board to let's hear your views... LATEST ON THE DISCUSSION BOARD; is DANCE a Sport? Following a long argument in an online forum, whether DANCE is a sport or not, i found it interesting as a topic to discuss, i have curled two significant point made by two distinct persons, one for and the other against such notion Brittiny Catalano stated that "1) Dancers are physically fit and need conditioning. they work extremely hard and train till they cant walk anymore and then continue on... Visit http://www.facebook.com/topic.php?uid=51419822397&topic=9287 to let your voice be heard. Yk Projects. Nigeria +2348055276317 info@ewabamijo.com

Join the EBJ CAMPAIGN train !

Hello Good People of this great World.

As WE move ahead with our never ending aspiration, Ewa Bami Jo is improving from day to day, our list of partners, sponsors and interested individual is getting longer by the day. Also in that line we keep building on the concept of the festival. 

As part of our strategies to achieve our objectives: We've put in place the EBJ ONE MINUTE media campaign, which kicks off two months prior the festival, where we engage various celebrities and public figures telling us “What dance means to them...”and this will be proffered with a high sense of esteem and professionalism, and well broadcast nationwide, it is our own way of getting the public aware of such existence though such endorsement. 

We have as well began EBJ mobilisation of a minimum of 100 students of performing arts in all the three major universities in Lagos to adhere to the festival as volunteers, to host the over 500 students and scholars coming from other parts of the country, as well as over 300 participants coming in from outside the country, giving them the possibility of getting closer to either professionals of their chosen career or fellow arts students coming in from other parts of the country, this we believe will in a way create relationships, and at the same time, give them a sense of ownership of the festival to certain level.  So this is where we feel the need to begin a concrete relationship with our adherents on facebook. Ewa Bami Jo is an event specially dedicated to throwing glitz and glamour on the city of Lagos through DANCE, CIRCUS, COMEDY, MUSIC, DRAMA, SPOKEN WORD and other interdisciplinary art forms. It operates under the auspices of a NON PROFIT organisation. Thus, we seek volunteers from every part of the world, and the objectives laid down for our volunteers are pretty simple.

• PRE-EBJ VOLUNTEERS - 

*SPREAD THE WORD ON FACEBOOK *INVITE ALL YOUR FRIENDS ON FACEBOOK TO JOIN THE GROUP *TAG YOURSELF IN ANY OF THE EBJ PHOTOS ON THE GROUP AND USE THEM AS YOUR PROFILE PIX. *GIVE SUGGESTIONS AND BE PART OF DISCUSSIONS ON THE GROUP. VISIT THE GROUP AT LEAST ONCE IN A WEEK FOR UPDATES.

• EBJ VOLUNTEERS - FOR THE EBJ PROPER.

AS PART OF OUR STRATEGIES OF CREATING A WHOLE NEW IMAGE OF WHO LAGOSIANS ARE TO OUR INVITED GUESTS AND WHAT LAGOS IS ALL ABOUT.  *WE NEED GOOD PEOPLE WHO LIVE IN LAGOS AND CAN VOLUNTEER, TO ACCOMMODATE ONE OR TWO PEOPLE COMING IN FROM OTHER PARTS OF THE COUNTRY OR OTHER PARTS OF THE WORLD. *WE NEED GOOD LOOKING PEOPLE TO HOST OUR INVITED GUEST FROM ALL AROUND THE WORLD DURING THE ENTIRE PERIOD OF THE FESTIVAL. *WE NEED GOOD PEOPLE WHO WILL BE IN CHARGE OF THE FESTIVAL KITCHEN THAT WE SHALL BE MOUNTING. *WE NEED VOLUNTEERS TO BE AT OUR TICKET SALES OUTLETS AROUND LAGOS. *WE NEED USHERS AND GATE KEEPERS DURING THE INDOOR EVENTS. *AND FINALLY WE NEED TO CREATE A FESTIVE MOOD.

• BENEFIT FOR VOLUNTEERS -

WE ARE VERY MUCH AWARE OF THE FACT THAT, NO AMOUNT PAID TO OUR VOLUNTEERS WILL BE ENOUGH TO SAY THANK YOU, AND AS WE ALSO INITIATE SUCH IDEA BASED ON A SOCIAL RESPONSIBILITY, WE CAN ONLY RECIPROCATE BY SHOWING KIND GESTURES. *EVERY VOLUNTEER THAT TAKE PART IN MAKING THIS FIRST INTERNATIONAL EDITION OF EBJ A SUCCESS, GETS HIM OR HERSELF A FREE TICKET TO ALL INDOOR EVENTS, AN EBJ TSHIRT, HAVE THE OPPORTUNITY TO HAVE FURTHER INSIGHT TO THE PERFORMING ART WORLD AND GETTING CLOSER TO PRACTITIONERS. FINALLY WE ARE DEDICATING THE CENTER SPREAD OF OUR MIND-BLOWING PROGRAM OF EVENT TO ALL THE NAMES OF OUR VOLUNTEERS, NO MATTER HOW MUCH THEY ARE, WHICH ALSO WIN THEM A COPY EACH, AND THIS WILL BE DESIGNED IN COLLABORATION WITH SWITCHEDON MAGAZINE. 

FOR ANTICIPATING VOLUNTEERS PLS DROP YOUR CONTACTS AND A BRIEF OF YOU INYKPROJECTSNG@GMAIL.COM. OR ONIKEKU@YKPROJECTS.COM. YOU CAN AS WELL LET YOUR INTENTION KNOWN ON THIS NOTE AND WE SHALL GET IN TOUCH WITH YOU FOR MORE BRIEFS.

LET'S THROW LIGHT ON THE CITY OF LAGOS. AND SHOW TO THE WORLD THAT THERE ARE SHORT-CUTS TO HAPPINESS. BEST REGARDS. Qudus ONIKEKU. Artistic Director Ewa Bami Jo.

24x24 Qudus Onikeku Video

24x24 Qudus Onikeku Video

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Yk in brief...

Yk Projects has practically been in existence since 2004, it regroups series of the next generation Nigerians, teamed up to form a collective of Artistes from the performing to the visuals and letters art.

