BOOK REVIEW
Book Title: On his Turf: Collected
Interviews on Arts, Literary and cultural Administration (Volume II)
Author: Denja Abdullahi
Publisher: Something for Everybody
Ventures, Lagos
No of pages: 137
Number of Chapters: 16
Date of Publication: 2019?
Place and Date of Review: Abuja: 27th
August, 2019
Book Reviewer: Professor Mabel
Evwierhoma
REVIEW TITLE: “DENJA THE DELIBERATE
STEWARD ON HIS TURF: ACCOUNTABILITY BY CONVICTION”.BY PROF MABEL EVWIERHOMA
“I
announced at the point of contest that my tenure as ANA President will be all
about service, which is what I and my team have been giving … ”. On his Turf, (Pp 11-12).
An
interview is a question and answer session employed to elicit responses, views
and opinion on relatable and significant matters posed by the interviewer in
the question mainly. 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 project 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
scathing castigation of the Nigeria Liquefied Natural Gas (NLNG) Prize for
Literature: He affirms- “Iwas 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 industryin 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 individualor 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 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.
Mechanics
of the book: For a book made attractive by the publisher from the very handsome
cartoon portrayal of the author on its cover, and a real-life photo on the
blurb, the physical appearance serves a lot of worthy purpose. On his Turf comes strongly recommended
for purchase by this reviewer. This presentation comes when many culture
administrators in the public service come shy of constructive critical postures
that advance the vision and mission of the service, However pages 03, 17, 32,
38, 82, 94, 101, 102, 104, 105, 117, 123, have glaring presentations of ‘widow’
as it is known in page formatting in publishing. One wonders why the publisher
chose the unconventional pagination of 01, 02, 03, etc. The pictures in the
book speak only about power! Some of them should have depicted the people on
whose mandate the author rose to power in ANA!!! Some typographical errors
ascribed to the devil in the printer’s job should be corrected in the reprint,
which one is sure would happen as it is forecast here, that the copies printed
would be oversubscribed and be sold out at this presentation event. On p. 18 is
a question that ought to have been highlighted in bold, but flushed with the
interviewee’s response. In all the questions answered by Abdullahi, none is
parried or evaded and this provides impetus for his role as a leader of
writers. However, some of his responses are brief and should have elicited extensive
replies.
For
a young man made wise from his leadership encounters and service, it is proper
to gamble that Denja Abdullahi owes his Agbaja community much more than he has
rendered to it, and infact should be the Poet Laureate of his homeland. This
reviewer ventured into this as a result of the biodata at the end of the book.
As he prepares for this venture, one wishes him well. The future target set for
Denja Abdullahi from this review is: Should artists endure oppression as a
result of their art, for instance Jelili Atiku and Nengi Ilagha? How mightier
than the sword could the pen be in Nigeria? Whither the celebration of cultural
festivals in Nigeria? His in-depth standpoints on these questions are important
and are expected in due cause.
Conclusion
The
author has accomplished a lot and from the interviews, he has a great future of
penmanship ahead of him, especially as his pen still runs with the indelible
ink that makes artistry active. For a writer who would want to be remembered “…
the ANA President who laid the foundation for the modern internal governance of
the Association … also … as the President who moved ANA into financial independence
by building for its enduring structures and institutionalizing some of its
values” (p. 18).
Mabel
Evwierhoma, Abuja August 26, 2019.
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