₦airaland Forum

A WRITING CAREER IS MARATHON, NOT A SPRINT - ALEXANDER NDERITU - DEPUTY SECRETARY-GENERAL OF PEN KENYA CENTRE
Alexander Nderitu is a Kenyan writer, poet, playwright and critic. He is the Deputy Secretary-General of PEN Kenya Centre and a Regional Managing Editor for the global news portal TheTheatreTimes.com. He has authored four e-books: When the Whirlwind Passes (novel), The Moon is Made of Green Cheese (poetry); Kiss, Commander, Promise (short stories); and Africa on my Mind (YA novel). In 2017, Business Daily newspaper named him one of Kenya’s ‘Top 40 Under 40 Men’. In 2020, he was a finalist for the Collins Elesiro Literary Prize. In this chat with Wole Adedoyin, Alexander Nderitu talks about his life, writing and latest book.
WA: TELL US ALL ABOUT YOUR WRITING BACKGROUND- WHAT YOU’VE WRITTEN, WHAT YOU’RE CURRENTLY WRITING.
AN: My writing journey truly began when I was a teenager. My high school essays were often read out to the rest of the class. I was always destined to be a writer. I was literally born on UNESCO’s World Book and Copyright Day/Shakespeare’s birthday; April 23rd. At the age of 22, I released my first novel, When the Whirlwind Passes. It was Africa’s first e-novel. I have since authored three more books: Kiss Commander Promise, Africa on my Mind and The Moon is Made of Green Cheese. I have also penned numerous poems and articles over the past two decades. They have been published and translated all over the world. One poem, Someone in African Loves You, has been broadcast by the BBC and translated into several languages. I also write stage plays, the most recent being a biography of Nobel laureate Wangari Maathai. It’s titled The Talking of Trees. Wangari Maathai and I hail from the same region of Central Kenya and she’s a major inspiration to me.
WA: WHAT EXCITES YOU ABOUT A PIECE OF WRITING?
AN: Style, mostly. But also unique ideas and high concepts. I want to be taken on a mental journey and, hopefully, learn a thing or two.
WA: WHO ARE YOUR FAVOURITE WRITERS AND WHY?
AN: This is actually a more difficult question than one might assume. I have been an avid reader since childhood. My preferences in genre and authors have changed over time. I also write in different genres, and I have ‘heroes’ in each one. But when I first resolved to be a novelist, my inspirations included Ian Fleming, Frederick Forsyth, Agatha Christie, Mary Higgins Clarke and Robert Ludlum. As you can see, those were bestselling authors in the crime/espionage genres. I love espionage books and films. There are two spy tales in Kiss Commander Promise, which is a collection of short stories.
WA: WHAT ADVICE WOULD YOU GIVE TO A NEW WRITER STARTING OUT?
AN: Read widely. Research thoroughly. Dare to be different.
WA: WHAT INSPIRES YOU TO WRITE?
AN: Emotive issues. Inspirational people. Big ideas. Injustices around the world. Beauty. It’s a whole range of things. Writing is my favourite method of communication. I’d rather write down a message than express it verbally.
WA: DO YOU HAVE A WRITING ROUTINE? A PLACE THAT’S SPECIAL?
AN: When you write for a living, it’s hard to be choosy. Apart from my own writings, I am also a professional editor and ghostwriter. I write at home, in the office, and sometimes on my phone when I’m travelling. I mostly write at night, when the world is quiet and the temperatures are cool. Copious amounts of coffee are consumed when I’m writing at home!
WA: HOW, WHEN AND WHY DID YOU FIRST START WRITING?
AN: When I was around 14, I created my own comic strips inspired by such graphic characters as Flash Gordon, The Phantom, Modesty Blaise, and Batman. I created the characters, drew the cartoons with a pencil or biro, and wrote the text. They were quite popular amongst my classmates. When I was in secondary school, I started writing poetry, mainly inspired by the books such as Adventures in Poetry for African Schools, Song of Lawino, and Poems From East Africa. I was about 15 years old.
WA: WHAT WAS THE FIRST PIECE YOU EVER HAD PUBLISHED?
AN: I believe it was a poem titled The World is Upside Down which was published in the East African Standard in the early 2000’s.
WA: DO YOU ADDRESS PARTICULAR THEMES OR ISSUES IN YOUR WRITING?
AN: I do my research and look for creative ways to bring the message home. I rarely write just for the sake of writing; there’s usually something I’m trying to say or an issue I’m trying to highlight. It’s not merely entertainment. I keep wondering if I’m getting the message across. A recent short story of mine, title A Body Made For Sin, was published online by IHRAF Publishes. It was inspired by a true-life murder mystery of a Nairobi campus girl. In the real-life legal drama, the culprit(s) got away scot free. In my version, just was served. Alice Walker once said, ‘Activism is my rent for living on the planet.’ Ditto that. I pay a lot of rent by addressing real-life injustices through my writings. Live From Garissa, another short story, was published in the UK by One Million Project. Harvest of Blood, one of my favourite tales, was about the Rwanda Genocide and was published in Israel by IFLAC. I am currently working in two more collections of short stories, 10 tales per book. I hope this doesn’t come off as arrogant but my current mission is to say in a short story what other writers say in an entire book.
WA: HOW DID YOU FEEL WHEN YOU FIRST STARTED SENDING YOUR WRITING OUT INTO THE WORLD?
AN: Excited and a bit nervous! Luckily, my first review – for my first novel – was a great one. A few years later, I discovered a global writers’ hub called Authorsden.com. This was way before social media sites like MySpace and Facebook came into existence. On Authorsden, one would post their poems, short stories or book excerpts and receive comments from peers all over the world. The vast majority of comments were positive and very exciting to read!
WA: WHERE DO YOU GET YOUR IDEAS FROM?
AN: A very wide range of places – nature, people, incidents, news items, other books, music, film, television series and so on. Some probably come from what Carl Gustav Jung called ‘the collective unconscious’; a mental repository that all humans share the same way we share our ancestral DNA. Maybe some people are better at tapping into this vast ethereal sea than others. Don’t get spooked. I am a very grounded guy. I don’t believe in crap like money rituals and miraculous healing. But I don’t close my mind to whatever knowledge might be out there. I like to explore ideas.
WA: HOW DID YOU GET YOUR PUBLISHER?
AN: I started with self-publishing. As I grew in the industry, I started submitting various writings to publishers calling for entries in various genres. Now I have an agent who resides in New York so in future I will submit manuscripts through him.
WA: TELL US WHAT KIND OF RESPONSES YOU GET FROM AUDIENCES\ READERS.
AN: I receive generally positive feedback from critics and generally enthusiastic praise from fans. In fact, just this morning, a reader posted a copy of herself holding a copy of When the Whirlwind Passes and describing me as ‘the greatest author of all times.’ Some years ago, an aspiring writer posted on Facebook that he read my non-fiction document, ‘Changing Kenya’s Literary Landscape’ ‘pole pole (slowly slowly) like The Bible’ because he ‘didn’t want it to end’. It was the best compliment I had ever received.
WA: HOW CAN PEOPLE FIND OUT MORE ABOUT YOU?
AN: I am on Facebook, Instagram, LinkedIn, Wattpad and Twitter. A large number of my writings are available on smartphones globally via the Worldreader app which is freely available on Google Play.
WA: TIPS, TRICKS, THINGS TO PASS ON TO DEDICATED WRITE?
AN: Start writing as early as possible. A writing career is marathon, not a sprint. Utilize the Internet and especially social media in order to find writing opportunities. Seek an agent through whom you can submit your manuscripts to publishers.
WA: ANY TYPICAL/COMMON MISTAKES THAT NEW WRITERS TEND TO MAKE?
AN: Self-published writers tend to cut out editors and cover designers in order to reduce costs. Published work should always pass through an editor.
WA: WHICH OF YOUR BOOKS WERE THE MOST ENJOYABLE TO WRITE?
AN: When the Whirlwind Passes was the easiest to write. Everything just clicked. The moon is Made of Green Cheese contains some poems that I am very proud of. My favourite play is Hannah and the Angel. It has a lot of humour and elements of Hip-Hop culture, which I like.
WA: TELL US ABOUT YOUR FIRST PUBLISHED BOOK? WHAT WAS THE JOURNEY LIKE?
AN: In 1998, I read a Daily Nation newspaper article about an Italian fashion baron who was murdered in cold blood. The trial of his murder suspects exposed the soap-opera-type lifestyles of the rich and famous and the constant machinations that take place behind closed doors. I felt it was a great story and it inspired me to write a similar family saga based in Africa. It’s titled When the Whirlwind Passes. I published it online first, having heard about emerging e-book trends in the West. It became Africa’s first purely digital novel. It is now available as a paperback and has gone through 3 editions, complete with cover changes. The Daily Nation’s Saturday magazine described it as ‘brilliantly written.’
WA: What is the key theme and/or message in the book?
AN: I would rather readers figured that out for themselves.
WA: Where can we find you online?
AN: www.AlexanderNderitu.com
ABOUT HIS LATEST BOOK:
In 2001, When the Whirlwind Passes became Africa's first purely 'digital novel'. Over the next decade or so, it remained the continent's most-downloaded e-novel. Inspired by a true story, the novel follows the life of a ghetto princess who marries a wealthy fashion baron, and the circumstances that turn their whirlwind romance into the murder case of the decade.

IBADAN BOOK CLUB INTERVIEW SERIES

BOOKS ARE MEANT TO CHANGE LIVES – FOLUKE SIJUWOLA FALAYI, IBC GUEST WRITER/READER OF THE MONTH
Foluke Sijuwola Falayi has written over twenty (20 books). Some of her titles include: The Slaves in the Palace, Flub, Bond, Ugo and Ify at Christmas, The Little Prince and The Sluggish Servant, The Rainy Day, Ada in Port Harcourt, Trouble in the Exam, The Last Penny, The Pride of Parents, A Night at Edet’s House, One Two Three Poetry, Beans for Supper, Akeju’s Turnaround, The Gift from Ibadan and Sam Goes to College. In this interview with Wole Adedoyin, she shares with him brief facts about her life and writing career.


WA: WHAT INSPIRED YOU TO START WRITING?
FSF: I will just say it is providence, to cut a long story short.

WA: HOW LONG HAVE YOU BEEN WRITING?
FSF: I have been writing since my secondary school days, informally anyway.

WA: WHEN DID YOU START WRITING?
FSF: I started writing officially over a decade ago. My debut book was published in 2008. I started writing that particular book in 2004.

WA: HAVE YOU ALWAYS WANTED TO BE A WRITER?
FSF: No, initially, I didn’t want to. I was afraid I won’t be able to make a living out of it.

WA: WHAT ADVICE WOULD YOU GIVE A NEW WRITER, SOMEONE JUST STARTING OUT?
FSF: If you desire to be a writer, you must have passion for the art. It is the passion that will propel and keep you going before any proceeds. You must also master the craft, writing is a craft. You must be an avid reader. Know the genre you are writing about.

WA: HOW DO YOU HANDLE WRITER’S BLOCK?
FSF: I take time off.

WA: HOW MANY BOOKS HAVE YOU WRITTEN?
FSF: I have written over twenty books.

WA: WHAT IS THE MOST SURPRISING THING YOU DISCOVERED WHILE WRITING YOUR BOOK(S)?
FSF: The more you work on your manuscript the finer it gets. Never rush your work.

WA: WHO IS YOUR FAVOURITE CHARACTER?
FSF: I have favourite characters not just one.

WA: DO YOU HAVE A FAVOURITE CHARACTER THAT YOU HAVE WRITTEN? IF SO, WHO? AND WHAT MAKES THEM SO SPECIAL
FSF: I love Tonye, a female character in Sam Goes to College. I love Atikah, a little female Hausa girl in Repose- they are prototypes of what is right, what every female should be. They stand for equality, they are knowledgeable and frown at any form of relegation.
Reverend Moses/Obinna in the Reverend’s Daughter exemplifies fairness, integrity, reformation and discipline our society needs.
Sanni, in The Headmaster’s Boy, Tomobi in Unbending Steel,Ete in A Night at Edet’s House- they are male architypes of patience, hard work and endurance. Nothing comes cheap in life.

WA: WHERE DO YOU GET YOUR INSPIRATION?
FSF: I get inspirations anywhere and everywhere. God, the giver of all gifts lavishes it on me without restrain.

WA: WHERE CAN READERS PURCHASE YOUR BOOKS?
FSF: Through me and our marketing team.

WA: WHERE CAN READERS FIND OUT MORE ABOUT YOU AND YOUR BOOKS?
FSF: Through our website and email address: jedsweetha@gmail.com. https://jedidiahsweetha.com.ng

WA: HAVE ANY OF YOUR BOOKS BEEN MADE INTO AUDIOBOOKS?
FSF: We are yet to make audio books.