• Young Kings Projects (Yk Projects) operates between Nigeria and France as a not-for-profit company, initially registered as a performing company in Nigeria, but due to the lack of appreciation of the arts and the disdain which tend to subject Artistes to a hostile environment, informed the coming together of a collective of Youths with legs in different sectors of arts, amongst which are Performing artistes, Visual artistes and Writers, all with similar intentions of creating an alternative landscape for the local audience to be aware of the art by projecting contemporary arts (Dance, New Circus and Street arts) through media and publications, thereby creating a conducive environment for their existence at home.

The main Activities of the Organization includes; 

• Creations and performances (Mainly Dance, New circus art and Street arts with the  fusion of other media)
• Coverage and documentation of art related profiles, for media and archival purposes.
• Event Organizations (such as the Bi-annual Ewa Bami'jo, workshops and conferences)

while we base our main source of income on Fund raising, Performances and income from existing projects.

• Since 2004 that Yk Projects has been in existence, we've been able to register ourselves in the subconscious of many and getting involved more in the contemporary dance discourse, both theoretical and practically in Africa, Europe and America at large, and we've participated in international workshops, festivals and conferences in Lagos, Bamako, Cotonou, Paris, Santo Domingo, Tunis and USA.  
• Since 2005 we organised Ewa Bami’jo locally in Lagos. An event that will later become a bi-annual and international event from 2009. 
• In 2007 the organisation executes a research project and happenings in non-conventional spaces titled Do we need Cola-Cola to dance? As part of the Afro-futurist struggles and inspiring Africa to dream using alternative measures. It toured round Nigeria, Egypt, South Africa, Mozambique, Kenya and Cameroon.
• In 2008, Yk Projects carries on with the realisation of a documentary film (Do we need cola-cola to dance?) and a documentary photographic book (Crossing Boarders) that follows our 2007 research project. A work-in-progress seires of Do we need cola cola to dance? Has been screened in Lagos, Kinshasa and Masachausette.
• Presently Yk Projects has moved on with the execution of a workshop series concept titled “Collection of those things that burn in us” 

1. whose series I was carried out in Lagos. Nigeria. April 2008.
2. Series II, in Massachausette. USA. June 2008.
3. Series III, in Kinshasa. DR Congo. July/August 2008.

DO WE NEED COLA COLA TO DANCE?

Photos by Emeka Okereke

-THE ART FORM - DANCE, CIRCUS, STREET PERFORMANCE, PHOTOGRAPHY, AUDIO VISUAL and ELECTROACOUSTIC MUSIC.  All these art-forms are what this project reunites into one. 

-THE PROJECT-

All photos by Emeka Okereke

The Artwork is disseminated into two phases, the first phase of the project was the touring of an outdoor performance in Six countries of Africa with a team of five, amongst which are 2 performers, 1 sound artist, 1 photographer and 1 video artist, during the tour we also had the opportunity of meeting and talking to professionals in the arts world, asking questions, trying to structure a future for ourselves as young professionals. The second phase of the project was to return to the studio in France with all the visual materials we were able to acquire during the tour, and came up with a documentary film titled "DO WE NEED COLA COLA TO DANCE?".

-ARTISTRY- 

The project rallies around Dance which is the centre of attraction here, and as it was showcased mostly in public spaces and performed by performers who at a time, posseses the skills of dancing, juggling, acrobatics and hand standing. It broke into the frontiers of street theatre. Meanwhile, the happenings were absolutely un-official; no posters, no info, even we didn't necessarily know where the next performance spot might be, just like in ancient traveling theaters. This "piece", more of improvisation, is to be an alternative artform to the traditional exhibition of dance in the theatre, it creates its own context, since there are few or no ready made theatre venues or audience to begin with, and there is only a few practice of alternative movements in the continent today, the coming to life of this project is not to insert a new style into existing buildings, nor enticing already formed audience away from existing venues, but just to be involved in a special broad oppositional art experiment. The Project is an artistic expression and declaration of our engagement in a structural development that is in the making, as well as our responsibility as artistes for change, it is a sincere laboratory experimentation of an existing theory. Our reference points or case study could be coming from dance and cinematographic perspective, but its a valid element for development using alternative measures.

-INTENT-

I thought of taking contemporary dance to “NON CONVENTIONAL” spaces and locations where the growing art network could not get to, be it public or private surroundings who are yet to discover the theatre for the purpose of Dance, as an avenue of crossing the borders that exists between artists and the audience, as well as formation of a local market and audiences structure. This first attempt took us on a journey across the African continent, around six countries, each from the different regions of the African continent including;Nigeria, Egypt, SouthAfrica, Mozambique, Kenya and Cameroon.

-TARGETS-

The first phase of the project was already two faced in terms of targets, it first seeks to cross the borders of our traditional four wall performances in the theatre space, to go in the pursuit of the populace, i decided to spread this research into three similar locations in 6 cities in Africa (Lagos, Cairo, Johannesburg, Maputo, Nairobi and Yaoundé), organize happenings in public spaces varying from market places to malls, university surroundings to the beach, bus stops and boat terminals as well as the corners of the streets and other unimagined available spaces that could accommodate such manifestation. One important criteria we put into consideration is the possibility of balancing the gaps, by making sure that our happening travels from the locality of the low income earners to the rich quarters and also the young intellectual sects in the educational institutions, in order to have a broader view to this issue. The echo of such project already travels around, and in its own special way inspires a handful of professionals who saw it as a fundamental step towards concrete and logical development.  The second phase which is the documentary film that followed such manifestation, the film is primarily directed to issues affecting the continent's arts world, but its primary audience lies amongst the young creators and the art's students anywhere in the world, which in no way limits its influential capacity to other domains and aspect of human development, which is more of the reasons why our diffusion cuts across different horizons, aiming at being part of the tours of my presently created solo piece, film festivals in the African world, Dance film festivals, documentary film festivals, alternative film festivals, libraries, schools, museums, cultural centers and all other imagined venues suitable for such presentation.

-AUDIO VISUALS- 

Our approach to the documentary film that emmanate from this tour, is powered by the juvenile energy we are presently bestowed with, by nature we ask ourselves questions about the future as much as we inquire from the older generation, a detailed account of their time for a better comprehention of our tomorrow. This film in its own special way sways between dance, interviews, reasoning, people and politics, aimed to combine entertainment with database, discussion, socio-political proposals, recommendations and policies of culture. Primarily committed to bringing about actual changes in specific communities towards arts and culture. All actions, aesthetics and pragmatics, stories and documentary explored in this film – are inscribed with questions of fundamental importance to the freedom of the young professionals. However, our choice of research was guided by a more fundamental impulse than the quest for mere traveling and performing.

