SOME POSITIVE AND GREAT NIGERIANS

Chinua Achebe was a Nigerian novelist, poet, professor, and critic. He was best known for his first novel and magnum opus, Things Fall Apart, which is the most widely read book in modern African literature.

 Philip Emeagwali, referred to by Bill Clinton as the “Bill GATES of Africa”, is a supercomputer genius, who played a major role in making today’s  internet a reality. He was one of two winners of the 1989 Gordon Bell Prize, for his use of a Connection Machine supercomputer to help analyze petroleum field His achievements were quoted in a speech by Bill Clinton as an example of what Nigerians could achieve when given the opportunity.

Medicine and surgery;

Dr. Elizabeth O. Ofili was the first woman president of the Association of Black Cardiologists.  She is nationally recognized for her expertise in the field of echocardiography, the use of sound waves to study the heart and how it functions. She received the Young Investigator Research Award from the American Society of Echocardiography and Mallinckrodt Cardiology in 1993, for her echo studies of myocardial blood flow. In 2000 she became the first woman to serve as president of the Association of Black Cardiologists.

Professor Olikoye Ransome-Kuti (1927 – 2003)(Nigeria’s Minister of Health and Human Services, 1985-1992). It was during his tenure as health minister that a law against smoking was enacted and manufacturers were compelled to carry warnings such as “Cigarette smokers are liable to die young,” and “The Federal Ministry of Health warns that tobacco smoking is dangerous to health.”  Professor Ransome-Kuti has also served as chairman of the World Health Organization’s Executive Board (1991-1992) . He was a guest professor at Johns Hopkins University School of Hygiene and Public Health in Baltimore, Maryland.
Law and Justice;

Gani Fawehinmi, (died 05 September 2009) was a Nigerian author, publisher, philanthropist, social critic, human and civil rights lawyer, politician and a Senior Advocate of Nigeria (SAN) (the equivalent of the rank of Queen’s Counsel in the United Kingdom). His supporters have called him “the scourge of irresponsible governments, a sphygmomanometer with which the blood pressure of dictators is gauged, the veritable conscience of the nation and the champion of the interests and causes of the masses”.Many Nigerians called him the people’s president.

With his boundless energy he tenaciously and uncompromisingly pursued and crusaded his beliefs, principles and ideals for the untrammelled rule of law, undiluted democracy, all embracing and expansivesocial justice, protection of fundamental human rights and respect for the hopes and aspirations of the masses who are victims of misgovernment of the affairs of the Nation.

Media;

Femi Oke is a Nigerian-born British television presenter and journalist. A graduate of Birmingham University, England, Femi currently lives in New York and appears as a daily newscaster, contributor and interviewer on Public Radio International/WNYC’s morning public radio news program, The Takeaway. She is a former anchor for CNN International‘s World Weather service at the network’s global headquarters in Atlanta, Georgia. She presented weather segments for the programs Your World Today and World News. She also regularly hosted Inside Africa, now fronted by Isha Sesay, a programme that looks into the economic, social and cultural affairs and trends in Africa.

Literature

Wole Soyinka (born 13 July 1934) is a Nigerian writer, poet and playwright. He won the Nobel Prize in Literature in 1986, the first African to be so honoured. In 1994, he was designated United Nations Educational, Scientific and Cultural Organization (UNESCO) Goodwill Ambassador for the promotion of African culture, human rights, freedom of expression, media and communication.  

Fashion, Style and Modelling;

Agbani Darego (born 1983), is a Nigerian model, best known for being the first black African to be crowned Miss World in 2001, She did so at record age 18!
She is signed to Next Model Management, and is currently pursuing a modelling career in Europe.  She has modelled for the renowned L’Oréal cosmetics.

Banking

Ngozi Okonjo-Iweala; Nigeria’s World Bank Magnate. (born June 13, 1954) She was a former Finance Minister and Foreign Minister of Nigeria and was notable for being the first woman to hold either of those positions. She served as finance minister from July 2003 until her appointment as foreign minister in June 2006, and as foreign minister until her resignation in August 2006. Okonjo-Iweala was considered as a possible replacement for former World Bank President Paul Wolfowitz. On October 4 2007 she was appointed as Managing Director of the World Bank by World Bank President Robert Zoellick.

Education and Youth

Paula and Peter Imafidon: Youngest kids ever to pass the A/AS Mathematics papers at record age 7, and more stunningly enough the widely-acclaimed University of Cambridge’s Advanced Mathematics paper at record age 8; set to make history by being the youngest to gain admission into High School. Watch out for these promising Nigerian kids!!!