WA: IF SO, WHAT ARE THE CHALLENGES IN PRODUCING AN AUDIO BOOK?
FSF: We have not gone into that, therefore we have not experienced any challenge in that line.

WA: WHICH OF YOUR BOOKS WERE THE MOST ENJOYABLE TO WRITE?
FSF: I find all my books pleasurable to write perhaps for the passion I have for it.

WA: TELL US ABOUT YOUR FIRST PUBLISHED BOOK?
FSF: My first book was published in 2008. It is entitled Bond. It raises a question of time healing old wounds. It tells a story of love, grief, repentance, restoration and forgiveness. It has many literary elements for a first time author which made reviewers in different states, ministries of education approved it to be read for years.

WA: WHAT WAS THE JOURNEY LIKE?
FSF: The journey has been interesting, exciting and full of encounters just like any other profession.

WA: WHAT, IN YOUR OPINION, ARE THE MOST IMPORTANT ELEMENTS OF GOOD WRITING?
FSF: Study the grammar of the language; word classes, figures of speech and the rest. Study your genre and understand the point of views.

WA: WHO'S YOUR FAVORITE AUTHOR OF ALL TIME?
FSF: I have favourite authors not just one author possibly because of my first course of study; English and Literature, the themes, imagery and symbols inherent in some of the books I studied in school. The books I read as a university undergraduate was innumerable; Nigerian Literature, African Literature, American Literature, European Literature and other kinds.
I will mention some of my authors and books of all time: Buchi Emecheta’s Second Class Citizen and The Joys of Motherhood, Wole Soyinka’s Kongi’s Harvest, The Lion and the Jewel, A Play of Giants and others. Femi Osofisan’s Midnight Hotel. I read Chinua Achebe’s Things Fall Apart as a little girl. I remember, I read it over and over and proceeded to read his, No Longer at Ease, A Man of the People and Arrow of God. Amos Tutuola’s The Palmwine Drinkard, Niyi Osundare’s Selected Poems, Festus Iyayi’s Violence, Elechi Amadi’s The Concubine, Zaynab Alkali’s The Still Born, Ayi Kwei Armah’s The Beautyful Ones Are Not yet Born, Ngugi wa Thiong’o’s The Grain of the Wheat, The Trials of Dedan Kimathi,Chimamanda Ngozi Adichie’s Purple Hibiscus and Americanah, these are some of my favourite works and authors.
Foreign works and authors like- Samuel Taylor Coleridge’s, The Rime of the Ancient Mariner, Samuel Beckett’s Waiting for Godot, Charles Dickens’ Hard Times, Emily Bronte’s Wuthering Heights, Scott Fitzgerald’s The Great Gatsby, Joseph Conrad’s Heart of Darkness,James Baldwin’sGo Tell It on the Mountain, Jane Austen’s -The Pride and Prejudice and the first English Literature Defoe’s Robinson Crusoe. I celebrate these authors, the dead and those who are still living.

WA: ON YOUR LATEST BOOK TITLED “REPOSE”, CAN YOU SHARE WITH US SOMETHING ABOUT THE BOOK.
FSF: My latest work is entitled- Repose. It promotes female education. It talks about gender equality. Female children must be educated. They have right to education.

WA: WHAT WAS THE INSPIRATION FOR THE STORY?
FSF: I got inspired while I studied and prepared for my postgraduate exam in Feature Writing. There was an article I read and I couldn’t go on reading until I made a sketch of flashes coming to my mind on a little brilliant Hausa girl. She loves education, doing well in school but her father has another plan; to give her out in marriage due to ignorance and financial gain.

WA: WHAT IS THE KEY THEME AND/OR MESSAGE IN THE BOOK?
FSF: Female education and a child’s right to education.

WA: WHAT DO YOU HOPE YOUR READERS TAKE AWAY FROM THIS BOOK?
FSF: Shun ignorance and embrace knowledge. Education is light; get it for it is a candle that shines into what you do. Be determined to succeed. Refuse to stay in darkness. Be an agent of positive change in your sphere of life and everywhere you find yourself.

WA: WHAT IS THE SIGNIFICANCE OF THE TITLE?
FSF: After a man’s desire or goal has been met there comes a rest, repose.

WA: HAS A BOOK EVER CHANGED YOUR LIFE?
FSF: Yes, books are meant to change lives.

WA: WHAT GENRES DO YOU LOVE?
FSF: The three genres of Literature, I love them.

WA: ARE THERE ANY GENRES YOU DISLIKE?
FSF: No.

WA: WHAT AUTHOR (WHO IS STILL LIVING) WOULD YOU DEARLY LOVE TO MEET?
FSF: Any of the authors I mentioned earlier who is still alive.

WA: DO YOU LIKE TO DISPLAY YOUR BOOKS ON A BOOKSHELF OR KEEP THEM IN A VIRTUAL LIBRARY?
FSF: Both are okay by me.

WA: DO YOU PREFER FLASH FICTION, SHORT STORIES, NOVELLAS, OR NOVELS?
FSF: A writer must be versatile without any preference.

WA: WHAT BOOK CAN YOU RECOMMEND TO ME?
FSF: I will recommend Born for the Riverside and other Radio Plays by Ayodele Ojurongbe.

WA: WHEN DID YOU LAST VISIT A LIBRARY?
FSF: I was there in year 2020. Every author ought to have library at home.

WA: HAVE YOU EVER HAD A CRUSH ON A BOOK CHARACTER?
FSF: Yes.

WA: HAS A BOOK EVER MADE YOU LAUGH OUT LOUD?
FSF: Yes, a couple of times.

CALL FOR SUBMISSIONS: AFRICAN HUMAN RIGHTS ESSAY COMPETITION: DEADLINE: 31ST OF MARCH 2021
PRIZES TO BE WON:
Nelson Mandela Prize: $100
Thomas Sankara Prize: $75
Omoyele Sowore Prize: $50
AND Seven Honorable Mentions will be awarded
TOPIC: HUMAN RIGHTS ABUSE AND VIOLATIONS IN AFRICA
The African Chapter of the International Human Rights Art Festival (IHRAF) is currently accepting submissions for its 2021 African Human Rights Essay Competition. The scope of the submission must directly relate to this year’s topic: Human Rights Abuse and Violations in Africa.
In Africa, the idea of human rights is a comparatively recent phenomenon. Contributing to the establishment of human rights system in Africa are the United Nations, international law and the African Union which have positively influenced the betterment of the human rights situation in the continent. However, extensive human rights abuses and violations still occur in many sections of the continent. Most of the violations can be attributed to political instability (as a consequence of civil war), racial discrimination, corruption, post-colonialism, economic scarcity, ignorance, illness, religious bigotry, debt and bad financial management, monopoly of power, lack/absence of judicial and press autonomy, border conflicts, unauthorized intrusion of privacy, establishment of laws barring specific of free expression, criminal defamation laws that are usually indistinct, restrictions on freedom of the press, freedom of assembly and association, corruption of government officials, lack or absence of independence and neutrality in the judiciary, gross domestic violence against women, prohibition of same sex activities, sexual abuse on LGBTI persons, and human trafficking.
SUBMISSION GUIDELINES
Language Medium – English
Genre – Essay
Theme – Human Rights Abuse and Violation in Africa
Essays should be between the minimum of 1000 and the maximum of 1500 words.
Entries will be judged based on originality of thought, depth of analysis, clarity of expression, spelling and grammar and conformity to contest rules. Participants also have the flexibility to choose any subject related to this topic, however, the scope of the submission must directly relate to this year’s topic or it will be disqualified.
Entrants are advised to send the following information alongside their entries
i. Name
ii. Age
iii. Gender
iv. Country
v. Address
vi. Phone Number
vii. Where you heard about the Call for entries
viii. Short Profile about yourself.
ix. Permission to publish your poem/essay (in one or two paragraphs)
x. Name of school or university if any
Entrants can be from any African country
Permission to publish your work among the shortlisted entries.
Title of your mail should be addressed as “AFRICAN HUMAN RIGHTS ESSAY COMPETITION”
All entries must be submitted to: ihrafnigeria@gmail.com and also copy societyofyoungnigerianwriters@gmail.com.
Deadline for Submission is 31st of March, 2021.
Any signs of plagiarism will disqualify the entrant.
Organizers’ decision is final
OTHER BENEFITS
Award of Certificates of Participation to all Entrants.
Award of Certificates of Excellence to only the shortlisted entrants.
Only shortlisted work(s) will be published in e-book format
Automatic membership into African Chapter of the International Human Rights Art Festival
For more enquiries contact: Wole Adedoyin +2348072673852 (woleadedoyin@gmail.com) or Tom Block (tom@ihraf.org)

OVER $200 UP FOR GRABS AT AFRICAN HUMAN RIGHTS ESSAY COMPETITION FOR YOUNG ESSAYISTS
The African Chapter of the International Human Rights Art Festival (IHRAF) has urged African essayists and writers to participate in the ongoing African Human Rights Essay Competition with the theme, Human Rights Abuse and Violations in Africa.
In a press statement issued and signed by Wole Adedoyin, President of the International Human Rights Art Festival- African Chapter (IHRAF Africa) called on essayists to lend their voices on human rights abuse and violation in their respective countries in Africa.
Entries are only expected in essays from budding and established essayists and writers within and outside Africa from African Essayists and Writers. Intending entries should focus exclusively on the theme, ‘Human Rights Abuse and Violations in Africa’ and only works relating to the theme will be accepted for the competition.
According to the Press Statement, “In Africa, the idea of human rights is a comparatively recent phenomenon. Contributing to the establishment of human rights system in Africa are the United Nations, international law and the African Union which have positively influenced the betterment of the human rights situation in the continent. However, extensive human rights abuses and violations still occur in many sections of the continent. Most of the violations can be attributed to political instability (as a consequence of civil war), racial discrimination, corruption, post-colonialism, economic scarcity, ignorance, illness, religious bigotry, debt and bad financial management, monopoly of power, lack/absence of judicial and press autonomy, border conflicts, unauthorized intrusion of privacy, establishment of laws barring specific of free expression, criminal defamation laws that are usually indistinct, restrictions on freedom of the press, freedom of assembly and association, corruption of government officials, lack or absence of independence and neutrality in the judiciary, gross domestic violence against women, prohibition of same sex activities, sexual abuse on LGBTI persons, and human trafficking.
The scope of the submission must directly relate to this year’s topic: Human Rights Abuse and Violations in Africa.
This year’s prizes will also be awarded in the names of the following African human rights defenders:
Nelson Mandela Prize: $100 - Nelson Rolihlahla Mandela was a South African anti-apartheid revolutionary, political leader and philanthropist who served as President of South Africa from 1994 to 1999. He was the country's first black head of state and the first elected in a fully representative democratic election. Mandela spent 27 years in jail, much of it on Robben Island, fighting against Apartheid.
Thomas Sankara Prize: $75 - Thomas Isidore Noël Sankara was a Burkinabé military officer and socialist revolutionary who served as the President of Burkina Faso from 1983 to 1987. A Marxist–Leninist and pan-Africanist, he was viewed by supporters as a charismatic and iconic figure of revolution and is sometimes referred to as "Africa's Che Guevara". Sankara launched programs for social, ecological and economic change. His foreign policies were centred on anti-imperialism, while he rejected aid from organizations such as the International Monetary Fund, Sankara welcomed foreign aid from other sources but tried to reduce reliance on aid by boosting domestic revenues and diversifying the sources of assistance. His domestic policies were focused on preventing famine with agrarian self-sufficiency and land reform, prioritising education with a nationwide literacy campaign and promoting public health. Sankara built scores of schools, health centers, water reservoirs, and nearly 100 km of rail, with little or no external assistance. Total cereal production rose by 75% between 1983 and 1986.
Omoyele Sowore Prize: $50 - Omoyele "Yele" Sowore is a Nigerian human rights activist, pro-democracy campaigner, former presidential candidate, and founder of an online news agency Sahara Reporters. On 3 August, 2019 Sowore was arrested by the Nigerian State Security Service for alleged treason after calling for a protest tagged RevolutionNow. His 2019 detention of 144 days without charge attracted the protest of Sen. Bob Menendez (D-NJ). Omoyele appeared at the first International Human Rights Art Festival, in NYC on March 3, 2017.
To participate, read the below guidelines
SUBMISSION GUIDELINES
Language Medium – English
Genre – Essay
Theme – Human Rights Abuse and Violations in Africa
Essays should be between the minimum of 1000 and the maximum of 1500 words.
Entries will be judged based on originality of thought, depth of analysis, clarity of expression, spelling and grammar and conformity to contest rules. Participants also have the flexibility to choose any subject related to this topic, however, the scope of the submission must directly relate to this year’s topic or it will be disqualified.
Entrants are advised to send the following information alongside their entries
i. Name
ii. Age
iii. Gender
iv. Country
v. Address
vi. Phone Number
vii. Where you heard about the Call for entries
viii. Short Profile about yourself.
ix. Permission to publish your poem/essay (in one or two paragraphs)
x. Name of school or university if any
Entrants can be from any African country
Permission to publish your work among the shortlisted entries.
Title of your mail should be addressed as “AFRICAN HUMAN RIGHTS ESSAY COMPETITION”
All entries must be submitted to: ihrafnigeria@gmail.com and also copy societyofyoungnigerianwriters@gmail.com.
Deadline for Submission is 31st of March, 2021.
Any signs of plagiarism will disqualify the entrant.
Organizers’ decision is final
OTHER BENEFITS
Award of Certificates of Participation to all Entrants.
Award of Certificates of Excellence to only the shortlisted entrants.
Only shortlisted work(s) will be published in e-book format
Automatic membership into African Chapter of the International Human Rights Art Festival
For more enquiries contact: Wole Adedoyin +2348072673852 (woleadedoyin@gmail.com) or Tom Block (tom@ihraf.org)

