By Chinedu Chidi

When famed German composer and pianist, Beethoven described music as a “higher revelation than all wisdom and philosophy” and as “the electrical soil in which the spirit lives, thinks and invents”, he may well have laid out a profound exposition of the depth and reaches of the art, one that is unrestricted by time or distance, by creed or colour, by status or zone. He envisioned a limitless art form. Today, we speak not only of its internal freedoms, but of its transcendent liberating force coursing through entertainment, education, politics, the economy, technology, and social change. Music has become a life form meandering like the bellows of an accordion into the many circles that define life as we know it.

In Nigeria, the music industry has grown in leaps and bounds. With over $2 billion in revenue annually, over 30 million monthly listeners worldwide, over 500 music producers, over 1000 record labels, over 50 radio stations amplifying its rhythms and sounds, and multiple digital music distribution platforms, Nigerian music has become the stuff of dreams, if only commercially.

Sadly, the fine art of the classical, orchestral and live performance genre, with its accompanying socially valuable messaging, is dying. The rapid rise of studio-recorded music, with its massive commercial success, has sadly provided an alternative to total music, one that substantively accommodates a wide array of ‘real’ instruments, trained voice, and electrifying theatre. It is perhaps the appeal of total music that inspired Victor Hugo to bellow, “Music expresses that which cannot be put into words and that which cannot remain silent”.

This challenge is one that is not only unique to Nigeria or Africa, but a universal one. In Sasha Frere-Jones’ piece, “Do Recordings Kill Music?”, she cited a profound quote from Richard Kostelanetz’s interview with John Cage, thus: “I’ve always said that a record is not faithful to the nature of music.” David Grubbs, a professor at the Conservatory of Music at Brooklyn College, she reports, “takes up a specific belief of Cage’s: that recordings can injure the ability of an audience member to experience a performance in real time. In theoretical terms, the recording reifies a specific moment, potentially interfering with a composition’s ability to live and change and breathe by fixing a single iteration as the ‘authoritative’ version”. Perhaps, nothing captures the triumphantly seductive and absorbing force of the authentic live performance than Robert Ashley’s description of Alvin Lucier’s 1969 piece, “Vespers” as referenced by Grubbs. Ashley wrote of “Vespers”: “No number of microphones and loudspeakers can reproduce the relationship between the sounds and the space in which the sounds create the musical experience.” This reminds one of Mozart’s delicate refrain that “The music is not in the notes, but in the silence between.”

This dying art form was once the force that rocked the bowels of mother Africa, from the Sahara to the Mediterranean. From Fela and Makeba to N’Dour, Salif Keita, Amr Diab, Sangare, Mapfumo, Kidjo, Mtukudzi and Ladysmith Black Mambazo, the glory days of message-laden total music may, but for the flickers embodied by the likes of the eternal Kidjo and the heirs to the Fela dynasty, be well and truly over.

But there appears to be a rebirth glistening in the hallways of MUSON Diploma School, a core component of the MUSON School of Music. The MTN MUSON Music Scholars Program, conceived in 2006, a partnership between MTN Foundation and the Musical Society of Nigeria (MUSON) School of Music, powers the diploma school. The partnership involves a 2-year Diploma in Music at the MUSON Diploma School. All the students admitted to the Diploma course receive MTNF Scholarships comprising annual scholarships worth N250,000 to cover tuition, books and transportation over a 2-year period. The graduating students are awarded an internationally recognized Diploma in Music. The scholarship is an open opportunity one. It allows applications from all musically talented youth through an open and fair process.

The school is home to the award-winning MUSON Diploma Choir directed by Sir Emeka Nwokedi, and the MUSON School Orchestra & Concert Bands. It has been able to produce outstanding Jazz ensembles such as the all-female GIRLZ RULE Band, the 5YZ MEN and The Theosolites.

At MUSON, MTN Scholars take advanced training in music with majors in voice or any of the instrument forms of: Piano, Organ, Violin, Viola, Cello, Double Bass, Flute, Clarinet, Saxophone, Trumpet, Trombone, Percussion, and Classical Guitar. “Students are also required to take 2 terms of an instrument minor other than their major instrumental family. All voice students must pass grade 2 piano, instrumentalists must pass vocal techniques and all students must belong to the choir. Orchestra is required for all string majors. All wind and percussion majors must belong to band. Others who may not be majors are welcome to audition for the orchestra band”, the school says. They also take part in high-level musical productions which provide the perfect opportunity to exhibit their talents and skills. At the end of their programme, the music scholars have the opportunity to showcase the result of their advanced training through performances at the annual Donors Appreciation Concert. This speaks to the neat integration of sound and rhythm, of theatre and messaging; the total music.