Sports

Nwankwo Christian Nwosu Kanu He is the most decorated African footballer in history, having won aUEFA Champions League medal, a UEFA Cup medal, three FA Cup Winners Medals and two African Player of the Year awards amongst others.
Out of the hundred of players that ply their trade in the English Premier League, Kanu of Nigeria remains the only player to have won the UEFA Champions League, UEFA Cup, Premier League, FA Cup and an Olympic Gold Medal. How Glorious! He is also a UNICEF ambassador.

IFA, THE RELIGION OF THE YORUBAS

THE PLACE OF IFA STUDIES IN OSUN STATE

By Raheem Oluwafunminiyi

Since the announcement made by the Osun State Governor, Ogbeni Raufu Aregbesola, few days ago that a comprehensive plan was on the way for the state’s secondary school students to study Ifa as one of their subjects, not many in and around the state were impressed with and disposed to such idea.

Aregbesola made the idea known during the special prayers session to usher in the New Year, organized with clerics from all religions. He disclosed that his government had returned religious studies to all public primary and secondary schools in the state, adding that the free computer tablet tagged ‘opon Imon’, which the government would present to secondary school students had an application for Ifa studies.

Despite the Aregbesola administration not appealing to quite a few, it behoves one to say that this is one policy whose coming is timely and highly needed at a time when religious consciousness of others should be examined to better appreciate who we are as a people, especially when the issue of religious tolerance, unity, love and peaceful co-existence, which Ifa divinity enjoins, eludes us in this country.

For many who have started castigating the state government for such a laudable initiative, this writer make bold to state that they are quite ignorant of the Ifa world view and therefore, should begin the process of finding out what Ifa worship or Ifa divinity has always been and what it is today before condemning outright what ordinarily needed to have been embraced before now. For the single fact that many of the people who claim to be Africans today or coming back home now, Nigerians, were once followers of African Traditional Religion, which Ifa worship belongs, should not look in disgust or awe at a period in history when religion brought all together under one bloc.

As a result of misconceptions which may arise due to the introduction of Ifa studies in Osun state public schools, this writer (though not initiated or well versed in traditional Yoruba religion (Ifa) or any religion that is based upon Ifa such as Lucumi, Candomble and Santeria) will enrich readers with what Ifa and Ifa worship denotes.

Ifa refers to the system of divination and the verses of the literary corpus known as the Odu Ifa. The Yoruba believe in divination and therefore, believe that Ifa is the source of all knowledge and that the Orisa Orunmila is the keeper of this knowledge. It is through divination that man is told what must be done to change things that are negative to things that are positive. On the other hand, according to a blog, Ile Emi Ifa, 'Ifa worship is not intended to be about the worship of Orisas, ancestors, communities, or priests, rather, Ifa followers may venerate and perform rituals to show appreciation to the spiritual entities that comprise their belief system and in all honesty the worship of Orisa and veneration of ancestors is incidental. The blog went further to state that 'The primary point of the belief system of Ifa is the development of strong, responsible, spiritual character and Ifa doesn’t even require people to believe in Ifa, Orisas, or ancestors for their so-called spiritual salvation.'

In Ifa is found the vision of the world, the destiny of mankind, the social relations, the morals of life, from birth to death. Through the system of Ifa of the Yoruba, one can find the knowledge of the community. Ifa is deep rooted in and among the cosmology of the evolution of the Yoruba. The Yoruba since its evolution had developed a form of religion which today has become one of the world's most influential religions, claiming no less than one hundred million believers worldwide. Millions who engage in Ifa worship or its study could be found most especially in Nigeria, the Republic of Benin, and Togo in West Africa as well as Brazil, Colombia, Cuba, Puerto Rico, the Guyanas, Jamaica, Grenada, Trinidad and Tobago, St.Kitts, and St.Vincent in the New World.

According to Professor Ade Dopamu, he is of the opinion that Santeria and Candomblé are part of the Cuban and Brazilian manifestations of Yoruba religion. He also noted that out there, the beliefs and organizational structure of the Yoruba religious system remain generally intact, even though they may incorporate other African roots and a veneer of Catholicism.

For the fact that Yoruba religion and its various strands of worship play a very critical role in many parts of Nigeria and disapora, it is therefore, the reason knowledge of Ifa studies should be encouraged and introduced not merely for the purpose of initiating students into some 'occultic realm' which critics are wont to make us believe, but for the sake of knowledge sharing and in the spirit of knowing ourselves better in our everyday conversation and interaction.