-MESSAGE- This will perhaps send messages, meet the youth and young creators at their point of hunger, the young generation is hungry for life, we so wish to break bounds and go beyond the line drawn by the older generation, we jump on every thing that comes, and in a life where everything goes, we get confused about what to hold on to, Religion? Culture? Or the Media...? We imbibe the new culture and migrate easily towards easy life, run away from our social responsibilities and these will only lead to a further destruction of our nullifying "Self". Therefore as we seek this freedom, we however need a guideline.

-ADDRESSING FREEDOM OF EXPRESSION CONTRAVENTION-

This project is first an imagined solution to a very personal issue that bothers my soul as a young African creator, it speaks the mind of many youth of this 21st century, and breaks the bridge between the artist and his audience and vice versa. I happen to be one of those trained as dancers in an environment where all inconveniencies and risks were involved, yet survived it, it however gives my originality and identity at the end. i proceeded to study in France where all began to appear as two realities apart, just as the north and south pole, this project was then borne out of my introspection on where i was coming from. This refusal to go back to my locality with all foreign influence, becoming a dictatorial artiste who can no longer perform without a theatre well acclimatized with perfect technicalities and constitution, yet wishing so hard to have the same conditions and structures in Nigeria, as i presently enjoy in France, in order to give credibility to this art form by inspiring confidence in local audience and youth interested in taking up this art-forms.

-IMPACT ON HUMAN RIGHT ISSUE- I strongly believe that there's a powerful connection between artists of all kinds and human rights. Artist and activist sometimes stand up against the establishment to say what needs to be said in the name of humanity. Artists are a leading voice for freedom - and for this project, it is freedom from fear, such fearless project could get us into trouble, but truth comes out of the light that we brought and the powerful often fear this.  The French cultural centre and other international organizations has claimed a complete authority over the circumstances at which we operate contemporary dance locally, so the need to break bounds and refusal to hegemony brought about this project. This artwork communicates across boundaries of geography, politics, gender, race, cross all divides and belong to every individual in those public spaces. Freedom of expression is vital for an artist's work and the human rights activist works to protect that very right and in the end the relationship is more fundamental. We experienced art together with our audience, it makes us feel human, and moves us to protect the human rights of others. Everyone has a voice and should use it... No one sees the world in exactly the same way, no one sees the world through the same eyes as I do, nobody will see how i think and feel about the world unless i express it in some way. The interactive moments we shared with our audience was another means of getting closer to them, I was ready to hear their stories as much as they might like to hear mine. This can awaken their consciousness in a way politics or radical activism may not, this on the other hand inspires both fellow artistes and our audience, give self-confidence to people who believe in something but feel that they are alone.  FOR THE TRAILER OF DO WE NEED COLA-COLA TO DANCE VISIT:http://vimeo.com/1718985.

Fela Kuti - Roforofo Fight

Fela Kuti - Roforofo Fight
Video sent by Fela-Kuti

A Penny from me

Money they say can buy riches and make dreams come true, true talk but during my tour around Africa, I have met people of humanity, people who could not give money but gave all they could afford just in appreciation of our talent and knowledge, I mean those who could not afford to pay for what we offered but couldn’t get to the mountaintop of their gratitude, couldn’t reach out for expressions to lay down how much they appreciate and admire us. No matter how much funds we have been able to gather in the execution of this project can be swap over for the "Hold-Ups" we got from those that at one point or the other kept us moving, I have constantly searched for the most striking way to put my gratitude into few words, with all simplicity and humbleness that I’m filled with, I have searched for terminologies just as unprivileged as the naive good spirited faces i met during the tour, the numerous sudden populace who audience our performances in the public spaces.

For all the single and grouped difficulties we experienced, there is always one person or group of persons who already have a solution for us to cross our oceans, from language to material solutions, those who breezed away regret, worries and hard-times away from our faces and offered their spines to keep us standing, those who transformed the harsh hot and dry sun to a hospitality we will want to experience again and again, Those who were relentlessly willing to go into discussion either with François and Christelle, knowing that they came from an unfamiliar culture, some said "you know the French are very romantic, that's why the show was so beautiful" or those that were amazed that an equal African man is making them proud and bringing another vista into their encounters in life.

To all our funders and partners, a special appreciation to Prince Claus Fund who has made it possible for us to push this beautiful revolutionary idea further than just being one of those big dreams of ours that never left the diary at which it was initially inscribed, CULTURESFRANCE who gave more than money or contacts, to Veronique Vieillot of the French ministry of Youths and Sports who has transformed her Job to her passion, very passionate about my project from the day one she learnt about it, making it possible for us to get the double funding from the Ministry and the European commission, she made my own project clearer to me after series of meeting with her, to Mr François Brossard of the French cultural centre Abuja who accepted to be part of this despite the fact that we didn’t visit Abuja but Lagos, surely not forgetting all the wonderful individuals that contributed their might and knowledge to the success of this project, all those who offered us interviews, those amongst them who offered us starting from 30 minutes that extended to one hour or even two hours of their precious time and others who donated articles, essays, short stories and poems.

On behalf of myself, Emeka Okereke that wonderful photographer, Matthew Ogunnola my beloved friend and Director of Photography, the one i refer to as the "stupid" film maker, Christelle Herrscherre and François Sardi who performed with me on unfamiliar venues, with unfamiliar people, at least if there is one thing this project has done to me, its to continue to seek for an equal world that is not separated by filthy racial discrimination, if racism ever existed in Africa, surely not amongst the occupants of the slums, townships and suburbs, nor among the set of people who has come together to form an audience to a performance in a public space that belongs to all, for them it was a pleasure for us to be with them at that point in time and for us it was a life time experience. Christelle and i, a black and white dancing together, to the same rhythm in Soweto - in Johannesburg, having body contacts, then their reaction made me realize the powers i got in my hands to effect change.

LAGOS: A new dawn at the center of excellence.