IBADAN BOOK CLUB SET TO HOST FOLUKE SIJUWOLA FALAYI FOR HER MARCH BOOK READING
Ibadan Book Club (IBC), has set aside March 27, 2021 to host Foluke Sijuwola Falayi as her Guest Writer/Speaker for the month of March.
A statement from Wole Adedoyin, the founder of the Club, said that the event will take place at the Press Council Hall, Beside Olori Hostel, North Campus of The Polytechnic, Ibadan by 12p.m.
Foluke Sijuwola Falayi’s books have received starred reviews in national dailies. She bagged a BA in English from the University of Ado Ekiti. She also read Mass communication at the National Open University of Nigeria School of Postgraduate Studies. Her books are recommended and approved by ministries of education in some south west states of Nigeria. She is a celebrated author whose books have been greeted with great éclat, read and used as part of curriculum books. She hones her writing skills by attending writer’s conferences, seminars and training globally. She lives with her family in Lagos Nigeria.
Foluke Sijuwola Falayi has written over 20 books. Some of the books written by the author are: The Slave Girl, Flub, Bond, Ugo and Ify at Christmas,The Little Prince and The Sluggish Servant.
Others are The Rainy Day, Ada in Port Harcourt, Trouble in the Exam, The Last Penny, The Pride of Parents, A Night at Edet’s House, One Two Three Poetry, Beans for Supper, Akeju’s Turnaround, The Gift from Ibadan and Sam Goes to College.
The upcoming book reading event promises to be an avenue for reading creative works such as poetry, fiction, book sales and signing, contacts with other readers and book writers in all corners of the state of Oyo, the statement added.
Prospective writers who have works in poetry, short stories and novels can also attend to read their works to other writers and readers. Membership forms and certificate of membership will be available at no charge to first timers.
Ibadan Book Club is an initiative of the Nigerian Young Writers Society. It was founded in 2011 by SYNW in order to contribute its own quota to the growth and development of the Reading Culture in the State of Oyo.
The Ibadan Book Club consists of a group of people who meet, meet periodically to discuss the book they have read and exchange those books. Club members encourage each other and learn to read with a critical mind, articulating their opinions about a particular book with others. Certain types of books not available or read receive attention through the book club.
Some of the publications published by Ibadan Book Club are: Olubadan Centennial Anthology: a collection of essays, articles, poems and works of art in honor of Oba (Dr.) Samuel Odulana, Odugade 1, Voices from Oja Oba Market and Finally, Senator Abiola Ajimobi: Memories, Dreams, Reflections of a Mind Always in Motion.

YOUNG AFRICAN WRITERS SHOULD READ, WRITE, LEARN AND STRIVE TO BE SUCCESSFUL – MBIZO CHIRASHA
Mbizo Chirasha is a Zimbabwean poet, an internationally acclaimed Performance poet, Writer and a senior fellow of the International Human Rights Art Festival (IHRAF). In this Interview with Wole Adedoyin, he shared with him facts about his life, writing and literary activism
WA: TELL US ALL ABOUT YOUR WRITING BACKGROUND, WHAT YOU’VE WRITTEN, WHAT YOU ’RE CURRENTLY WRITING
MC: I have been writing for the past 27 years. I am intrigued by the panorama of hills in my country, the mismatching of seasons, the poetry slam of birds in the mornings and the jam session of rock rabbits and mother-monkeys at country dawn, quite compelling. I was later attracted to the bustling and hustling in city squares, the echo of slogans and hushed beat of election campaign songs and again the nerve-tilting presidential speeches. Wail of motorcade sirens, hushed suffering of the masses under the grind of poverty as the ruling elite got possessed by seven legions of corruption, nepotism, tyranny and political violence. Nevertheless, despite
those and other ailments, Africa boasts of geographical, natural and mineral abundance, the ambiance brought by the flora and fauna. The sweetness of dialects from Xhosa, Kamba, Karanga, Kikuyu, Igbo and more. Africa is the home of Nyiragongo, Inyangani, Kirinyaga,
Kilimanjaro, White Nile, Blue Nile, Nzere Rivers, Garurep, Limpopo. So my writings are dipped in my experience from the country dawns of my umbilical cord to the hustle of Harare City Squares, to the political landscape and up to the African traditions and cultures. I am a born griot who graduated into Spoken Word Poet, Page Poet, Author, Anthologist and Literary Artivism Diplomat. As of now, I am writing my 800 paged Memoir, I call this process, a revolutionary adventure and I have experience much at my tender age that have to be read, archived and learnt by all students of life..

WA: WHAT EXCITES YOU ABOUT A PIECE OF WRITING?
MC: I am excited by the change my writing can bring to any reader, the beauty of realizing the value of pen, word and paper. The gift of educating my readers, my people and global community at large through written words that speak differently than everyday talk but circling around ideas, processes and thoughts that are in reality of our daily lives.
WA: WHO ARE YOUR FAVORITE WRITERS AND WHY?
MC: I have loved a lot of writers from Russia, Zimbabwe, South Africa, British, Irish Writers and more. I have to mention Famished Road by Ben Okri, there are some great stuff there, I loved how the author used powerful lyrical expression and bold verbiage to depict African Myth, the paradox of African tradition, the engaging drama of Africa wizardry and witchcraft written in beautiful and flowery taste.

WA: WHAT ADVICE WOULD YOU GIVE TO A NEW WRITER STARTING OUT?
MC: The most important aspect is writing what you know best, writing things you are familiar with, read voraciously to be able to find and master your voice, that voice that shapes you into the writer you become. Read, Write and keep focused.
WA: WHAT INSPIRES YOU TO WRITE?
MC: I am inspired by several things, village life, country side terrains, village rituals, festivals, politics, political history, African kingdoms and anthropologies
WA: DO YOU HAVE A WRITING ROUTINE?
MC: Not exactly, I usually write great pieces when I am staying alone than living with crowds, so I always write in my closet. This is very important because you are able to listen to the voices coming to your writing psyche. It’s a place that’s special?
WA: HOW, WHEN AND WHY DID YOU FIRST START WRITING?
MC: I listened to my father’s stories, he was a great storyteller, I read a lot of Shona and English folktales/ stories at tender age, I started writing readable messages 27 years ago
WA: WHAT WAS THE FIRST PIECE YOU EVER HAD PUBLISHED?
MC: I can’t remember, they are many and I have done a thousand of things, I remember publishing short opinions in the Gweru Times as back as 1996, some poetry in the Motto Magazine and some poetry in the Writers Scroll, a budding Writers Association of Zimbabwe journal. Quite a while.
WA: HOW DID YOU FEEL WHEN YOU FIRST STARTED SENDING YOUR WRITING OUT INTO THE WORLD?
MC: I was happy. It was a beautiful and wonderful step. It changed my mind set. It gave me that energy and strength to forge ahead.

WA: HOW DID YOU GET YOUR PUBLISHER?
MC: Some of my publishers approached me while I wrote to others. Everything we do must be guided by faith, determination, tenacity, focus and due diligence. Social media is enabling people to access each other quickly and collaborate in various creative/ book writing projects.
WA: TELL US WHAT KIND OF RESPONSES YOU GET FROM AUDIENCES\ READERS.
MC: Responses from my readers are always brilliant and encouraging; I have so far built a very vibrant writing and reading lovers’ community.

WA: HOW CAN PEOPLE FIND OUT MORE ABOUT YOU?

MC: https://miombopublishing.org/mbizo-chirashainternational/

WA: TIPS, TRICKS, THINGS TO PASS ON TO DEDICATED WRITERS?
MC: Read, Write, read, write and focus. Learn and strive to achieve positive results

WA: ANY TYPICAL/COMMON MISTAKES THAT NEW WRITERS TEND TO MAKE?
MC: Hurry editors, hurry and bring on half baked writings, hunt for fame

WA: WHICH OF YOUR BOOKS WERE THE MOST ENJOYABLE TO WRITE?
MC: My forth coming memoir

WA: TELL US ABOUT YOUR FIRST PUBLISHED BOOK?
MC: Good Morning President (2012)
WA: WHAT WAS THE JOURNEY LIKE?
MC: The writing journey requires a lot of hands on, determination and it’s always steep like any other process.

WA: WHAT IS THE KEY THEME AND/OR MESSAGE IN THE BOOK?
MC: Political Poetry, Human Rights Matters, Protests Poetry
WA: TELL US ABOUT THE POETRY EXCHANGE BETWEEN GIRL CHILD CREATIVITY CONCEPT OF ZIMBABWE AND THE SOCIETY OF YOUNG NIGERIAN WRITERS (SYNW)
MC: That was great; such projects have to be done always to promote diversity and integration among writers of different nations.