If Jacob K. Olupona, a noted scholar of indigenous African religions, whose earlier research ranged across African spirituality and ritual practices, spirit possession, Pentecostalism, Yoruba festivals, animal symbolism, icons, phenomenology, and religious pluralism in Africa and the Americas, had taken giant strides in impacting the Yoruba and African traditional cosmology to American and international audience, or High Chief Ifayemi Elebuibon, who is the founder of Ancient Philosophy International, a Cultural Adviser to the National Black Theater in Harlem, New York and spiritual adviser to the San Franscisco based WAJUMBE Cultural Institution and who also doubles as an international scholar in residence at San Francisco State University, where he lectures on African Traditional Religion and Culture, then we also must take that step forward in grooming our children on the need to have a grasp and appreciate the rich socio-cultural heritage we possess in abundance.

If we must begin to get it right through religion where everybody's faith is respected in Nigeria, then we should learn from the Chinese who have never toyed with Confucianism as a way of life and perhaps best understood as an all-encompassing humanism that neither denies nor slights Heaven. Followed by the Chinese for more than two millennia, Confusianism has deeply influenced spiritual and political life in the country.   

Since Osun state is one of the few whose people are tolerant of one another, the introduction of Ifa studies couldn't have come at a better time to further depeen this hand of tolerance. The initiative should also be pushed towards the tertiary institutions and made one of the key courses offered at all levels. The benefit of learning and understanding the Ifa world view cannot be overemphasized as it will train students socio-culturally, engage them in asking critical questions past generations refused to ask, keep them abreast of their historical past and most importantly imbibe in them the spirit of unity in diversity.

Osun state prides itself as a culturally vibrant entity and houses the embodiment of the Yoruba race. If nobody guards these abundant natural yet unique heritage through the knowledge passed by our forefathers, posterity will never forgive us.