One exiting thing about a dream is that the planned future will come to happen just like every other day, after a long preparation, series of emails, acquisition of visas, arrangement for flights and accommodation, gathering of energy and materials, eager to tell people about our project, which also arouse fear, curiosity and anxiousness in all the five individuals who make up this wonderful team, today, the 21st day of July 2007, Qudus, Christelle, Emeka and Françoise, all set out full of curiosity, searching for knowledge and most audible above all, going for an adventurous expenditure, the day Started on a rather tiring note than fun, after a long queue at the airport, we still battled with more than an hour delay before the Air-France flight (AF)-854 could take off, the plane landed by 5pm which is an hour 20mins late. The first impression has already began from the first air we breath in Lagos, it was a friendly and accommodating wind, we picked up our baggage to join the long waiting good people awaiting our arrival, amongst them was Matthew who make up the fifth member of the team, destination Surulere were the hotel rooms has been patiently awaiting our arrival, we dropped our stuffs and immediately hopped for a wonderful dinner at the Tasty fried chicken eatery.

we say E SEUN to Uncle Abbey, Sister Fatima, Fatai and Nureni who came to pick us at the airport, "it was a little thing you think you did, but that has gone a long way and left a lasting impression in each of our hearts", I give it all again to my lovely half brother Nureni Onikeku, who made our problems his problem, our ways his way from the moment we step feet onto the Lagos soil. Samson, is that guy we met at Eleko beach, where we made our first performance, which also instantly gave us a stunning impression on the people of Lagos apart from the junks we read about this beautiful city we will never stop to love, not so many people will rescue a show just few hours before the performance that was meant to be staged at one of the capitalist Gallerias, with all the riches that we visualize in there, still they want us to pay 200,000 naira (1.175€) before we could perform for just 30 minutes on their floor, to us it seemed ridiculous but we didn’t get angry anyway, we only asked them if we needed Cola Cola to dance? My brother picked up his phone to ring this messiah of a guy, SAMSON, it takes a real man to make the dream of another man come true, even knowing that he will gain nothing from it, after organizing the whole afternoon, a one man rioter, he alone provided electricity, the stage, the personnel that worked with him, the arrangement with the head of this locality and after everything he still made arrangement for some fresh coconut juice that refreshed us till our exit. "Merci beaucoup Samson". 

During our five nights in Lagos we understood that the wonderful people we bumped into were not coincidence, Lagosians are fun people and always ready to help and willing to make themselves part of the success story of others, from the very moment I spoke to Makinde Adeniran about my project, he received it just as if I had promised him some millions of Naira if this turns out well, I was dazed by his numerous international calls, constant email correspondence and the worth of the job he has done before our arrival. Segun Adefila, is another strong man that I will ever hold strong to, I called all the way from France, I gave him my ideas and he gave me his words, all the many thanks to him for making the happening happen at the University of Lagos and Bariga suburb, which marks our 2nd and 3rd performance, the support we got at Bariga was also special, even before our arrival we were aware of whatever that can breeze up during the adventure. 25th of July 2007, this day we experienced one of the most serious heat wave in the realization of this project, there it was where our speakers got burnt putting us in a check-mate just at the number three performance out of eighteen, without beating so much a dead horse, the beautiful members of crown troupe led by Segun Adefila, had at a twinkle of an eye arranged for another alternative of drums and flutes to support us and make the show go on, Wale, Tobi, Alfred, Orobo and all other Rasta who mastered the situation we say Respect. Our meeting with the Director of the National dance company, Dr Ahmed Yerima, was a wonderful experience, for me especially, it was very important to listen to someone like him, it marks our first interview and it really shook and got me ready to return to Nigeria and contribute my own quota of the development of my Country.

To the most important woman in my life, Hajarat Alli and also Tosan Doyle, Matthew’s fiancée, "we appreciate your presence in our lives and your role in the project, for the moral supports and the wonderful sandwich we took on the run for breakfast during the heavy downpour that wept over our departure from Lagos." As wonderful as it seemed everything good that comes still come to an end, it was already five days, 26th of July and here we are on the plane to Cairo, Egyptair (MS)-876, there and then i realized what i was into, Nigeria is my Motherland so it was more of a homecoming than getting to Cairo which sank me further into the project.

CAIRO: A Saga to contemporary civiliation

It was three weeks and two days before the commencement of my project and i still don't have a concrete contact in Egypt, i was really scared of going to Egypt as a tourist, this made me realize how favoured i was for the realization of this project, it seems so much like the solutions to all obstacles had already been laid down, all i need do was just go pick them up, it didn’t took me more than an email asking for a saviour to save our souls in Cairo before Khadijah (of AMA, one of our sponsors) passed me over to Reem Hassan who is based in Alexandria and because we already booked our hotel to Cairo then she made the link to a friend of hers Nora Amin and also made the possibility of visiting Alexandria for our third show in Egypt. 

If there is one thing I cherish in life more than riches and fame, it is those who go an extra mile to touch the lives of others positively, Nora Amin, that solid woman who from the day we arrived in Cairo has forgot about her own plans, put everything aside and the only moving risk that matters was our success, a wonderful producer, a unique personality with a strong dignity, not minding the mindless banality of the whether that at times went up to 45°C or the political tension, I could remember her telling me that there were some state security men that approached her about her involvement with us, yet that won’t stop her from being part of this revolution. Shukran from the team, I have met artistes and I have also been invited to series of dinners, but have I ever been to a dinner organized strictly by artistes and for artistes? That was where meeting Jihan El Tahri, the big sister expanded further my scope of knowledge, a one woman full of souls and poetry and knowledge, our meeting was coincident but left us with a strong emotion, and later had an interview that lasted almost two hours of non-stop amazement, a big up to Waleed, the real myth behind the masquerade, Gracias for always being there in Cairo. 

Our first show was a shock, the venue was in between walls, it was so small and that made our relationship with the audience so intimate and we could feel the warmth of their hearth, the kids were amazing, the ladies were unable to come see us but they peeping from the windows also gave a special effect. As difficult as it seem to get a public venue to showcase street shows in Cairo due to the political situation, even with all the risks that comes with it, the Townhouse gallery still offers us few minute to showcase our Happening, "it was a token but we received it big, we are grateful". Our last show in Egypt was at a Youth centre in Alexandria, we dashed to the bus garage where we head directly for the airport at 7 p.m., we got to the airport at about 12 midnight and by 2:25 a.m we were already in the Egyptair (MS)-839 that took us non-stop to Johannesburg.  