ONE WHO ASPIRES BECOMING A WRITER MUST HAVE THE EMOTIONAL MUSCLE TO WITHSTAND SEVERAL "NOS" FROM PUBLISHERS - CHUKWU SUNDAY ABEL
Chukwu Sunday Abel is a fiction writer, a journalist and an on air personality. He is also the first Prize Winner of the 2020 Creators Of Justice Literary Award organized by the International Human Rights Art Festival (IHRAF). In this Interview with Wole Adedoyin, he shared with him details about his life and writing career.
WA: PLEASE, KINDLY INTRODUCE YOURSELF.
CSA: Chukwu Sunday Abel is a journalist and a writer; the 2020 Creators Of Justice Literary Award First Prize Winner, a Runner up in the Victoria Literary Festival, Canada. My Literary works have appeared in anthologies and magazines across four continents.
WA: HOW AND WHERE DID YOU HEAR ABOUT IHRAF AND IHRAF PUBLISHES?
CSA: I heard about IHRAF through a newsletter. The newsletter was delivered to my email. Among the items of news in the newsletter was call for submissions from IHRAF for its 2020 Creators Of Justice Literary Award. This award, my short story: "Less Human" eventually won the first prize.
WA: WHAT IS THE TITLE OF YOUR WORK THAT GOT PUBLISHED IN IHRAF PUBLISHES?
CSA: It's "Less Human"; it won the first prize for 2020 Creators of Justice Literary Award for Short stories category.
WA: DID YOU PARTICIPATE IN IHRAF'S LAST YEAR END SARS COMPETITION?
CSA: I did participate in IHRAF ENDSARS National Poetry Competition. I was happy that my poem: "Green Split Flag" made the shortlist and later designated "Notable Contribution" as well as published in the anthology alongside with other beautiful collections.
WA: DOES WRITING ENERGIZE OR EXHAUST YOU?
CSA: Writing is an inexhaustible forte to me. I am always motivated to write, to make my voice heard; I write to right, this is evident in so many of literary works published in magazines and anthologies across four continents.
WA: WHAT ARE THE COMMON TRAPS FOR ASPIRING WRITERS?
CSA: The most common trap for emerging writers is “not a good fit for us" from Editors of magazines. This tends to make aspiring writers discouraged, consequently, lazy. Also, prioritizing monetary gains at the expense of making one's voice heard is another pitfall for emerging writers.
WA: HAVE YOU EVER EXPERIENCED READER'S BLOCK?
CSA: In have not experienced reader's block.
WA: DID YOU EVER CONSIDER WRITING UNDER A PSEUDONYM?
CSA: I have never considered writing under a pseudonym.
WA: DO YOU TRY MORE TO BE ORIGINAL OR TO DELIVER TO READERS WHAT THEY WANT?
CSA: Most of my literary works are reflections of the past or unfolding events in my home country and the sociological, political and environmental issues affecting Africa. My writings are tailored to right; hence, I consider myself a satirist who writes to right rather than to entertain.
WA: DO YOU THINK SOMEONE COULD BE A WRITER IF HE DOESN'T FEEL EMOTIONS STRONGLY?
CSA: Becoming a writer is hugely dependent on the will to do so. One who aspires becoming a writer must have the emotional muscle to withstand several "No's" from publishers.
WA: WHAT OTHER AUTHORS ARE YOU FRIENDS WITH, AND HOW DO THEY HELP YOU BECOME A BETTER WRITER?
CSA: Popular Nigerian authors such as Chika Unigwe, Helon Habila have been a great influence on my development. Chika Unigwe in particular has been pivotal in my growth as a writer. Sometime ago, when my manuscript received a traditional publishing deal from Europe books, she advised me on how to go about it.
However, the writer whose literary works have greatly impacted me is late Buchi Emechata.
WA: WHAT WAS THE EARLY EXPERIENCE IN WHICH YOU LEARNED THAT LANGUAGE HAD POWER?
CSA: My mum was a profound story teller. She told us simple stories that were compelling because of her choice of words. I will say she taught me the immeasurable power inherent in language.
WA: WHAT ARE THE MOST IMPORTANT MAGAZINES FOR WRITERS TO SUBSCRIBE?
CSA: No magazine is actually less important than the other. It depends on the writer's or reader's interest and liking. I will recommend IHRAF publishes, Granta, Afreada, the Preachy, Brittle paper, Strange Horizon, The Sun Magazine, etc.
WA: HOW MANY UNPUBLISHED BOOKS HAVE YOU FINISHED?
CSA: At present, I have two completed novel length manuscripts. Of the two, one is forthcoming 2022.
WA: WHAT DOES LITERARY SUCCESS LOOKS LIKE TO YOU?
CSA: Literary success to me is the gratification that comes from one seeing one's literary works in worthwhile places as well as getting commendation; this to me, is Literary success.
WA: WHAT'S THE BEST WAY TO MARKET YOUR BOOKS?
CSA: I am not interested in self-publishing, hence I have not thought about marketing my books without the assistance of the publisher.
WA: WHAT KIND OF RESEARCH DO YOU DO, HOW LONG DO YOU SPEND RESEARCHING BEFORE BEGINNING A BOOK?
CSA: Every writer has his niche of writing, the aspect he thinks his literary skills best fit in. I am a fiction writer and fiction writing is hugely dependent on the writer's creative inventions and instinct. There is often little researching in fiction writing.
WA: DO YOU VIEW WRITING AS A KIND OF SPIRITUAL PRACTICE?
CSA: To me, writing depends on one's imaginative and creative ability. I don't think it has something to do with religiosity and spirituality.
WA: FINAL ADVICE FOR IHRAF PUBLISHES.
CSA: First, I have to commend IHRAF Publishes for its notable contribution in fostering human rights globally. Its increasing presence in Africa is not only timely but long awaited.
I enjoin IHRAF not to relent in giving voice to the voiceless.

IHRAF CALLS FOR ENTRIES ON HUMAN RIGHTS ABUSE AND VIOLATIONS IN AFRICA
The African Chapter of the International Human Rights Art Festival (IHRAF) has urged African essayists and writers to participate in the ongoing African Human Rights Essay Competition with the theme, Human Rights Abuse and Violations in Africa.
In a press statement issued and signed by Wole Adedoyin, President of the International Human Rights Art Festival- African Chapter (IHRAF Africa) called on essayists to lend their voices on human rights abuse and violation in their respective countries in Africa.
Entries are only expected in essays from budding and established essayists and writers within and outside Africa from African Essayists and Writers. Intending entries should focus exclusively on the theme, ‘Human Rights Abuse and Violations in Africa’ and only works relating to the theme will be accepted for the competition.
According to the Press Statement, “In Africa, the idea of human rights is a comparatively recent phenomenon. Contributing to the establishment of human rights system in Africa are the United Nations, international law and the African Union which have positively influenced the betterment of the human rights situation in the continent. However, extensive human rights abuses and violations still occur in many sections of the continent. Most of the violations can be attributed to political instability (as a consequence of civil war), racial discrimination, corruption, post-colonialism, economic scarcity, ignorance, illness, religious bigotry, debt and bad financial management, monopoly of power, lack/absence of judicial and press autonomy, border conflicts, unauthorized intrusion of privacy, establishment of laws barring specific of free expression, criminal defamation laws that are usually indistinct, restrictions on freedom of the press, freedom of assembly and association, corruption of government officials, lack or absence of independence and neutrality in the judiciary, gross domestic violence against women, prohibition of same sex activities, sexual abuse on LGBTI persons, and human trafficking.
The scope of the submission must directly relate to this year’s topic: Human Rights Abuse and Violations in Africa.
This year’s prizes will also be awarded in the names of the following African human rights defenders:
Nelson Mandela Prize: $100 - Nelson Rolihlahla Mandela was a South African anti-apartheid revolutionary, political leader and philanthropist who served as President of South Africa from 1994 to 1999. He was the country's first black head of state and the first elected in a fully representative democratic election. Mandela spent 27 years in jail, much of it on Robben Island, fighting against Apartheid.
Thomas Sankara Prize: $75 - Thomas Isidore Noël Sankara was a Burkinabé military officer and socialist revolutionary who served as the President of Burkina Faso from 1983 to 1987. A Marxist–Leninist and pan-Africanist, he was viewed by supporters as a charismatic and iconic figure of revolution and is sometimes referred to as "Africa's Che Guevara". Sankara launched programs for social, ecological and economic change. His foreign policies were centred on anti-imperialism, while he rejected aid from organizations such as the International Monetary Fund, Sankara welcomed foreign aid from other sources but tried to reduce reliance on aid by boosting domestic revenues and diversifying the sources of assistance. His domestic policies were focused on preventing famine with agrarian self-sufficiency and land reform, prioritising education with a nationwide literacy campaign and promoting public health. Sankara built scores of schools, health centers, water reservoirs, and nearly 100 km of rail, with little or no external assistance. Total cereal production rose by 75% between 1983 and 1986.
Omoyele Sowore Prize: $50 - Omoyele "Yele" Sowore is a Nigerian human rights activist, pro-democracy campaigner, former presidential candidate, and founder of an online news agency Sahara Reporters. On 3 August, 2019 Sowore was arrested by the Nigerian State Security Service for alleged treason after calling for a protest tagged RevolutionNow. His 2019 detention of 144 days without charge attracted the protest of Sen. Bob Menendez (D-NJ). Omoyele appeared at the first International Human Rights Art Festival, in NYC on March 3, 2017.
To participate, read the below guidelines
SUBMISSION GUIDELINES
Language Medium – English
Genre – Essay
Theme – Human Rights Abuse and Violations in Africa
Essays should be between the minimum of 1000 and the maximum of 1500 words.
Entries will be judged based on originality of thought, depth of analysis, clarity of expression, spelling and grammar and conformity to contest rules. Participants also have the flexibility to choose any subject related to this topic, however, the scope of the submission must directly relate to this year’s topic or it will be disqualified.
Entrants are advised to send the following information alongside their entries
i. Name
ii. Age
iii. Gender
iv. Country
v. Address
vi. Phone Number
vii. Where you heard about the Call for entries
viii. Short Profile about yourself.
ix. Permission to publish your poem/essay (in one or two paragraphs)
x. Name of school or university if any
Entrants can be from any African country
Permission to publish your work among the shortlisted entries.
Title of your mail should be addressed as “AFRICAN HUMAN RIGHTS ESSAY COMPETITION”
All entries must be submitted to: ihrafnigeria@gmail.com and also copy societyofyoungnigerianwriters@gmail.com.
Deadline for Submission is 31st of March, 2021.
Any signs of plagiarism will disqualify the entrant.
Organizers’ decision is final
OTHER BENEFITS
Award of Certificates of Participation to all Entrants.
Award of Certificates of Excellence to only the shortlisted entrants.
Only shortlisted work(s) will be published in e-book format
Automatic membership into African Chapter of the International Human Rights Art Festival
For more enquiries contact: Wole Adedoyin +2348072673852 (woleadedoyin@gmail.com) or Tom Block (tom@ihraf.org)

https://ihrafafrica..com/2021/03/ihraf-calls-for-entries-on-human-rights.html

CALL FOR SUBMISSIONS: AFRICAN HUMAN RIGHTS ESSAY COMPETITION
TOPIC: HUMAN RIGHTS ABUSE AND VIOLATIONS IN AFRICA
The African Chapter of the International Human Rights Art Festival (IHRAF) is currently accepting submissions for its 2021 African Human Rights Essay Competition. The scope of the submission must directly relate to this year’s topic: Human Rights Abuse and Violations in Africa.
In Africa, the idea of human rights is a comparatively recent phenomenon. Contributing to the establishment of human rights system in Africa are the United Nations, international law and the African Union which have positively influenced the betterment of the human rights situation in the continent. However, extensive human rights abuses and violations still occur in many sections of the continent. Most of the violations can be attributed to political instability (as a consequence of civil war), racial discrimination, corruption, post-colonialism, economic scarcity, ignorance, illness, religious bigotry, debt and bad financial management, monopoly of power, lack/absence of judicial and press autonomy, border conflicts, unauthorized intrusion of privacy, establishment of laws barring specific of free expression, criminal defamation laws that are usually indistinct, restrictions on freedom of the press, freedom of assembly and association, corruption of government officials, lack or absence of independence and neutrality in the judiciary, gross domestic violence against women, prohibition of same sex activities, sexual abuse on LGBTI persons, and human trafficking.
PRIZES TO BE WON:
Nelson Mandela Prize: $100
Thomas Sankara Prize: $75
Omoyele Sowore Prize: $50
AND Seven Honorable Mentions will be awarded
SUBMISSION GUIDELINES
Language Medium – English
Genre – Essay
Theme – Human Rights Abuse and Violation in Africa
Essays should be between the minimum of 1000 and the maximum of 1500 words.
Entries will be judged based on originality of thought, depth of analysis, clarity of expression, spelling and grammar and conformity to contest rules. Participants also have the flexibility to choose any subject related to this topic, however, the scope of the submission must directly relate to this year’s topic or it will be disqualified.
Entrants are advised to send the following information alongside their entries
i. Name
ii. Age
iii. Gender
iv. Country
v. Address
vi. Phone Number
vii. Where you heard about the Call for entries
viii. Short Profile about yourself.
ix. Permission to publish your poem/essay (in one or two paragraphs)
x. Name of school or university if any
Entrants can be from any African country
Permission to publish your work among the shortlisted entries.
Title of your mail should be addressed as “AFRICAN HUMAN RIGHTS ESSAY COMPETITION”
All entries must be submitted to: ihrafnigeria@gmail.com and also copy societyofyoungnigerianwriters@gmail.com.
Deadline for Submission is 31st of March, 2021.
Any signs of plagiarism will disqualify the entrant.
Organizers’ decision is final
OTHER BENEFITS
Award of Certificates of Participation to all Entrants.
Award of Certificates of Excellence to only the shortlisted entrants.
Only shortlisted work(s) will be published in e-book format
Automatic membership into African Chapter of the International Human Rights Art Festival
For more enquiries contact: Wole Adedoyin +2348072673852 (woleadedoyin@gmail.com) or Tom Block (tom@ihraf.org)

IHRAF IS MY PATHFINDER - BUWASO IBRAHIM RAZACK, UGANDAN POET-IN-EXILE

Buwaso Ibrahim Razack is a Ugandan poet-in-exile, also a Spoken Word Artist. In this Interview with Wole Adedoyin, he shared with him few facts about his writings, project and human rights struggle.

WA: HOW DID YOU GET STARTED AS A POET?

BIR: Unnnhh , maybe the same way I started calling out mama and dada when I was a toddler hahahaha, I started by speaking what’s on my mind without fear or favor, believing I am the best and greatest of all times, standing on the truth. Also I write and practice every day. Practice makes perfect. Writing needs constant practice. This takes me where I am today.

WA: HOW DID YOU GET INTO SPOKEN WORD?
BIR: Nature got me into spoken word; I can also say it’s a calling. Calling to show the world lightness, truth, honesty and transparency. I have already made a name through it. My desire to fight for human rights, speak the truth to the people in power and my thirst for a better world got me into Spoken Word.
WA: WHAT DO YOU THINK THAT PEOPLE MISS IF THEY ONLY READ POETRY, DON’T HEAR IT SPOKEN?
BIR: They miss out a lot, they miss seeing the real images, action, hardness, softness, sweetness, rhyming, rhythms that always accompany every delivery while rendering such lines. Poetry is life and my life also depends on it. Everything about me is poetry. Spoken Word makes poetry lively. It makes it interesting and meaningful.
WA: DID YOU HAVE TO TRAIN AT ALL TO GET THE FLOW OF SPOKEN WORD POETRY?