MUSON has been at the heart of developing and preserving the purest form of music in Nigeria, and helping to export same to the rest of Africa and the world. Created in 1989 by a group of friends, namely Mr. Louis Mbanefo (SAN), Mr. Akintola Williams (late), Chief Ayo Rosiji (late), Mrs. Francesca Emanuel (late) and Chief Rasheed Gbadamosi (late), the school was designed to promote, as Mr. Mbanefo, who is Chairman of the school, aptly captures, “the performance, understanding and enjoyment of serious music”. The dream, he notes, has continued to be realized, producing internationally reputed graduates and changing the dynamics of music in Nigeria and Africa. “The school has produced over 400 Diploma graduates, many of whom have continued their musical education in Europe, South Africa and America and attained international recognition. Most of our alumni have made and are making very impressive contributions to the musical life in Nigeria and indeed, the world.  They have raised considerably the standard of singing and musical performance in churches, in schools and at social events.  Indeed, many churches and musical societies throughout Nigeria are borrowing from the templates established by MUSON”, he proudly reveals.

As the proud owner of Nigeria’s “only professional Symphony Orchestra” and a choir of international renown, the school boasts a rich platform for empowering young Nigerian artistes and instrumentalists, especially in the dying art of classical and orchestral music performance.

Accredited by the Federal Government to award Diplomas in Music since 2002, the MUSON Diploma School grants all MTNF MUSON graduates diplomas which are equal to those awarded by the Associated Board of the Royal Schools of Music in the United Kingdom.

If the MUSON Diploma School is to continue to plot the course for Nigeria’s music salvation and become the sure hope of total music’s triumph for all of Africa, then it must display resilience, which its parent body— The Musical Society of Nigeria— chose as its Festival of Arts theme during the celebration of its 40th anniversary earlier this year. It must be resilient in the face of the onslaught of crass commercialism. It must be defiantly resilient if it must realize its goal of producing “well-rounded, thoroughly educated musicians…comparable to those found in a Conservatoire”.

And in its resilience, it must remember that lodged in the soul of this art, in its purest form, are the currents of humanity.

 

The much-anticipated Abuja edition of the Knorr Jollof Fest which held on 28 October 2023, has left food enthusiasts and culinary aficionados buzzing with delight. The event, held at Harrow Park, Abuja, was graced with a diverse community of food lovers, chefs, and cultural enthusiasts with memorable moments of spirited competition and celebration of good Jollof. 

 

Hosted by celebrities Tobi Bakre and Kaylah Oniwo, the festival showcased the vibrant tapestry of Jollof rice, a beloved staple across West Africa. Attendees were treated to an array of mouthwatering and tasty Jollof rice variations, each dish a testament to the rich cultural diversity of the region. Participating chefs and vendors pulled out all the stops, incorporating unique twists and techniques that elevated the humble grain into a gourmet experience. 

Situated within the festival grounds, the “Eat for Good” garden showcased Knorr’s dedication to promoting nutritious and wholesome meals. Attendees had the opportunity to explore and discover a diverse range of fresh cooking herbs and spices, inspiring them to ‘Eat for Good’ by infusing their meals with more herbs and vegetables. 

Notable event highlights included engaging cooking masterclasses where renowned chefs like Chef Derin, Chef Muse, Chef Fregz, and dietician, Dr Roberts shared their expertise and secrets behind perfecting the art of Jollof. Attendees also had the opportunity to sample their favourite Jollof dish, created by these renowned chefs, making it a truly interactive and immersive experience. 

“We’re thrilled with the overwhelming response to the Abuja edition of the Knorr Jollof Fest,” said Arinze Mademere, Brand Manager, Knorr. “It’s inspiring to see how this event continues to foster a sense of community and appreciation for the rich culinary heritage of West Africa. Our mission with this festival is to encourage people that there are healthier ways to eat their beloved dish, Jollof. Just add vegetables and you have and of course the secret ingredient for tasty and helathy meals, Knorr, and you are well on your way to healthy eating. We are encouraging people to change the world by changing what is on their plate by eating for good.” 