JOHANNESBURG: The rainbow journey

Leaving from Cairo to Johannesburg, we thought it was only for the weather that will make a change, yes the weather was more easy on us but all these cool people also took our life to a whole new level, Dirce and Million who picked us up at the airport at about 10 a.m, Florence Sipalla, Laurent Claval, and that Zimbabwean taxi guy Aleck, we say Danke in the Dutch way to all the personnel of IFAS, arriving at the Melville Guest house, we thought we were close to heaven not knowing that we won't even had the time to enjoy the heavens of the bed, in Jo’burg i experienced what it feels like to spend four months in four days, our day seems more than 24 hours, we never had a totally organized stay like that of Jo’burg, in four days we met all the most interesting people we needed for the documentary film, we made our three performances, we met with dancers of moving into dance, had the first interview with David April, we as well had the opportunity to visit the dance factory, had an evening of dance with that wonderful dancer, Lucky, meeting Lucky also gave us a wider idea of the art-face of South Africa from the mouth of a directly affected and that helped us a lot during our interviews. 

As much as our days were packed up in Jo’burg, yet we didn’t miss out the JOZI night life with Tumi Morake, that wonderful, humour-full and beautiful lady filled with life, that night at the Horror café where the plenty Rastafarians were doing their thing, it was a fun night out to take us far from the chaos running through our heads. If we shall do this project again we would choose Johannesburg and spend much time to explore it, we had the impression that it was such a little time to explore. Before signing out of  our visit to South Africa I must tell you of those beautiful humble individuals that was invited and showed up for our performances, even though it was not in theatre or other conventional venue, they came to share the natural flavour of the cold sun with us, either that of the Wits university or that of the Freedom square all the way in Soweto and also the last show at the mall at Rosebank, "we appreciate your presence, it springs up our energy and added light to our show"; Georgina Thompson, Adrienne Sichel, Selo Pessa (and your wonderful students), Moketsi koene (and that interesting photographer you sent down), Jasper who also made it possible for me to be part of a brain storming conference in Maputo, Melanie; that saviour of ours who made our happening at the Wits university possible, Kara, Mimi who was a wonderful companion and assistant, Peggy, Laurent Claval; the man behind the camera of our presence in Johannesburg, even though it was his Leave period from work yet he took time to come see us all the way in Soweto, Merci beaucoup Laurent, also  Khulile Nxumalo and Retoepile Makanane who came all the way from SABC to Soweto to see us, we are grateful to you all, Seelan Naidoo the CEO of the National arts council of SA for the wonderful talk section we had with him. And finally to take us out of Jozi we give a special appreciation to Dirce who was the first to see us and also the last to leave us in Jo’burg.

MAPUTO: Happy people - Happy Nation

Our arrival to Maputo, "i heard a word from within that told me i think i have been here before" where that could possibly come from, i have still not understood, my friends from Mozambique i have always known to be lively people and very jovial but i thought maybe that was the effect of being an artiste, but hell no, in Maputo it seems that everybody was an artiste, as crazy as any crazy artiste i know, 8th of August, the day of our arrival, it was Sitoe who came to pick us from the airport, he approached us without introduction and he said "donne moi votre passport" (give me your passports) i didn't know which one to do, laugh or obey, we obeyed but i wasn't at rest until i was sure that he was from the Centro Cultural Franco-Moçambicano, this is the only country where we learnt few Portuguese during our tour, this is the only country where we performed on a conventional venue, this is the only country where we remained at the airport for over an hour, declaring all our materials and valuables, the fatigue that followed us from Jo'burg was still with us but said goodbye when we got to the Ibis Hotel where we saw a ready made flyers of our shows, then we said ok, this is another phase.

Jean Michel Champault, the director o the CCFM also added to my reason for reply "Mozambique" when ever I’m being asked of the country i did enjoyed most? i have met a lot of French in France and elsewhere and i can really say that i hadn't met many French like Jean Michel in terms of his level of human and generosity, everything was in place just as in Jo'burg, the first plan was to visit Catembe, our venues across the river, and we had to go by boat, a journey that last not more than 20 minutes and i was surprised at the speed at which the boat was transformed to something that looks to me more like a discotheque, it was a serious vibration, the authentic smiles on their face was something i had never come across during my three long years in France, and i said to myself i think we all need to redefine what we refer to as poverty because for me nothing could be richer than a happy soul with a good hearth.

Stephanie, Diana Manhiça, Marie Elisa, Quito Tembe, Paulo David Sitoe (Litho), Antonio Sitoe and all the super people of CCFM plus the wonderful life on the streets of Maputo will want me to go back to Maputo again and again, on the day of our first show at Catembe on the 5th of August, to our greatest surprise the venue was already taken over by a group of high spirited people, each of them with a bottle in their hands, either a soft drink, water, but mostly alcohol or local aperitif, ranging from all ages and sexes, i looked at Christelle and we realized that we really need to kill this people in a very different way from a cold war, for to them i think road show and outdoor performances is not a phantom to them even if they haven't tagged it, for the next thirty minute, our so called stage has been filled with both young and old, male and female all dancing to Sitoe's vibration who was the DJ, the challenges of performing in non-conventional spaces done on us and thank God we have one thing ahead of them, i am also an Acrobat, Christelle is also a Juggler, so that was the joker we played with, i bet if we were all about dance, then we would have been in a real checkmate. it ended up wonderfully as expected while we walk down the sea side to have some delicious sea food at Diana's place, Equador Espaço Cultural em Catembe, the next performance was in township (Bairro do Jardim), an evening with Matchume and his music group Timbila Muzimba, Matchume who also happens to be a friend i met during the Avignon festival in 2006, it was the tenth anniversary of his music group, so we were like the invited performers who added glamour to the evening. 

As all these events were happening, on the other end i was part of a brain storming conference in Maputo with Jasper, Selo Pessa, Painebra Gabriel, and two other guys for two days as well as rehearsals for a collaboration with four other local artistes, Edna Jaime, Macario Tomé, Jorje Ndlozy and Francisco José Macuvele who performed with us during our third show at the prestigious open air theatre of the CCFM as proposed by the Director, so we said Why not. 