BIR: Hahahaha, I did not attend any Spoken Word training school and there is no such where I am presently. My spoken Word talent is natural. I did not go to any school to learn it. I practice every day and through that I became a Spoken Word Master. My Spoken Word rendering style actually makes me unique among my colleagues.

WA: HOW DO YOUR POEMS DEVELOP? PLEASE GUIDE US THROUGH THE STAGES OF A POEM
BIR: As I mentioned above, poetry is what I do every day. It’s a day to day affair. I write whenever I feel like writing. I can write about anything and my writing depends on tones. The tones can be hard, soft, revolutionary and lyrical. I always follow some rules and guidelines whenever I’m writing a poem. The rules always help my Spoken Word rendering.

WA: I HEARD YOU ARE CURRENTLY WORKING ON A REFUGEE REHABILITATION PROJECT; CAN YOU SHED MORE LIGHT ON THE PROJECT?
BIR: Yes, I am the Founder and currently the CEO of the International Refugees Rehabilitation Initiative which is basically into Refugees Rehabilitation and Management. Also into care and maintenance of refugees in camps, organizing vocational training for refugees, orientation for resettlement, and an extensive tracing service to find lost relatives. We hope to work with human rights lawyers, writers, NGOs, business and religion institutions in order to achieve some of our aims and objectives.
WA: WHAT HAS BEEN THE HIGHLIGHT OF YOUR HUMAN RIGHTS STRUGGLE SO FAR?
BIR: I can summarily say the freedom of the masses is the basic reason why I’m into activism. Millions of Africans are suffering due to bad leadership and negligence by their elected leaders. Though they always blame their failures on Mistakes. Majorly, mistakes committed by them while they were in power. I have been able to use poetry to address this and other issues affecting the growth and development of Africa and Africans in general.
WA: WHAT CAN YOU SAY ABOUT YOUR EXPERIENCE WITH IHRAF?
BIR: IHRAF has been at the forefront of making silent voices heard to the whole world through her IHRAF Publishes. The platform has helped to make many voices heard and known to the rest of the world. It has really helped me in person in making my struggle known to the world. IHRAF is my pathfinder.
WA: HOW DID YOU MANAGE TO FIT WRITING IN WITH OTHER DEMANDS ON YOUR TIME?
BIR: Like I said, writing is what I do every day. Though I have some specific hours which I have set aside for writing. Writing is my passion. I write anywhere I found myself. I am always with my pen and paper. Whenever the ideas come, I put them down on papers.

WA: WHAT DOES IT TAKE TO BE A SPOKEN WORD POET?

BIR: It takes nothing but being real, being you and believing in yourself. Constant practice is another vital element which must be taken into consideration as a Spoken Word Artist.
WA: TELL ME ABOUT YOUR FIRST TIME PERFORMING
BIR: It was quite funny and a lovely time. I was five years old then. You know being a kid; my act was very funny and humorous.
WA: WHO ARE YOUR FAVOURITE LIVING POETS?
BIR: Shonda Buchanan. Shonda Buchanan is an award-winning poet and educator. She is also the author of Who's Afraid of Black Indians? and Equipoise: Poems from Goddess Country and editor of two anthologies, Voices from Leimert Park and Voices from Leimert Park Redux. She has been my mentor and a literary friend.

WA: WHAT ADVICE WOULD YOU GIVE TO YOUNG PEOPLE INTERESTED IN PERFORMANCE POETRY?
BIR: Upcoming Spoken Word Artists should believe in themselves. Their watchwords should be transparency, honesty and truth. They should continue writing and face any challenges that confront them.
WA: WHERE CAN WE FIND YOU ONLINE?
BIR: I have social media handles and currently building my own app where all my writings and social activities will be found. My current social media handles are:
*Rich kidd thats facebook
*BlackboyGu thats Twitter
*Blackboy __ivyoffical

WA: HAVE YOU, OR WOULD YOU, DO AN ALBUM?

BIR: Yes like any other Spoken Word Artists, I have a couple of Performance poetry skits but yet to be premiered for public consumption.

THE STORY OF WORLD POETRY HAS BEEN TOLD TO-DATE THROUGH 100TPC- MICHAEL ROTHENBERG – CO-FOUNDER, 100TPFC

Michael Rothenberg is an American poet, songwriter, editor, artist, and environmentalist. In 2011, Rothenberg and his partner Terri Carrion co-founded 100 Thousand Poets for Change. 100 Thousand Poets for Change is a global poetry and arts movement with an emphasis on peace, justice, sustainability and education. In this Interview with Wole Adedoyin, he shared with him full details about his movement, 100 Thousand Poets for Change (100TPFC) and his writing career.

TELL US ABOUT 100 THOUSAND POETS FOR CHANGE (100TPC.org)

100 Thousand Poets for Change was initially conceived by Michael Rothenberg and Terri Carrion in March, 2011, as a worldwide set of events to take place simultaneously on September 24, 2011. Literary event organizers volunteered to host associated events in their own cities or schools. On September 13, 2011, the city of Santa Rosa, California, declared September 24, 2011, to be "100 Thousand Poets for Change Day," and Stanford University offered to archive all documentation and audiovisual records of the event posted on the 100TPC web site.

Ultimately, 700 events in 550 cities in 95 countries took place on September 24 of 2011 in conjunction with 100TPC, and the event was described by Stanford University as “the largest poetry event in history.” Considering the series of events to be a success, Rothenberg and co-founder Terri Carrion decided to pursue non-profit status for 100 Thousand Poets for Change and establish an annual event in September of each year.

In 2018, 100 Thousand Poets for Change added a literacy initiative, "Read A Poem To A Child." A .pdf of children's poetry collected by Florida State University Libraries was made available as a free download. The poems in the .pdf were selected from The John MacKay Shaw Collection, which consists of books, works of art, manuscripts, catalogs and ephemera related to childhood. The collection includes bibliographies, biographies, literature, poetry, and criticism. Over 2,000 individuals and organizations permitted in this initiative.

Although the worldwide 100TPC event is scheduled for the last Saturday of September each year, it currently takes place year-round. “Read A Poem To A Child” runs for the week up to and including the global day to allow for school participation.


TELL US ABOUT TERRI CARRIÓN, CO-FOUNDER OF 100TPC. WHAT IS HER ROLE IN ALL THIS?

MR: The creation of 100TPC was a true collaboration with Terri Carrion. The creation of the movement would have beenimpossible without her. Terri has been a key force in formulating the ideas of the movement and defining our mission. Terri works actively on social mediareaching out to new organizers. Terri also maintains the 100tpc.org website facilitating documentation and posting news of events, also expanding the poster gallery which is one of the most inspirational features of the website. The logo design we have all become familiar with is Terri’s creation. Also, important to note that Terri is bi-lingual, her first language is Spanish, and she has made it possible for 100TPC to communicate with Spanish-speaking literary communities in the early years of our creation; and along with Pilar Rodriguez Aranda, one of our earliest organizers in Mexico, Terri has initiated communications with organizers in Central and South America. You really should interview Terri.


WHAT ACTUALLY LED TO THE ESTABLISHMENT OF THE 100TPC.ORG MOVEMENT?

MR: Things were pretty depressing around the world. We had two wars going on and a heartbreaking oil spill disaster in the Gulf of Mexico. I grew up in Florida, on the Gulf Coast. I spent most of my formative years there, around the Everglades, so it really hurt me. I had this sense of personal death. Terri and I were doing many benefit readings for the Louisiana Bucket Brigade. We helped organize poetry and music events around Northern California and Los Angeles but the overall response to that was very weak. I thought everyone’s attention would turn to the Gulf Coast oil disaster, so I was extremely depressed when the national response was just as weak and the whole country did not rise in protest of the policies that led to this disaster. Then, Fukishima. It seemed the message was clear but still everyone went back to doing whatever they were doing. Business as usual. There was the Arab Spring; there was Madison. There were some good things happening, signs of hope, but I was really feeling down. Did we need more major disasters to prove that things had to change? I mean, the Gulf oil disaster was the worst environmental disaster in the history of the United States, where was the outrage? I was saying to someone on Facebook, “there ought to be 100 thousand poets for change,” and the person said, “that’s a good idea.” It was almost like a challenge. Oh yeah, right. It’s a good idea. The chance of getting poets engaged really seemed hopeless. But I said to myself, okay one more challenge. I’m gonna put down the gauntlet. I set up an event page on Facebook and it read, “Do you want to join other poets around the USA and across the planet in a demonstration/celebration of poetry to promote serious social, environmental, and political change? And I invited all my Facebook friends. I honest to God didn’t think anybody was going to respond. But they did.

100 THOUSAND POETS FOR CHANGE, WHAT KIND OF A CHANGE ARE WE TALKING ABOUT?

MR: The first order of change is for poets, writers, musicians, artists, activists to get together to create and perform, educate and demonstrate, simultaneously, with other communities around the world. This will change how we see our local community and the global community. We have all become incredibly alienated in recent years. We hardly know our neighbors down the street let alone our creative allies who live and share our concerns in other countries. We need to feel this kind of global solidarity. It will be empowering.

And of course there is the political/social change that many of us are talking about these days. There is trouble in the world. Wars, violation of human rights, ecocide, racism, genocide, gender inequality, homelessness, the lack of affordable medical care, police brutality, religious persecution, poverty, censorship, animal cruelty, the list goes on and on.

It appears that transformation towards a more sustainable world is a major concern and could be a global guiding principle for 100 TPC events. Peace also seems to be a common cause. War is not sustainable. There is an increasing sense that we need to move forward and stop moving backwards. But we are trying not to be dogmatic. We hope that together we can develop our ideas of the “change/transformation” we are looking for as a global community, and that each local community group will decide their own specific area of focus for change for their particular event. All we ask is that local communities organize events about change within the guidelines of peace and sustainability.

CAN YOU SHARE WITH US THE STRUCTURE OF 100 THOUSAND POETS FOR CHANGE?

MR: 100TPC was founded in Guerneville, California but, most organizational tasks are done by individual organizers of local events. Event organizers in individual cities volunteer to create an event in association with 100TPC. Then we publicize the event through the web site, social media outlets, and conventional press releases. The relationship between most local organizers and the 100TPC headquarters remains informal, conducted primarily through e-mail. Organizers do not become officers or employees of 100TPC. Organizers can communicate with each other through the 100 TPC Organization & Communication Hub, a Facebook group available to 100TPC event organizers, where they are encouraged, but not required, to work together and to learn about each other's events to help develop event ideas. Local organizers, then, have full control over the style and structure of their events—their only obligation is to register their event with the main 100TPC web site. Some event organizers have free events; others charge an entry fee and donate proceeds to charity that is determined by the local organizer. The Hub is also an important place to make creative contacts for international translation and publication.
Most 100TPC events take place in September. Each year, the last Saturday in September is named "100 Thousand Poets for Change Day" and publicity is focused on that date. Some organizers choose to create 100TPC events on different days throughout the year and 100TPC will register and publicize those events regardless of when they take place.

The concept of "Change" in the name 100 Thousand Poets for Change refers to social change, but is otherwise broadly defined and dependent on the definitions of individual organizers or poets. 100TPC events do not necessarily share political or philosophical orientation. The 100TPC web site describes the "change" as having only to fall "within the guidelines of peace, justice and sustainability."

AS THE CO-FOUNDER AND PROMOTER OF 100 THOUSAND POETS FOR CHANGE, WHAT KINDS OF OBSTACLES DO YOU FACE?

MR: First of all, there are a lot of things going on in people’s lives, I understand. We are worried and busy. There’s the economy and jobs. There are activities, organizations and things people are already involved in that take their attention. There is just so much any one of us can do. But what I’m suggesting is that people look at 100TPC as a way of organizing a coalition that has an arts base to it; that pulls all the other local concerns together under one international umbrella. That together we can do what we are already doing but have the impact of community strength.
And some people ask me, “Where is PEN? Where is Poets & Writers and where is the American Academy of Poets? Why aren’t they supporting 100 Thousand Poets for Change in a more aggressive way?” I don’t know how to answer these questions. Everyone can’t do everything. But we do look to our more prominent poetry organizations to connect with this movement. We should be building alliances not empires. Of course, maybe they don’t know about 100TPC. We always need to do more outreach.

WHAT HAS BEEN THE BIGGEST ACHIEVEMENT OF 100 THOUSAND POETS FOR CHANGE (100TPC)?