With each successive edition, Knorr relentlessly raises the bar, redefining the standards for celebrating this beloved dish and solidifying its position as the go-to seasoning for healthy and tasty meals while encouraging attendees to incorporate more vegetables into their meals and Eat for Good.

 

 

Access Holdings, a trailblazing financial institution, and ART X Collective, a leading cultural enterprise, have announced commencement of the highly anticipated entry call for the Access ART X Prize 2023.

The applications, which became open to the public on Wednesday, September 20, 2023 will run through Wednesday, October 18, 2023. Entries will be exclusively available for submission at ARTXLAGOS.COM/PRIZE. Through the 2023 edition, ART X Collective and Access Holdings will be empowering emerging artists by selecting two outstanding talents, each receiving a healthy $10,000 grant towards an exhibition at ART X Lagos 2024.

Aimed at fostering creativity and elevating emerging talent across Africa, the transformative opportunity will see the Nigerian winner embark on a 3-month residency at Gasworks, London, while the African/Diasporan winner will participate in a 3-month residency at Yinka Shonibare’s GAS Foundation in Lagos. Both recipients will also receive personalised mentorship support, a hallmark of the partners’ shared commitment to nurturing artistic growth, and providing an invaluable opportunity for cultural exchange.

Speaking on the initiative’s essence, Herbert Wigwe, Group Managing Director of Access Holdings Plc, said, “Access Holdings is proud to, once again, champion the Access ART X Prize, a beacon of support for emerging African artists. We believe in the transformative power of art to shape culture, foster diversity, drive meaningful change, and influence the global perception of our continent.

“The Access ART X Prize is, however, not just about recognising talent; it is about empowering the next generation of African artists to tell their stories and inspire the world. Through this initiative, we reaffirm our commitment to nurturing creativity and driving the growth of the African art industry, fostering a brighter, more inclusive future for all,” Wigwe added.

Since its inception in 2016, the Access ART X Prize has illuminated the paths of early career artists, providing them with diverse opportunities to showcase their talents. In a watershed moment last year, the Access ART X Prize transcended its Nigerian roots and expanded its horizons to encompass early-career artists from across the African continent and its diaspora. This groundbreaking move was inspired by a profound dedication to fostering inclusivity and diversity within the African art scene as well as facilitating cross-cultural exchange. The result was a celebration of remarkable talent, with the 2022 Access ART X Prize proudly awarded to two exceptional talents: Dafe Oboro (Nigerian Prize-winner) and Belinda Kazeem-Kamiński (Africa/Diaspora Prize-winner).

The rigorous evaluation process for submissions by early-career artists is overseen by a distinguished panel of renowned artists and cultural practitioners. These experts will be assessing creativity, originality, and technical skill with meticulous care, ensuring that the most exceptional talents rise to the top.

The Access ART X Prize 2023 will be judged by an esteemed jury which includes Babajide Adeniyi-Jones (Photographer), Barthélémy Toguo (Artist), Daudi Karungi (Founder, AfriartGallery), Emeka Ogboh (Artist), Gabi Ngcobo (Artist and Curatorial Director, University of Pretoria), and YesomiUmolu (Director of Curatorial Affairs and Public Practice, Serpentine Galleries). The curator of the 2023 edition is the highly regarded Jumoke Sanwo.

Tokini Peterside-Schwebig, Founder and CEO of ART X Collective said:

“We are honoured to have such a diverse and experienced jury for the Access ART X Prize 2023. Their expertise and perspectives will ensure a fair and comprehensive evaluation of the submissions, ultimately bolstering this exceptional platform for early career artists to showcase their work and engage in meaningful dialogue with the global art community.

We are proud of our contribution to the visual art landscape across Nigeria, Africa and the Diaspora, over the past seven years, and remain steadfast in our commitment to propel our artists forward, to live out their potential as narrative changemakers for our continent and for its culture. Through the creation and production of initiatives such as the Access ART X Prize, and our flagship art fair, ART X Lagos, our organisation seeks consistently to champion the redefinition of the narrative about our continent, and its people.

We would like to thank Access Holdings, which has consistently stood with us as we have strived to promote and elevate the next generation of African artists. Their commitment to fostering creativity and providing pivotal opportunities for artists, is invaluable in driving the growth and development of the African art industry.”

For more information on the Access ART X Prize, please visit ARTXLAGOS.COM/PRIZE.