NAIROBI: “Karibu Yumbani”

After a long journey from Maputo to Harare and then to Nairobi on the 8th of August, our energy was down, our spirits were low, we all felt like a place that just witnessed a section of erosion, it began to dawn on us all, even though it was no-more news for friction to happen among the group, we noticed one of the major misunderstanding ever during the tour at the airport, argument, dispute and anger almost tore us apart, François and Emeka almost ended up in a physical tussle (the devil is a lair i said to myself). It was a different wind that breezed up our spirit when arrived at the Jomo Kenyatta airport of Nairobi at about 6:15 p.m where Lailah Masiga was already awaiting our arrival, to offer a warming Karibu and be part of our world for the next seven days, for Kyalo that rushed and showered us with love, "this is just a shilling for you Lailah and Kyalo in exchange for the unquantifiable trip you gave us in Nairobi, you made us feel important and gave us a new life that survived us throughout our stay in Nairobi and forever towards the success of this project." 

Highlife they say is a kind of music, but i have met a lady with a highlife, Wanuri who has not met us but anticipated our arrival, linked us up to Jacob the elder brother to Samuel, those wonderful guys doing great in the deep part of the slum of Mathare, Jacob has been a strong inspiration for most of in this project, after that long moment we shared with him right in his parent's hood, after the first show in Mathare, we all left fuller and heavier than what we were before meeting him, thanks for that warm welcome and support in Mathare, even though we didn't get to meet Dr Ezekiel who made it possible for us to be at the Kenyatta University for the second show, our presence there marked for sure one of the best moment and exchange we ever had with our audience, that an hour or more discussion we had with those who audience our performance has left us also a lasting impression and a better understanding of ourselves, I find myself in front of intellectual youths, fathers, teachers or scholars and academia, challenging them on issues facing the art face of their own very locality which later grew to a general overview of Africa, what other success do I then envisage with this project that has not already happened. 

Not forgetting Ceciliah Adhola of the Yaya centre (Y go elsewhere) who accepted our proposal to perform at the door way of the Mall "It is in the ways of the Swahili we say a big Asante to all present at the afternoon of dance at the Godown art centre, co-organized by Lailah Masiga, thank you for taking us serious and for a wonderful exchange." To all the artistes and journalist who showed up at the forum to brainstorm for a new and better Africa. 

Harsita Waters, Annabelle, Jean Michel Frachet, Anne, Ange and all other personnel of the Alliance Française Nairobi, we offer you the ultimate we can, Merci beaucoup for the love you showed us all, without you, we could have just pass through Nairobi just for fun, but you even extended our fun, and to Kebaya who turned up quite late but remained with us till the final moment, those F1 & F2 moments, your support at the kenyatta university and also that wonderful trip to the airport, in Kenya I noticed that everything is Linked to one man called Jomo Kenyatta, from the airport, to the face on their currency, as well as the University we performed, even the name Kenya can as well be linked to him.

YAOUNDÉ: Even the Francophone speaks English

Cameroon was the only Francophone country we visited, all through the tour we didn't get response to our mails sent to Association MEKA who happens to be our wonderful host over there, we arrived at Yaoundé at about 8:30 p.m on the 14th of August, throughout the trip i was really scared of putting the whole group into situation we'd rather not be in, for if we get there and there was none to pick us up, that means we are done for in all ways that it could appear. But to my advantage Jean Michel and Jean Marie were already waiting for us and the introduction of the team was quickly made as usual, it was a real big relief for us all. Although the motivation was beginning to drop for us all, Zoom we drove off to the hotel that was already arranged for us, we only had to change some CFA to pay for the rooms, the day was a very long day so we all crashed to wake up the next day. 

Then comes the next morning and quickly we were off to Elise Mbala's residence for a wonderful five stars breakfast that has enormous choice to select from, there we discussed what the program will look like. we had six night seven days in Yaoundé, so we had time to make interviews and performances but nature decided when it had to, our first performance was quite a wonderful one in the midst of a lot of kids and beside a local market, the second show was nullified due to the heavy downpour that didn't stop till late so it gave us a concrete reason to have a peaceful rest, most of us slept from 2pm till the next day, this also made me realize one of the constraints one need to have in mind making road shows. Cameroon, personally wasn't so interesting, we were all down in spirit, in energy and the French language didn't help so much, its not that i don't speak good French but when the brain is over charged and mind has began to transit to other venues, one will only be able to think in his mother tongue and this really affected the interviews we made. 

The last show was such a brilliant co-incidence, we were in Elise’s car, scavenging for a floor to dance for it was quite a difficult thing to get a really good space for out door event like ours in Yaoundé, finally we got to an estate, we try to meet some young guys who eventually told us that they usually organize weekly street jams in the estate, then we were like "wow that's great" we met with Patrick the principal organizer, but the day it usually take place (Wednesday) was the same day we were performing at the market place, so we couldn't make two performances, so what we did was to attend the event later in the evening, showed about five minute presentation on the piece then invited them all to be around for Saturday for the real thing. it all went super well, a big up to Patrick the organizer for the love he showed us, Association Meka, Elise Mballa, Marie Germaine who never stopped ringing me and also took care of the organization of our return trip, Bell Simon, Jean Marie and a special mention for Jean Michel that never left us alone to confusion. 

Au revoir

Finally it was Monday the 20th of August 2007, all goodbyes has been made at midnight, we've already began to miss one another and yet happy to go back home, it was my best moment so far, i looked at myself in the mirror, and i said "thank you" to who? i don't know, for why? i can't say. maybe for not falling sick, maybe for the initiation of such a vigorous project, maybe for being able to hold up the group to this point where the real affection for one another showed up without any form of pretence. Our bus to Douala was for 6 a.m, and it was a heavy rain that also wept over our departure, the gods are with us and above all almighty Allah never for once disowns us. 

The adventure didn't end like a Hollywood nor Nollywood movie. Arriving at the Douala international airport, here i first notice, throughout my whole experience of travelling, Cameroon gave me a new surprise, there is a special tax to be paid by all passenger travelling internationally, so we had no choice than to change more money, even though we couldn't eat anything before rushing out to get the bus for it was not a priority, i lost my mobile phone during that transition, Matthew broke the locally fabricated Chess board he bought from Nairobi Massai market, we couldn’t cry out, our souls were already in Lagos, the only thing left in Cameroon was our bodies. another surprise, the Virgin Nigeria airline that left Douala to Lagos was redirected to Ghana, due to the weather condition in Lagos and it was this same flight that will come back to pick, this was already 2 p.m for a flight that would have taken off for 11 a.m, so we knew we are in trouble. In brief, the flight arrived around 8 p.m and finally we got to Lagos around 11 p.m.