MR: The very fact that anybody cares about this movement is an empowering achievement. The very fact that we have gathered in global unity is a major achievement. The very fact that your group, Society of Young Nigerian Writers is talking with us about change in an achievement.. We have brought mimes, musicians, painters, photographers, dancers, ecologists, teachers, students from around the world together to share their energies, their creativity, their work, their translations, their books, their visions, their dreams, this is an achievement. Have we changed the world? I think this sharing is change and is a catalyst for expanded awareness that facilitates change. Poets and artists from around the world are getting to now each other like never before and do not have to rely on huge corporate institutions to facilitate exchange. 100TPC is a cultural exchange platform available to everyone, free and unhindered, this is an achievement that I am grateful for, Every time someone writes me and says they want to participate, I am empowered and grateful. Over the years people who didn’t participate in previous years sign up so the community expands. The successful addition of “Read A Poem To A Child” as a 100TPC initiative shows that we are growing and expanding perspectives and functions we had not imagined. We hope Society of Young Nigerian Writers can be a force to lead the way towards expanding perspectives and opening more channels for sharing of creative inspiration.


WHY DO YOU THINK THAT POETRY AND CHANGE GO TOGETHER?

MR: When I first moved to California from Florida in 1975, I opened a tropical plant nursery and got very involved in the environmental movement. I worked with other organizers to get both Sweeney Ridge and Mori Point included in the national parks system. I served as a planning commissioner in my town as a result of my activism. That didn’t last very long because I wasn’t comfortable working within the system but I was willing to try anything. I had a mentor, Amy Meyer, who worked for the Golden Gate National Recreation Area. She taught me a lot about activism. But prior to moving to California, I already believed that being involved in the world was part of my job as a poet. I learned from other poets as I was coming up. When I was in high school Allen Ginsberg was running around protesting war, and obviously I was of that protest generation. I understood from the poets of my day that poets knew all about the world and cared all about the world. This was the language of a great deal of poetry of my day and I never questioned it. Poets have been willing to go to jail for survival of the planet, to end war, to defy censorship, to speak about human rights. This made sense. The very act of creating poetry transforms reality, even when it isn’t overtly political, and therefore by its very transformative nature poetry is change. Michael McClure was very influential to me. His Meat Science Essays opened my eyes immensely to nature and ecology and the multiplicity of expressions possible through poetry. Lawrence Ferlinghetti was outspoken and spoke clearly about the world in an eye-opening way, his voice was for me a clarion call when I was a young man. And I loved the Romantic poets and they were activists, they were engaged poets, there is a tradition of engagement in poetry so 100TPC is part of a tradition.

As poets, we’re supposed to be well read. Reading expands the mind and that expansion is change. We’re supposed to know all about rocks and stars, about nature and culture, about many languages and many countries and peoples and existences. That awareness is change. We’re supposed to know about all of the arts, all kinds of artists, all kinds of schools of artists, not just our own. Awareness of a multi-cultural, multi-generational, global art is change. Poets are supposed to know about many things. Knowing is change. At least that is what I was taught growing up as a poet. For me, this is what it’s about to be a poet. Change is what a poet does. Poets get involved.

TELL US ABOUT THE ARCHIVING PROJECT AT STANFORD. WHAT IS THE SIGNIFICANCE OF THAT?

MR: One of the goals of this movement is to tell the story of the planet today. How we write, how we create, how we see the world. And what we dream and what we desire. There needs to be a record, a history. Stanford came along and volunteered to archive everything—the blog, the website, everything, through the LOCKSS program. They felt 100TPC was an historical movement and had a history worth saving. They got the Archive Foundation involved. And so all the text, video, audio, posters, comments from individual event location blog pages on the 100TPC is archived.

There is a story of world poetry that has been told to-date through 100TPC. If you sat down and read it all, you might have the most complete record compiled of world poetry ever. Where else will you see 500 cities represented, through poetry, posters, community reflections all in one place? And there is the 100 TPC YouTube Channel where there are hundreds of videos of poetry readings and other events from all around the world, from September 24th, 2011 and beyond, available for viewing! For a historian, for an academic, for a librarian, anybody who is interested in the history of the world, this is huge. I’ve always found the libraries to be very cool. In recent years, Florida State University, where I am the Florida State University Libraries Poet in Residence, has stepped up to expand our archiving capacity and recently put on an exhibit which discussed a lot of what 100TPC is about. The story continues.

WHAT DOES IT REQUIRE TO ORGANIZE AN EVENT FOR 100 THOUSAND POETS FOR CHANGE

100 Thousand Poets for Change will help organize by local region, city, or state, and find individuals in each area who would like to organize their local event.

If you are an organizer for your community this means that first you will consider a location for the event and begin to contact people in your area who want to participate in the event. Participation means contacting the media, posting the event on the web, in calendars, newspapers, etc., reading poems, doing a concert, performing in general, supplying cupcakes and beer (it’s up to you), demonstrating, putting up an information table, inviting guest speakers, musicians, etc., organizing an art exhibit, and documenting the event (this is important, too), and cleaning up, of course.

Organizers and participants will create their own local event as an expression of who they are locally. Do they want a concert or a jam session, candlelight vigil or a circus, a march or a dance, poetry reading in a cafe or on the subway, do they want absolute silence, a group meditation on a main street; it’s up to the local organization.

However, groups should try to hold some part of the event, if not all of it, outdoors, in public view (not required). The point is to be seen and heard, not just stay behind closed walls. It is also important that the event be documented. Photos, audio, videos, poems, journals, paintings! Documentation is crucial. The rest of the 100 Thousand Poets for Change want to hear what you have to say about change and enjoy your creativity too! The documentation will be shared through our 100TPC blog/website where groups can share and announce event information on their own blog page, as well as post photos, videos, poetry, art, and thoughts. But an event doesn’t have to involve tons of people. It can be just you (the organizer) and your pet, on a street corner, with a sign. Just let me know what you are planning!Every effort counts!

Each local organization determines what it wants to focus on, something broad like, peace, sustainability, justice, equality, or more specific causes like Health Care, or Freedom of Speech, Homelessness, or local environmental or social concerns that need attention in your particular area right now, etc. Organizations will then come up with a mission statement that describes who they are and what they think and care about. When the whole event has taken place all the mission statements can be collected from around the world and, I hope, worked together into a grand statement of 100
Thousand Poets for Change. In 2020, organizers from 100TPC have gotten together to discuss compiling a history of 100TPC through the gathering and publishing of essays by participants and organizers, hopefully this book will continue to spread the word of 100TPC and peace, justice and sustainability.

Thank you to Society for Young Nigerian writers for joining with us!

IBADAN BOOK CLUB HOLDS READING TODAY FEBRUARY 27, RELEASES THE REVIEW OF DIIPO FAGUNWA’S BOOK “IFEWUMI, THE TRAVAILS OF INULAYEWA”
Ibadan Book Club (IBC) has finished preparations to host the only surviving son of the late Yoruba literary sage, D.O. Fagunwa, Mr. Diipo Fagunwa today February 27, 2021, in Ibadan, the capital of Oyo State.
A statement by Wole Adedoyin, one of the conveners of the reading said the event will take place at the Race Course Amphitheatre, Opposite Recreation Club, inside Adamasingba Stadium by 12PM prompt.
Uncle Diipo, as fondly called by his fans, is a fantasy writer like his late dad. He is the founder and Chief Executive of Elderly Care and Support Services (ELCASUSE). He was formerly a lecturer in the Department of Continuing Education, Obafemi Awolowo University, Ile-Ife, Nigeria.
Diipo Fagunwa is also the author of a book titled, “Ifewumi, the travails of Inulayewa”. He is going to read from the book.
BOOK REVIEW: “IFEWUMI, THE TRAVAILS OF INULAYEWA”
Reviewer: Tunde Fagbenle
The story of Ifewunmi the protagonist of Dipo Fagunwa’s new book, IFEWUNMI, is one long encyclopaedic narrative of life and man’s foils and foibles, dreams and ambitions, successes and failures, love and malevolence; and, at the end, the triumph of goodness and innocence over evil machinations and man’s inhumanity to man.
The story is long and winding because of Dipo’s ambitious attempt to cover almost all imaginable circumstances of life and their contradictions in his biblical preachment of values for the reader to borrow a leaf or two from.
Although written in English but the book is essentially Yoruba folklorist in an unmistakable voice of Dipo’s late father, the iconic pacesetting Yoruba author Chief D. O. Fagunwa of blessed memory.
Early in the book Dipo regales us with a eulogy to palm-wine reminiscent of the late dramatist, Kola Ogunmola’s Palm-wine Drinkard, that ran for 3 pages and ends with this ode:
“The friend of ages, the balmy drink of time
The lathery imbibe of generations to come
You have my respect.
Non-drinkers are simply suffering.”
Dipo continued: “Palm-wine was my best friend, but meat toasted my throat. Tilapia seduced my spirit but catfish was jealous because mackerel was around so I prostituted with stock-fish who pitched its tent with pepper-soup. If you saw me you would want to be my friend. I was in another world. I was happy, contented and fulfilled.”
Replete with English rendition of Yoruba poetry, proverbs, and parables, Dipo demonstrates his mastery of Yoruba language and competence at their narratives in the English language. Describing the mood on the day Oroowole (Ifewunmi’s father) died:
“It was a day sadness took over our lives and men looked morose
and spent; children cried and their parents wailed; women banged
their heads against walls and men rended their clothes in public.
Pets were sad and refused to eat; dogs could not bark, fish went
down the deep, chickens could not come home to roost and goats
of the neighbourhood walked around with their heads bowed in
sadness. They had lost their stubbornness. Everyone was sad and
it was not difficult to know that a nobleman had gone and a gem
was lost. That was the day the cock crowed after a great man, the
valiant hunter went to the wild but never returned and the elephant
hunter held his gun but could not fire. Oroowole travelled on that
day to the land beyond, a place of no return where elders meet and
mortals are not allowed to engage with them except in dreams.”
Such is the captivating, even if at times salacious, language of IFEWUNMI, story of a lovesick hero that traverses the world (his world) in search of his kidnapped lover who is under the evil spell of his deranged friend turned foresworn enemy who is on perpetual run with his captive in an unending chase full of breath taken misses and maddening ironies.
Dipo has showed himself a master of improvising names that depicts the character:
“I am Inulayewa, a native of Ilakose. My father, Olowo Igbo…
My mother was Itunu Okan. She was from the home of Inurere.
My mother’s elder sister was Itelorun the wife of Igbadun from
the homestead of Suuru…My grandfather was Ifoya, the husband
ofIfedaru from the home of Aibale Okan where Inunibini is the
head of the family. Ifedaru had two children for Ifoya. The first
was Olowo Ibinu who was the husband of Idamu Aye and the
second was Olowo Igbo who was my father…”

Such apronym technique dominates the story such that almost no single character bears a name that does not take from his or her personality. And so you have such names as Kogberegbe, Ilenikuwa, Idamuaye, Folafoko, Inudidun, Ajedubule, Inulayewa, Mojereife, Ahonnirowa, Ajokomande, Agabagebe-obirin, Oyeparapo, Imodotun, Ogbonsayeko, Ikaseyi, Esandetan, and so on and so forth. The names are deep Yoruba contrivances that thankfully for non-Yoruba speaking readers are translated (explained) in the glossary at the end of the book.
The story is an epic of the proportion of the Greek classic Hercules or D. O. Fagunwa’sIrinkerindoNinu Igbo Elegbeje. Indeed it is tempting to conclude that D.O is speaking from the grave through his son, Dipo, but in the English language.
Today’s book reading event promises to be an avenue of book and poetry reading, Spoken words, book sales and signing, networking with fellow book readers and writers across the nooks and crannies of Oyo State, the statement added.
Upcoming writers who have works in poetry, short stories and novels can also attend to read their works to fellow writers and readers. Membership forms and Certificate of Membership will be made available free of charge to the first timers.
Ibadan Book Club is an initiative of Society of Young Nigerian Writers. It was founded in 2011 by SYNW in order to contribute its own quota towards the growth and development of Reading Culture in Oyo State. Ibadan Book Club consists of group of people who get together, periodically meet to discuss the book they have read, and to exchange such books. The members of the club encourage each other, and learn to read with a critical awareness, articulating their opinions on a particular book with the others. Certain types of books not available or read receive attention through the book club.
Few of the publications published by Ibadan Book Club are: Olubadan Centenary Anthology: A Collection of Essays, Articles, Poems and Artworks in honour of Oba (Dr.) Samuel Odulana, Odugade 1, Voices from Oja Oba Market and lastly Senator Abiola Ajimobi: Memories, Dreams, Reflections of A Mind Always in Motion.