When Fatai Rolling Dollar Slept

By Segun Adebayo and Seyi Sokoya

Residents of Oko Oba, Lagos State on Thursday woke up to see the unusual presence of frontline entertainers in the music industry, who besieged the Millennium Estate, Abattoir, new Oko Oba, to pay their condolences to the family of the late oldest practising musician and highlife pioneer, Pa Fatai Olayiwola Olagunju, also known as Fatai Rolling Dollar, when his remains were received by his family members and friends amid tears.
The veteran highlife musician died on Wednesday morning of June 12 at Maritol  Medical Hospital, Surulere, Lagos State. The octogenarian was said to have been rushed to the hospital on June 10 by one of his wives,  Zainab and was said to have been responding to treatment.
The body of legendary highlife artiste, Fatai Rolling Dollar, was on Thursday, buried in Ikorodu, Lagos State. FRD as he was fondly called by his close associates, was buried at his uncompleted house on Number 4, Unity Street, Maya Village, Ikorodu. The burial was witnessed by dignitaries, family and colleagues in the entertainment industry, such as President, Performing Musicians Association of Nigeria (PMAN), Admiral Dele Abiodun, Evangelist Obey and Stella Monye.
R had reported last week Sunday that the Ede-born singer was not in coma against what section of the media had reported. Rolling Dollar, during a telephone conversation with R last week,  had promised to get back on his feet and continue with his abandoned show, but that was not to be. “I will soon return for the continuation of  the show, which had stopped as a result of my illness. I want my fans to remain calm”, Rolling Dollar had said when speaking with R last week.
His last performance in Nigeria was on March, 14 2013 at the Nigerian Idol Season 3, where he performed one of his all-time classic’s ‘Won Kere si Number Wa’. He was later joined on stage by a group of contestants. After his performance, Fatai Rolling Dollar said, “I love what the young artistes are doing. They have a good message for the young crowd out there, and I absolutely love it”.
Kunle Tejuosho, whose label, Jazzhole Records, released Rolling Dollars’ popular hit track, ‘Won Kere si Number Wa’ among other albums, said the deceased came back from America some weeks back where he had gone for shows for about three weeks, “Baba was a great musician. He lived a life of music. He was happy whenever it was time to perform. May be he put too much on himself. He would be missed because he brought the past alive to the present. He re-lived the music of the 50s,” he said.
The deceased was said to have struggled to make ends meet, but got a new lease of life after French Cultural Centre brought him back into public consciousness. He later got a higher lift through Asiwaju Bola Ahmed Tinubu, while as Lagos State governor.
Emotions ran high as frontline celebrities wept. His family members, especially his wives and little children were still in shock; sympathisers were seen standing in different groups discussing Rolling Dollars’ ‘sudden’ demise, which to them, came as a rude shock.
The mood in the neighborhood that morning was pensive, as some of the people who spoke with R, said the late legend lived a fulfilled life, though his family members and well wishers battled to save his life.
Chief Ebenezer Obey, while speaking with R said he was shocked at the news of Fatai Rolling Dollar’s death, describing him as a nice friend.
Obey noted that aside the fact that he had lost his boss, it was also sad that the entertainment industry had equally lost a legend, “I will miss him so much. Our relationship was more cordial before his death. We talked often, especially when he returned from abroad. But there is nothing we can do when we hear the clarion call. We spoke two days before his death and he told me he got my message, which I had earlier sent. When I saw his remains, I wept and said this is the end”.
Recounting what they discussed last, Obey said, “Baba Fatai Rolling Dollar prayed for me, but I never knew that I was receiving his last blessing. His death is painful”, he said.
In the same vein, folklore artiste, Segun Akinolu, popularly known as Beautiful Nubia, also described Fatai Rolling Dollar as a youthful character who was always full of joy and life.
“Each time we met, he would give me a tight hug and say very deep prayers. He was so full of appreciation for music. He loved playing music and being on stage; it’s always as if the show should never end.” Revealing the last time he spoke with him, Nubia said, “we discussed his participation at this year’s EniObanke Music Festival (EMUfest 2013),” he added.
The son of the Afro legend, Fela Anikilapo Kuti, Seun Kuti told R that the news of the death of the veteran was shocking, adding that, “It seems there is lot to say considering his age, but he was still so full of life. I will miss him.”
Jesse King, also known as Buga, who also received the news with a heavy heart, said “it was very sad to receive the news that Baba has gone. Fatai Rolling Dollar has left a great vacuum in the entertainment industry. I pray for the family he left behind that the Almighty will remain with them all. I hold Baba in a high esteem. I cannot quantify how I look up to him. He was a very wonderful instrumentalist”.
Bonsue Fuji crooner, Adewale Ayuba, who reacted to the demise of the octogenarian from his United States of American base, said: “I will miss Baba sorely. The news came as a rude shock to me. Unfortunately, I am not in Nigeria today, but I pray that God will give the family he left behind the fortitude to bear the great loss”, he said.
Reggae exponent,  Victor Essiet, popularly known as Mandator, also reacted to his death from United States, saying “Fatai Rolling Dollar was a good friend of mine. I have known him for a while, even before I left for America 20 years ago. He was jovial, playful, stylish and colourful. I would have loved to see him when I was in Nigeria two months ago, but I misplaced his phone number. He contributed immensely to the development of juju/highlife; he was a fighter and not a quitter.”
Kazeem Popoola, a seasoned journalist, who was preparing a documentary on the deceased said, “Apart from been the oldest performing musician in Africa, his agility, energy, singing prowess, dexterity on guitar and awesome stage crafts at 80 stood him out. I won’t say he died as a happy man because he felt abandoned and expected to be treated like a monument in the Nigerian entertainment industry. Rolling Dollar’s dream was to have a foundation created in his name that will take care of the young and underprivileged artistes but he never lived to achieve his dream”.
One of his promoters, Babatunde Obalana said, ‘‘I think he was one artiste that had a dogged spirit. Never giving up irrespective of any daunting situation. The bigger the challenge, the bigger his faith. He was a believer pure and simple. I spoke to him very briefly about 48 hours before his demise and I never knew that it was going to be our last conversation. I will certainly miss his simplicity and easy going nature. He will be greatly missed. Thank God for his works.”

Citation of Professor Sunday Enessi Ododo for the Conferment of the Fellow of the Society of Nigeria Theatre Artists (SONTA)

When stars gather around a megastar, illumination becomes the phenomenon. And, the phenomenon tells the story of the luminary. Sunday Ododo is a cultural icon and an intellectual giant, in fact, a scholar-artiste who has contributed notably to the growth of scholarship and creativity in Africa, particularly in the Nigerian theatre and literary landscapes. His commitment to scholarship has enhanced the academic life of his generation and has positively impacted on his students and younger academic colleagues. He stands out as an exemplary intellectual who occupies the prestigious gulf between the old and the younger generation of scholars. This marks him as a golden viaduct between these categories of people.