Déjà vu and the Aftermath

On our way to Africa, we left with one hundred empty tapes and the irony behind it all is not just having all hundred tapes full of image materials, knowledge, information, experience, exposure and encounters, but we realize that we have never in any occasion been able to acquire as much experience in such a little period of time, it was so brisk but efficient, its Deja vu will remain with us forever, we had no time to think, we had no time to digest, we were only chewing and accumulating and at a point we were sick and tired of seeing one another. 

if i was asked whether i got THE answers to all the questions i left with, my answer will be based on all the exuberant people we met during the one long month, i will be thinking of all those people that saw us and really wished to be us, all the wonderful interviews we made, the change in weather, change in reality, change in cultures and people, change of environment, our speakers that got burnt, better quality performance that grew with time, my response will be based on the process at which i put this whole project together, based on all those that encouraged my fearless bold step, this is my first ever big project that didn't remain in my journal of ideas and concepts, so my question needs no further answer than being there, who knows what "THE TRUTH" is, my answers has always been with me, it flow with every cell of my blood, i see it everyday on the streets of Paris, i school with it in Chalons en champagne, i lived with it in Lagos, it grew up with me throughout my childhood and i will continue to live with it all through my encounters in life. 

I only feel somehow guilty for what I’m not responsible for, this is not all about me, its about the millions of consumers we've got out there, those who knows not what come behind their daily bread, those who has not gotten to that level of consciousness, those who have not asked themselves why they are so addicted to peril, those who knows what is wrong but not capable of doing right, for the youth... Our own attraction to peril is so high that i fear for the generation of my own children and children's children, remember the older generation had more to fight then, from colonial struggles, to the creation of a Nation that is still fragile for them to handle, the then dark continent was a mere land of backwardness and of primitives. but today the claustrophobic atmosphere of the west has kept all the vultures of the world focus on the land of hope, a land with no tall buildings but of wider space for us to dance, poorest in economy but richest in humanity, our objective was not to go to Africa to take some "SUN", take SOME pictures and perhaps have a nap on the green grassy grounds close to the beaches. 

Our interest was not on natural resources but human resources, we were not there to teach anybody anything (moreover what do we know) we were not practically wanting them to look up to us as another Zebra colony(of blacks and whites), we know that some claws are tightly on our culture, the civilization mission is still on. So we the youth are the ones the beak of the vultures are pecking profusely at... this will only make the strong amongst us stronger and the weak weaker. so it is then the responsibility of the strong amongst us to scream and shout it out, Dance it to the deaf and dump maybe one day he will be able to read our jests, Sing it out to the ears of the blind, maybe he will understand our lyrics... if only the beautiful dance steps of the Dancer and the sweet voice of the Singer don't get them carried away. And seeing others who seem so passionate about my affairs made me understand myself better, my relationship with the group and my ability to hold on and never let go has improved.

The project has already gave an outcome, being there in the streets, at the market places, at the Malls, at the down town, at the beach and all other non conventional spaces we showcase our happening has left an out come to those we really wish to get really close to, another outcome is the present book titled CROSSING BOARDERS and the documentary film title DO WE NEED COLA-COLA TO DANCE?, this book and film represents and valorise our existence as part of the younger generation of scholars and intellectuals in the continent, our critical appraisal or our harsh criticism is not to appear as a slap to other creators or our continent nor to the west, it’s a fight against ourselves, a wake up call for a revolution.

• -MESSAGE- 

I assume criticism become more delicious when it is from the left side of the story, because when the appraisal is coming from a positive view point then it becomes a praise. 

This will send messages, meet the youth and creators at their point of hunger, the young generation is hungry for life, they jump on every thing that comes, and in a life where everything goes, we are confused about what to hold on to, Religion? Culture? Or the Media... we imbibe the new culture and this new culture will only lead us to a further destruction of our nullifying "Self"? 

• -WEALTH- 

(Our Obsession) 

Above all for the average youth of this 21st Century are so poor that we don't know it, looking at the definition of poverty we have to understand under what circumstance we say someone is poor (material mongers), are we in the material world or that of thoughts and ideas? The quality of the human being, joy, spiritual richness, all these has not yet been determined by the amount of money one has. so we still need something to hang on to, in other for us not to end our lives foolishly, we still need a strong point where the older generation and the contemporary generation meets while we move on from where they stopped and not just in a quest of creating a new culture that will only rumble, mumble and stumble before sun set. 