ADIITU’S LIFE STORY INSPIRED THE STORY OF INÚLAYÉWÀ’S SOJOURN IN ME – DIIPO FAGUNWA: IBC GUEST WRITER OF THE MONTH

On Saturday 27th of February, Ibadan Book Club in conjunction with the Race Course Amphitheatre will be hosting Diipo Fagunwa, the surviving Son of Late D.O Fagunwa inside the Adamasingba Stadium in Ibadan as Guest Writer for the month of February. In this interview with Wole Adedoyin, he unveils details about his writing career and his latest book titled “Inúlayéwà”.

WA: WHAT INSPIRED YOU TO START WRITING?

DF: My parents. My father was a writer and my mother wanted me to continue in the same vein

WA: HOW LONG HAVE YOU BEEN WRITING?

DF: About thirty five years

WA: WHEN DID YOU START WRITING?

DF: I started writing as an academic in 1982. My first publication was in 1985. It was reprinted in 1986

WA: HAVE YOU ALWAYS WANTED TO BE A WRITER?

DF: Yes. I have been encouraged to explore writing by people and the goodwill they have always shown towards my father who was a writer. My late mother was also very enthusiastic about me being a writer

WA: WHAT ADVICE WOULD YOU GIVE A NEW WRITER, SOMEONE JUST STARTING OUT?

DF: Give it a go. You never know the lump of charcoal you have, it may be diamond

WA: HOW DO YOU HANDLE WRITER’S BLOCK?

DF: I have found them useful for sharing experiences

WA: HOW MANY BOOKS HAVE YOU WRITTEN?

DF: Four, although only One has been published. I have two books of short stories completed and a compilation of my tributes and requiems posted on social media. I am also writing my second novel ‘Ẹ̀míọlá’.

WA: WHAT IS THE MOST SURPRISING THING YOU DISCOVERED WHILE WRITING YOUR BOOK(S)?

DF: Experiences shape ideas and ideas churn out other ideas

WA: WHO IS YOUR FAVOURITE CHARACTER?

DF: I really do not have a favourite character. I have always wound my stories round the narrator and narratives

WA: DO YOU HAVE A FAVOURITE CHARACTER THAT YOU HAVE WRITTEN? IF SO, WHO? AND WHAT MAKES THEM SO SPECIAL.

DF: Inúlayéwà. His odyssey is what makes him special

WA: WHERE DO YOU GET YOUR INSPIRATION?

DF: Everywhere and anywhere; life is full of inspiration. My late mother was quite inspirational. She inspired me in a lot of ways. She was a great communicator with loads of intelligence and experience. I also get inspiration from my father’s stories and novels. For instance my novel ‘Ìfẹ́wùmí’ is a kind of continuation of Adiitu Olódùmarè (my father’s last published novel). Adiitu’s life story inspired the story of Inúlayéwà’s sojourn in me.

I always get a lot of inspiration from my friends and acquaintances. I have always kept friends with great sense of humour and warmth and what they say many times spontaneously inspire. One also gets inspired by the social groups one keeps as well as the streets etc. For instance what you hear from bus drivers, conductors, touts, traders, churches, mosques, meetings, gatherings and ordinary persons on the streets go a lot of ways to inspire creativity in a writer and sometimes create a background for storytelling. Above all I get a lot of inspiration from the Kegites, Palmwine Drinkard Club where I am an old Chief or former President and a Member of the Board of Trustees. Kegites’ language is fecund with inspiration, intelligence, wise cracks and sayings and their philosophies very rich and overwhelming.

WA: WHERE CAN READERS PURCHASE YOUR BOOKS?

DF: Bookshops and online with Amazon and some other outlets

WA: WHERE CAN READERS FIND OUT MORE ABOUT YOU AND YOUR BOOKS?

DF: They can find out more about me from academic communities where I have kept many worthwhile friends. I can be traced on the internet especially with regards to some of my academic publications. I am a member of the D O Fágúnwà Foundation and very available with them. I have a bit of presence on the social media (Facebook) and some of my stories have been peddled around on WhatsApp. I went to some great schools especially Christ’s School, Adό Èkìtì where I have kept my network very active and it has been enriching. I also have many other friends and well-wishers who have access to me and of course my publisher (International Publishers) is helpful

WA: HAVE ANY OF YOUR BOOKS BEEN MADE INTO AUDIOBOOKS?

DF: No

WA: IF SO, WHAT ARE THE CHALLENGES IN PRODUCING AN AUDIO BOOK?

DF: I have not made any attempt to turn my books to audio yet hence I cannot be sure of challenges that may be attached. However my experience with my Father’s novels shows that there is a problem with copyright infringements. There are some of his works on audio being advertised and sold without permission.

WA: WHICH OF YOUR BOOKS WERE THE MOST ENJOYABLE TO WRITE?

DF: The one I am currently writing – Ẹ̀míọlá

WA: TELL US ABOUT YOUR FIRST PUBLISHED BOOK?

DF: It is a surreal adventure that is a followup to Adiitu Olódùmarè which was my father’s last published novel

WA: WHAT WAS THE JOURNEY LIKE?

DF: It was interesting, fulfilling and uplifting. It gave me a sense of pride that I was able to continue the Fágúnwà legacy

WA: WHAT, IN YOUR OPINION, ARE THE MOST IMPORTANT ELEMENTS OF GOOD WRITING?

DF: Style and creativity. A writer is always in a classroom where his students are not contiguous but dispersed. Thus a writer must write with passion, empathy, skills, presence and comprehension. The language of the writer must be very ordinary, simple and easy to discern.

WA: WHO'S YOUR FAVORITE AUTHOR OF ALL TIME?

DF: My Father; Chief D O Fagunwa

WA: YOUR FAVORITE BOOK BY HIM?

DF: Igbó Olódùmarè

WA: ON YOUR LATEST BOOK TITLED “IFEWUMI, THE TRAVAILS OF INULAYEWA” CAN YOU SHARE WITH US SOMETHING ABOUT THE BOOK.

DF: It is an adventure story of a man whose wife was abducted by his lunatic friend and he travelled round the world searching for his lost lady. He found his wife after twenty five years of sojourn that exposed him to varying life experiences and taught him about large heartedness, peace of mind and spirit of forgiveness.

WA: ARE THERE ANY SECRETS FROM THE BOOK, YOU CAN SHARE WITH YOUR READERS?

DF: The novel is a dance round day to day experiences of life

WA: WHAT WAS THE INSPIRATION FOR THE STORY?

DF: I wanted to continue my father’s legacy.

WA: WHAT IS THE KEY THEME AND/OR MESSAGE IN THE BOOK?

DF: Lessons on the Spirit of Forgiveness

WA: WHAT DO YOU HOPE YOUR READERS TAKE AWAY FROM THIS BOOK?

DF: Morals about large heartedness and eschewing themselves from bitterness and life of wickedness.

WA: WHAT IS THE SIGNIFICANCE OF THE TITLE?

DF: Literally speaking ‘Ìfẹ́wùmí’ means ‘I like Love’. The storyline is about Love and the problems that can come with it

WA: HAS A BOOK EVER CHANGED YOUR LIFE?

DF: Yes. All my Father’s novels have influenced me. I love ‘Tales from the Arabian Nights’. They have very wonderful literary styles; they are surreal and are rich on lessons of life, morals and living a life of quality. I find Shakespeare’s works very inspirational too and full of wise sayings. I have also enjoyed Chinua Achebe’s works. His delivery is of the quality of the village story teller; indeed he was a cultural man with classic mastery of words and delivery.

WA: WHAT GENRES DO YOU LOVE?

DF: Surreal adventures

WA: ARE THERE ANY GENRES YOU DISLIKE?

DF: No

WA: WHAT AUTHOR (WHO IS STILL LIVING) WOULD YOU DEARLY LOVE TO MEET?

DF: None that I have not met at the moment

WA: DO YOU LIKE TO DISPLAY YOUR BOOKS ON A BOOKSHELF OR KEEP THEM IN A VIRTUAL LIBRARY?

DF: I always display my books on shelf and virtual library

WA: DO YOU PREFER FLASH FICTION, SHORT STORIES, NOVELLAS, OR NOVELS?

DF: I love short stories

WA: WHAT BOOK CAN YOU RECOMMEND TO ME?

DF: Many; especially the African Writers Series

WA: WHEN DID YOU LAST VISIT A LIBRARY?

DF: Last year in the UK. COVID 19 has not allowed current visits.

WA: HAVE YOU EVER HAD A CRUSH ON A BOOK CHARACTER?

DF: No

WA: HAS A BOOK EVER MADE YOU LAUGH OUT LOUD?

DF: Yes; many. The social media is very rife now with interesting creative writings.

WOMAN SCREAM FESTIVAL’S PROJECTS ENCOURAGE WOMEN TO WRITE, CREATE, SHOWCASE THEIR TALENTS AND CHANGE THE WORLD USING ART – JAEL URIBE - WOMAN SCREAM FESTIVAL FOUNDER
Jael Uribe is a writer, storyteller, poet and painter. She is the creator of the female poetic foundation named Women Poets International. She is considered the initiator of the Woman Scream International Poetry and Arts Festival, a chain of events celebrated by poets, artists and cultural associations worldwide, to honor women and against women violence during the month of March. In this Interview with Wole Adedoyin, President, Nigerian Chapter of the International Human Rights Art Festival (IHRAF), she shared with him some facts surrounding her life, art activism and literary career.
WA: YOU ARE THE FOUNDER OF THE WOMEN POETS INTERNATIONAL MOVEMENT, WHAT ACTUALLY LED TO THE ESTABLISHMENT OF THE MOVEMENT?

JU: It was my own personal quest to find talented women writers all over the world that were using words as a healing process. Being confined in bed, years ago, due to illness and using poetry as a means to exorcise pain, I developed curiosity and started to seek for those female writers that were dealing with similar processes and that were sharing their poetry online seeking for an audience, just like me.

First, I created a page on Facebook to share these talented women's work. Then, I started making poetry calls and contests, then we made our first anthology. What was meant to be just a page, became a movement due to the great support of women that joined in Europe and Latin America. Then we reached abroad when we created the Festival Grito de Mujer (Woman Scream Festival), a place where all these women that became part of the movement, could emerge as cultural leaders and coordinators of their own physical poetry events, serving as platform to showcase female talented poetess on their own cities, instead of just one page.


WA: HOW IS THE WOMEN POETS INTERNATIONAL MOVEMENT USING ART AND POETRY TO ADVANCE WOMEN DEVELOPMENT IN THE WORLD?

JU: In 2011, we created the Woman Scream Festival not only as an open door to women poets but also, as an event with a sense of cause and a social mission beyond our own personal interests to become the voice of abused and mistreated women and families destroyed due to domestic violence. We decided to educate and advocate through arts. Instead of just making a poetry reading, we chose to communicate and deliver a message to those in moments of need: Women with low self-esteem, women of talent who didn’t really realize their own inner value. We encouraged them to write, to create, to show themselves, to speak up, as well as helping on their international promotion through our collective projects. We have also incorporated through Woman Scream Festival all genders and all arts, as means to target a bigger audience. In time men and children were incorporated in the cause, making our work more inclusive, reaching all other communities.

We believe only by uniting, we can reach the violence’s free society we seek for, especially the one affecting women, girls and families all over the world. We welcome anyone with any special talent to support the cause in any way they can and to help us spread our message further.


WA: WHAT HAS BEEN THE BIGGEST HIGHLIGHT OF THE WOMEN POETS INTERNATIONAL MOVEMENT?

JU: The Woman Scream Festival (Grito de Mujer) is our pride and joy. Being recognized by the world, awarded internationally and having been able to share our vision with people in around 70 countries, celebrating over 1,000 events worldwide, uniting volunteers and institutions in solidarity with our cause, has been the most amazing achievement we have ever conquered so far. We are coming for more!

WA: TELL US ABOUT YOUR BACKGROUND AND EXPERIENCE IN WOMEN ART AND POETRY?

JU: I’ve been writing since I was 10 years old. Motivated by long hours reading the books my father kept on his many bookshelves. I never knew what poetry was all about, until I encountered it at school, then decided to take it seriously before graduating from college. I began getting involved in cultural events a few years after I began creating my projects and ever since, poetry has been the only language I know. I have achieved some poetry awards and recognition for my involvement in human rights advocacy through the projects I’ve developed. There is very little time to create when you get involved so much to help others find their expression, however, poetry has always been my drawing board and so has art.

Having faced a very hard transition to adulthood, poetry saved my life “literally”, shaped the harsh, rebel and dark young girl I was and turned her into a Phoenix. That was exactly the type of experiences and expression I started looking for when I found my movement, getting to know women who were creating due to traumatic experiences and turning them into any form of art. I wasn’t in contact with female arts or poetry before that, I was facing my own personal process of understanding my own poetry and my own artistic expression as a designer, painter and artisan.