Sunday Enessi Ododo was born on the 21^st of October 1962 at Maiduguri North-East Nigeria. He hails from Okene in Kogi State, Nigeria. He attended Nurul Islamic Primary School, Okene between 1970 and 1975, and attended Ihima Community Secondary School for one year, 1975-76, before proceeding to Fatima Community College, Ekan-Meje, Omu-aran from 1976 to 1980, where he completed his secondary education. Sunday Ododo as a youngster is propelled by his academic appetite to obtain his university education at the Universities of Ilorin and Ibadan where he bagged his B.A (Hons), M.A and PhD degrees, all in Performing and Theatre Arts between 1986 and 2004.

Sunday Ododo is an accomplished academic and intellectual. This is a rare feat which he attained not with a sudden flight but by dint of willpower and hard work. His services to humanity spread between the town and the gown.  His academic career started in 1993 when he was appointed an Assistant Lecturer in the Department of Performing Arts, University of Ilorin. He rose through the academic ranks to attain the colossal acme of a professor at the University of Maiduguri since 2008.

Sunday Ododo is a member of learned/professional societies. These include Society of Nigeria Theatre Artists (SONTA), where he served as an Ex- Officio in 1991 -1993 and since 2009 he has been one of the National Vice Presidents to date. Sunday Ododo is also a member of the National Association of Nigerian Theatre Arts Practitioners (NANTAP) and the Nigerian Institute of Public Relations (NIPR) and Reading Association of Nigeria (RAN). Ododo served as Secretary-General of the Kwara State Chapter of the Association of Nigerian Authors (ANA). He was lifted to the position of National Vice President of ANA in 2009, a position held till 2011. He also functioned as Chief Judge of literary prizes, Association of Nigerian Authors (ANA), National Body from 2006 to 2009. Ododo is also a member of several international academic societies. These include: American Studies Association of Nigeria, (ASAN), and International Federation for Theatre Research (IFTR), London. He was also appointed for his distinguished standing into the research Board of Advisors of American Biographical Institute, North Carolina, USA.

As an academic, Sunday Ododo has functioned in various capacities in service to the university community. Apart from such positions as editor of journals at Ilorin, Editorial Advisory Board of the Perfformio, an on-line journal of the Centre for Performance and Literature, Swannsea, Metropolitan University and several other editorial works to his credit, he was Seminar Coordinator, Departmental Academic Adviser, Member Senate of the University of Ilorin, Member Ceremonials Committee and Chairman Production Committee at the University of Ilorin. Ododo was Head of Department of the Performing Arts, University of Ilorin. He has held sensitive and key positions as Chairman Curriculum Development Committee for the establishment of a Department of Performing Arts at the University of Maiduguri in 2007, where he currently serves as Head of Department. Ododo has also contributed immensely to Post Graduate scholarship. He held the position of the Post graduate Coordinator, Department of Creative Arts University of Maiduguri between 2006 and 2008. In 2008 he was also appointed Post-Graduate Coordinator, Department of the Performing Arts, University of Ilorin.

The erudite scholar has attended over 30 national and international conferences.  His intellectual celebration and deep value for distinguished academic heroes of Africa, led him to convene the Professor Olu Obafemi International Conference on African Literature and Theatre. Ododo is a recurrent speaker at a number of national and international conferences. Between the Universities of Ilorin and Maiduguri, Ododo has spent over two decades teaching a broad array of courses which have ranged from design, theatre aesthetics, and musical theatre to dramatic literature and cultural studies, Arts of the theatre, dramatic theory and criticism, and several other courses like Human Anatomy and Physiology for the Performing Arts, directing, acting, workshop productions, theatre management and administration. Ododo’s critical engagement in theatre scholarship is as functional as a spider’s web.

Ododo is an accomplished gentleman of the Arts. He is a poet in the theatre and a multi-talented playwright and theatre activist of many parts. He has written plays for both the legitimate stage and the screen. These plays include Illusive Force (1984) White and Black Battle (1985), The Revelation, a TV drama (1987) Political Reveries, 1987, a TV drama and African Man also a TV drama, 1987. His Return from the Void an Opera has received encouraging performances between 1995 and 2013. Sunday Ododo’s creativity also manifests him as a poet; he has written and published a number of poems. Broken Pitchers (2012) is his latest poetic offering. Ododo has distinguished himself both as a stage actor and an artistic director of many productions. He has also carved a niche for himself along the artistic road sign of techno-cultural aesthetics.