To: Professor Wole Soyinka

With a great pleasure we seek your open arms approach to this message, An urgent need for change in the African art-face has dawn on a group of the next generation of Nigerian Artistes, teamed up to form a collective of Artistes from the performing to the visuals and letters art. Young Kings Project (YK Project) operating between Nigeria and France shall be visiting Nigeria between 21st and 26th of July 2007 for the purpose of realising a research project organised by the YK Project. The team, consisting three Nigerian artists and two French artists shall be on an African tour, visiting 6 countries (Nigeria, Egypt, South Africa, Mozambique, Kenya and Cameroon) between 21st July and 20th August 2007 with "DO WE NEED COCA-COLA TO DANCE", a research project exploring the engagement of the 21st century African artistes in the global discussion and in the development of the continent's art-face mostly in terms of quality audience and a better working art market structure and network. The Project rallies around the performance arts, which are mostly performed in unusual public spaces with a ready-made audience. A documentary film and photographic Book will review our expedition. The curiosity of the Documentary film and Documentary/Critical photographic book on their own delves more into the millions of questions troubling our existence these days as African Artists, This questions about who we are. Who an artiste is? Who and where our audience is? What perception we want to affect as an Artiste? What identity is in the artistic sense? What our stance is in the global discussion? Why we are studying abroad when our audience is in Africa? European values and reality doesn't complement ours so how do we integrate back into our maternal society after studying abroad? Do we have a stage to perform back home to make us return? How do we create our stage now so that we shall not lack when we are ready to perform back home? What are the necessary solutions? Where are the producers? What is it about this bottle neck situation we continue to roll in? What is the structure in place to develop a local market? Where is the government in the socio-political engagement of Africa? Why are artistes poor? When shall we stop running to the west for the survival of our rare talent? What will be the pace of African art in the next 50 years? What shall be done today to avoid a disastrous future for us and our children's children? We have seen how the Felas, the Mahfouz, the Soyinkas, the Fanons, the Senghors etc, went about their argument, what should be our own follow up instead of a copycat situation? This project opens a new vista and triggers an awareness of our Africanism in this 21st century African youths which has been deeply wiped off due to the powers that has been and with the support of The almighty American capitalist world power, where all that bling bling is all that matters, leaving us with illusions, thinking that its greener on the other side of the island and pay better attention to the un-necessary while the essential passes us by, this influence is an unconscious day after day realities we live as young Africans growing under tension of the stronger dogs eating up the weaker ones. We have a point of view to this situation, which accuses the generation before ours of our misfortunes, a view which presently disagree to some of our past messiahs due to a change in time, a view that actually reviews the past in order to make a bearable future for us as Africans but first as Humans. This is a generation of the contemporary Africans, and this is actually what this project is all about, making a new testament out of what the African big masquerades of the 20th century has written in the past. We think Maybe the tonality is different now, the rule of the game is changing and even affects nature's master-plan, the youth no longer listen to disco, they now do Hip-Hop, they no longer post letters, now is the e-mail era, so our interest is to get their attention to the essentials, regardless the doors that leads us there, we have decided to speak their language using the arts as a tool, initiating projects that has a high resolution powers to known problems, through the media, going to the streets, publish books, make documentary films, television shows, bring them back to the theatre (either by first making commercial shows until we are sure of our grip on them). Sir, you are actually one of the very few remaining, the few that has the key to our doors and has been chosen to have a filmed conversation with, one who can give us a strong back up as we go on our battle against ourselves, who had actually lived this past, understands the point at which the Diaspora needs those at homeland and vice versa, have a knowledge of the interest of the west in organising the south and cognisant of the key the arts possesses and the doors it can kick opens. The summary of this long song of ours is just to ask for possibility of granting us an interview which will go a very long way in the realisation of this documentary film/research project, and not just that, as we rightly said, our expenditure around Africa takes us from Nigeria to Egypt, South Africa, Mozambique, Kenya and Cameroon, all for this same business of ours, we shall be glad if you can give us references/contacts of some important people who we can possibly meet to get some very useful info from as well in all these countries. The documentary and the publishing of the book will be realised/translated/subtitled in French and in English, I have attached a copy of the project presentation in English to this email to make it clearer, hope you will find it interesting enough for you to let us get a reply from you soon and also know when and how we can possibly have an interview with you in Lagos between 21st and 26 July which marks our passage in Nigeria. We are strongly counting on you, as the future of this generation still lies in your fingers. Thanks for your interest and hope to read from you.

Do we need COLA COLA to dance?

“Dance for me requires neither pen nor paintbrush, only one instrument is necessary, the HUMAN BODY with a given SPACE if we don’t wish to complicate it, every motion is imbued with dance and every dance is validated when there is space, no matter the size, being able to move already dance is produced, we don’t necessarily need a factory to fabricate more”.

As an African, precisely Nigerian, this is my reality and I believe even if there are no formal exhibiting venues to exhibit my works, it shouldn’t be a yardstick for tampering with my creativity, i am one of those trained as dancers in an environment where all inconveniencies and risks are involved, but we survived it, instead became stronger with the force of the earth that born our originality and identity at the end. So I refuse to go back to my locality with all foreign influence, becoming a dictatorial artiste who can no longer perform without a theatre well acclimatized with brilliant and perfect technicalities, because i know who my audience is and what perception I want to affect. In my own point of view, by so doing i cannot inspire confidence in local audience and youth interested in this art.

It also explains why the art of dance in Africa is lacking in legislation, in visibility and in finance when compared to other works of life, therefore, what are the possible solution to this problem that is not worth running away from? With this research, we decided to use alternative measure of public art, media and publication as a catalyst to point out solutions to our long known problems.

I thought of taking contemporary dance to “UNUSUAL” spaces and locations where the growing art network could not get to, being it public or private Surroundings varying from Universities to hotel areas, under the bridges to bus stops, garages to market places, town centres to village squares and other available spaces we could think of who are yet to discover the theatre for the purpose of Dance in Africa. Giving it a double sense; Taking us back to early days where dances are showcased only at village squares and town centres, as well as an avenue to get closer to the local audience who are not yet hipped to the concept of going to the theatre, equally awareness for the projection of dance to the populace and the formation of a local market structure.

PROject ARTistery

The Project is an artistic expression of our "patriotism", declaration of our engagement in a structural development that is in the making as well as our responsibility as artistes for change, it is a sincere laboratory experimentation of an existing theory. Our reference points or case study could be coming from dance perspective or photography and cinematography, but its a valid element for development in general using alternative measures.

• Dance/street Theatre: 

The project rallies around Dance which is the centre of attraction here, and as it was showcased mostly in public and private spaces it broke into the frontiers of street theatre. Meanwhile, the Happenings were absolutely un-official; no posters, no info, even we didn't necessarily know where the next performance spot may be just like in ancient travelling theatres. This "piece", more of improvisation is to be an alternative artform to the formal exhibition of dance in the theatre, it creates its own context, since there are few or no ready made theatre venues or audience to begin with, and there is only a few practice of alternative movements in the continent today, the creation of this piece is not to insert a new style into existing buildings or enticing already formed audience away from existing venues but just to be involved in an special broad oppositional art experiment.

This Alternative art movement could be cited as a significant part of, or even an influence on the general cultural and socio-political development of Africa and building of our local market and audience.

• Audio Visual: 

Another part of the research is the documentation which was aimed at capturing the reaction of the "naive" public who audience our performances, seeing the different countries and their different present situation talking about culture and different internal cultural policies which certainly differs depending on their level of acceptability to arts and human tolerance in general, as well as a showcase of Africa in its diversity. The documentary film in its own special way sways between questions, dance, interviews, people, politics and city life, moving into the city to meet people in different realities and with a totally different point of view to arts and culture, from the regular citizen to the executives, politicians and financiers as well as the “culture people” ending it with another phase of meeting with other African creators and operator in the Diaspora.

• Book: 

At the end of the touring phase of the research, while the editing was going on, we went back to the drawing board to begin a completely new phase of summarizing the whole experience into publication, a photographic illustration of the theme "Do we need cola-cola to dance?". This photographic documentary book is accompanied with statements of some important personalities in the city where the research were being carried out, the city in its utmost specificity, the audience in their collective and individual expressions, our own perception and personal point of view and the experiences we came back with during the research and other contributed articles to enhance our preoccupation.