Sunday Ododo has published books, Peer Reviewed Chapters in books, Peer Reviewed Monographs, Peer Reviewed papers and a number of pragmatic academic essays in various peer reviewed national and international journals. He has published essays on a broad variety of subjects, within the multi-disciplinary discipline of theatre arts, from technical theatre, theatre management, make up and mask practice, light and lighting design, semiotics and communications in dance, ritual studies, poetry, scenographic semiotics to traditional African experimental performances. A larger chunk of these publications run across the visual trinity: costume and make up, light and scene design. Interestingly, Ododo in some of these essays brings to fore feminist dimension and consciousness by advocating gender participation in technical theatre practice. Besides, Ododo brings his knowledge of theatre technology and technical theatre to bear on traditional African theatre with special focus on the masquerade Art and the Eku performance art amongst the Ebira which is an interface of Techno-cultural aesthetics. Remarkably, Ododo has published papers in Theatre for Development (TfD), dramatic literature, theatre management, marketing the performing arts, dance, theatre and computer studies, theatre practice, approaches to theatre production and children’s theatre. To be sure, the forte of his published works is anchored on theatre technology and cultural performance idioms. His essays have been cited in the fields of literary criticism, performance studies, cultural studies, theatre studies, and film and video studies. His research interest beside theatre technology is hermeneutics in the investigation of texts and performance. Together with his creative works and a corpus of journals and books he has edited, Ododo has recorded over 70 publications.

The landmark glory of Ododo’s intellectual and artistic contribution to theatre arts studies is his Facekuerade Theory, which has immensely contributed to the world’s measure of performance aesthetics and theatre technology. The Facekuerade theoretical paradigm is an original and revolutionary contribution by an African theatre don that adds value to world theatre scholarship. Facekuerade has become a word and a formula in theatre parlance; it is a theory and a form of theatre, a four in one quintessence. This is a theory extracted from the traditional Ebira-Ekuechi festival supported by Oloolu of Ibadan, Jenju of Abeokuta and other prototypes across Africa, which Ododo subjected to dialectical contemplation to stand. What this means is that there is plenty of artistic theories yet to be discovered by African scholars from traditional African festival drama. Ekuechi facekuerade festival of the Ebira of Kogi State in Nigeria is a mask-less masquerade archetype put to theoretical test by Ododo, a techno-cultural academic. The hub of the theorising is the “transformation and doubling essence of mask-less characters conceived and perceived as masquerades”. Ododo is roundly and resoundingly a theatre bird. He is a professor of distinction and a true Nigerian academic patriot, a polyglot and a multi-talented artiste. As a playwright he has made an impact, as a poet he is celebrated and as a master of technical theatre and theatre technology his footprints are engraved. He has travelled across the creeks and crannies of the academe to the deepest dominion of rare scholarship.

In 2011 Ododo published a play Hard Choice which further brought him to literary limelight as a gifted playwright by winning the prestigious ANA Drama Prize in 2012. The play is written with a great sense of cultural nationalism, national unity and more importantly with a thesis attitude on the modernisation of the Aristotelian tragic variety.  Hard Choice emblematises Ododo as a nationalist who indicts the off-putting and vindictive romance between ritual and politics, over ambition and their possible fatal consequence on the jaded masses. Ododo recreates national tragedy from the perspective of politics, ritual valve and democracy as practiced in Nigeria and calls for caution. This is a play in which authorial judgment and passions unite to condemn the excess greed of politicians.

Professor Ododo is a treasured apollonian pictogram of the literary and theatre rings of Africa; a confluence of intellectual and artistic merit and a transporter of billowing scholars finding voices. His cerebral persona and pedagogical attributes have help to build a fertile tide of intellectuals in Nigerian academic chateau. He has transmittable determination and dedication to the academe. His works in drama, poetry and other kinds are pulsating pulses of the human heart in all its complexity. There is therefore no doubt that Professor Sunday Enessi Ododo has contributed tremendously to theatre epistemology. He represents a historical force of fashionable theatre erudition and artistic originality in Nigerian intellectual and cultural history.

A situation in which theatre scholars and practitioners naturally declare their support to give immense academic honour to one of their own is a clear signal of intellectual solidarity, national literary and academic honour. On the strength of this rich and engaging contributions to theatre enterprise, ladies and gentlemen, permit me to present Professor Sunday Enessi Ododo for the highest award of the Society of Nigeria Theatre Artists- the Fellow of SONTA; FSONTA. Thank you.