The work of women in poetry came later on, after I began to work with the Women Poets International Movement. I met women in arts two years later, after I started Grito de Mujer (Woman Scream Festival). Being a leader and creator of such a movement, gave me the impulse to improve and become a better poet and moreover, a better artist as I encouraged other women to do the same.


WA: WHERE IS ART AND POETRY TODAY IN TERMS OF WOMEN DEVELOPMENT?

JU: There’s so much we have achieved as women in arts and poetry compared to the past! but I certainly believe it's still not enough. The path of women in any stage of society has been literally paved by the blood of those who fought and gave their lives to make these changes happen and I feel women haven’t yet taken full advantage of the enormous space there is, men are still ahead and they are usually the most on any list. Until we reach at least half of the names highlighted not due to a quote but, as fruit of our talents, there will still be a lot we’ll need to do. I admit there is more openness of space for female expression nowadays, thanks to feminist movements such as mine but, the women names reaching an international level of recognition in art, poetry or any other, are still too little to consider. It’s time to change that!

WA: HAS THE SITUATION OF WOMEN CHANGED USING ART?

JU: If you mean by change, that women have achieved anything by expression themselves using art, I must say: YES! We haven’t changed as many laws as we should, we haven’t stopped women violence nor have changed the mind of abusive men but hey! How many sleeping consciences have we awakened? How many women have been saved? How many deaf hears have we unclogged ever since we all began screaming louder? We have made a difference in the world, and I mean all female movement around the globe making pressure to make this change occur. Yes, we have opened our eyes. Yes, we have regained self-esteem, respect and we have moved some important walls and yes, there is much more we can and will achieve if we remain united raising our voices.

WA: IN WHAT WAY IS THE WOMEN POETS INTERNATIONAL MOVEMENT CONTRIBUTING TO THE GROWTH OF WOMEN DEVELOPMENT IN AFRICA?

JU: The same way we have done for women in every country we take our mission: this is an opportunity! We open an international door through collective projects but it’s up to women to cross. Woman Scream is just a platform, it is just the base that seeks to make them strong enough to raise their voices. There are many other resources out there for women to further advance, what happens later and what they do with the support given, it’s up to them.


WA: AS A FOUNDER AND PROMOTER OF WOMAN ART ACTIVISM, WHAT KINDS OF OBSTACLES DO YOU FACE?

JU: A lot. You might think it is monetary, as this cause is only sustained by volunteer’s love but no. It is the tendency to sabotage and the lack of moral support that should not exist in such a beautiful art world. Sadly, many of these obstacles are imposed by women themselves, those we seek to reach. We do this to add a little more to the feminist fight around the world, to open a space in art for women of talent to grown, to be known however, we’ve encountered women sabotage each other sometimes, diminishing their own sisters, who only want to build their own path to shine. How can we grow, seek for equality and change, if we dig a hole for other women to fall as we walk the freedom path?

Sometimes, we find more support in men that are part of our cause and more resistance among our own womankind. It’s sad! That behavior only draws all female movements advances back.

WA: WHAT HAS BEEN THE HALLMARK OF YOUR TENURE AS THE FOUNDER OF THE WOMEN POETS INTERNATIONAL MOVEMENT?

JU: I believe the use of modern technology into the promotion and growth of our project that began in the Dominican Republic and spread all over the world thanks to nowadays tools.


WA: YOU ARE AN EFFECTIVE FEMALE LEADER. WHAT DRIVES YOU?


JU: I believe results speak for themselves. I believe if I had inspired any other woman with my dreams to achieve hers, that makes me an effective leader. There were only 400 women poets in our database when I began the Women Poets International Movement, now there are over 10,000 artists, women and men. We were only 200-300 followers in our Spanish fans page when we began, now there are over 20,000 plus, the thousands of followers in our festival’s pages. Our festival was only “Grito de Mujer” in Spanish in 201 now, it is translated into English, French, Italian, Portuguese, Dutch and others (Woman Scream, Cri de Femme, Grido di Donna, Grito de Mulher, Schrei Der Frau, etc.,).

Not everything is about how much you make but about how much difference you can make with what you do, how many others you can inspire. What are you doing to be the change you wish to see in the world?

WA: WHAT MESSAGE WOULD YOU GIVE TO YOUNGER WOMEN AND GIRLS?

JU: We have had many events throughout the years focusing on young women and girls. They always have been my favorites. As I have been called to share my poetry for girls on poor communities, my message to them has always been the same:

“Study and learn. Do not depend on a man to call you a princess nor to build a castle for you. Build your own castle, be your own queen. Don’t wait for no one to show you you’re valuable, you’re pretty and should know your own worth. We, as women have a harder job in this society, we need to be the example for those who will come after us, may our lives serve as an example of strength and courage, may others see you as the girl who conquers now, the woman she will become.”

WA: AS SOMEONE WHO HAS SUCCESSFULLY COMBINED FAMILY LIFE AND CAREER ADVANCEMENT, WHAT ARE THE KEY LESSONS YOU HAVE LEARNED?


JU: -I have learned that nothing is easy: Even to convince your family that what you’re doing benefits them too it's hard to achieve. I did and do my part to predicate my example of courage and fight in spite of rough times.

-Nothing comes for granted: I have fought hard to conquer everything I have set as a goal for me and still wonder what’s next for me.

-Never stop and never remove your eyes from your goal: No matter how cloudy the sky might seem, stars are there, no matter if you can’t see them.

-Love yourself: Never stop believing.



WA: WHAT DOES THE WORD FEMINIST MEAN TO YOU?

JU: It is just a word. I’m a womanist, I believe in the fight for our rights as women and I believe no word should define who we are but women. Some words are vandalized by the minds of those who seek to put us down, those who think we haven’t earned our place so far. I am a woman, I guess I’m more drawn to that word.


WA: WHAT IN YOUR LIFE HAS BROUGHT OR GIVEN YOU THE GREATEST SATISFACTION OR FULFILLMENT?

JU: Knowing that I’ve achieved most everything I wanted in life and conquered old fears. Being proud of being me!


WA: LOOKING BACK, WHAT WOULD YOU HAVE DONE DIFFERENTLY? WHAT WOULD YOU DO AGAIN?

JU: I would have stopped worrying for unimportant things, paying less attention to those who tried to stop me and at that, at some point threatened to stop me from advancing in my goals.

If I have to sacrifice myself to build what I’ve built, like I’ve done all these years, I would have done it again!,



WA: WHO ARE YOUR FAVORITE CULTURAL HEROINES? WHAT APPEALS TO YOU ABOUT THEM?

JU: Any feminine figure that throughout history has conquered a better place for us women, is my favorite heroine. I believe the role in society of all of them has been key to reach the spot in which we are now. It is hard to pick a side!
https://www.womanscreamfestival.com/2021/02/synw-from-nigera-interviews-woman.html

GIBRAN REPRESENTS THE BEAUTIFUL FACE OF LEBANON TO THE WHOLE WORLD WHOM WE TAKE PRIDE IN - JOSEPH FENIANOS, PRESIDENT, GIBRAN NATIONAL COMMITTEE

Joseph Fenianos is the President of the Gibran National Committee for the current mandate 2018-2022. Also the Founder and member of the Board of Administration of the Lebanese Red Cross in Becharri. In this Interview with Wole Adedoyin, he shared with him comprehensive facts about his life, contributions, challenges and achievements as the President of the Gibran National Committee.

WA: PLEASE KINDLY INTRODUCE YOURSELF

JF: My name is Joseph Fenianos. I am married to Nahla Fakhry and have 3 children. I earned a Teaching Diploma in Physics from the Faculty of Sciences in the Lebanese University in 1982. I was Instructor of Physics in several schools, President of the Gibran National Committee for the current mandate 2018-2022, Member of the Committee of the Cedar Forest Friends since 1988 and chaired it for two terms, Founder and member of the Board of Administration of the Lebanese Red Cross in Becharri, Vice-President of the Gibran National Committee from 2010 to 2018.

WA: TELL US ALL ABOUT THE GIBRAN NATIONAL COMMITTEE- HOW IT BEGAN, WHO'S INVOLVED, ETHOS, AIMS AND WHAT YOU DO

JF: The Gibran National Committee, established in 1933, is a private organization from which all the townspeople of Becharri benefit. Headquartered in Becharri, the Committee has another office in Beirut.
The organization aims to:
- Enforce the will of Gibran Khalil Gibran regarding the proceeds of the copyright and investment of his books and his various literary and artistic effects belonging to the town of Becharri, the Committee on Funds and Properties resulting from such copyright, and the use of the achieved resources for the good and benefit of Becharri and its residents.
- Give special attention to Gibran’s Art Museum and maintain his artistic and literary legacy, and also to Gibran’s Music Institute, Private Library, and the house in which he was born.
- Publish on a regular basis Gibran's books and help spread his paintings, concepts and thoughts, as well as introduce him to the new youth generation and the world by organizing local and international lectures, exhibitions, literary events and anniversary ceremonies.
- Contribute to raising the urban, cultural and social levels in Becharri.
WA: HOW DO YOU RUN THE ORGANIZATION?

JF: We hold periodic meetings every two or three weeks, starting with the incoming papers and the due expenses. Then we start discussing the points indicated on the agenda, studying the projects to be implemented, and take the appropriate decisions.
Funds are disbursed according to disbursement decisions, while purchases are made under quotations. Decisions are made as for accepting donations.
WA: HOW IS GNC PROMOTING THE WORKS OF KHALIL GIBRAN?

JF: The Committee that bears the name of Gibran is always striving to consolidate Gibran’s presence in the Arab and international community.
Among its activities aim at promoting the works and legacy of Gibran are:

• Holding exhibitions of Gibran’s original paintings or copies thereof in Lebanon and abroad;
• Organizing specialized conferences on Gibran's philosophy in Lebanon and abroad;
• Organizing seminars, lectures, exhibitions and competitions in Gibran’s Museum as well as in schools and universities;
• Contributing to theatrical, cinematic and artistic activities which address Gibran;
• Producing publications for the Gibran National Committee and printing Gibran’s books;
• Organizing the Annual Art Festival in Becharri Square in front of Gibran’s house under the name "In the Footsteps of Gibran", showcasing works of painters, sculptors, photographers, musicians, dramatists, and writers.
WA: WHAT MAJOR SUCCESSES HAVE YOU HAD SINCE BECOMING THE PRESIDENT OF GIBRAN NATIONAL COMMITTEE

JF: The major accomplishments made by the current Committee are:

• Holding an exhibition of Gibran's paintings at the Victoria Museum in Melbourne, Australia.
• Reprinting of Gibran's book “The Music”, in cooperation with the Antonine University, with an explanatory introduction by Father Rami Choullami and Prof.Nidaa Abu Murad.
• Organizing the art festival entitled “In the Footsteps of Gibran” in 2018 and 2019;
• Cooperating with the Alfredo Harp Helu Foundation, ADABI, to restore some of the paintings in the warehouse and some books in the Saint Anthony's Library, Qozhaya, and a plan of action for the future was developed between the Committee and the Foundation;
• Reopening of the Gibran Khalil Gibran Library to visitors;
• Activating Gibran’s Music Institute which now includes more than two hundred students;
• Organizing concerts for the students of the Music Institute;
• Holding singing soirees at Gibran’s Museum;
• Distributing prizes and certificates of appreciation to students who excelled in the official exams;
• Cooperating with senior directors and actors in Lebanon in order to revive the plays of Gibran, for instance: “Khalil the Heretic” and “The Madman”.
• Printing the two one-act plays “Lazarus and his Beloved” and “The Blind”, with an introduction by poet Henri Zgheib.

WA: WHAT IS YOUR MODUS OPERANDI (MODE OF OPERATIONS) AT THE GIBRAN NATIONAL COMMITTEE?

JF: The Committee is composed of 15 elected members from Becharri for a period of four years.
We work as one team. When we were elected, we created smaller teams who work in sub-committees because I believe in teamwork.For instance:
• The management sub-committee includes lawyers as well as management and business professionals.
• The cultural sub-committee includes members who work in the cultural field.
• A sub-committee entrusted with the tasks of developing Gibran’s Museum, Music Institute and Library.
• The Public Relations sub-committee that works on Gibran’s presence on social media.
Each sub-committee has a specific budget that is approved at the beginning of each year after the Committee provides a statement of account and prepares for the specialized programs.
Our Committee believes in the necessity of building on creative ideas that are brought to us by thinkers and innovators from all over Lebanon and the world in order to better serve Gibran's legacy and thought.
WA: WHAT MAKES YOU EFFECTIVE AS THE PRESIDENT OF GIBRAN NATIONAL COMMITTEE?

JF: I believe that the role of the President is to better serve the Committee and deploy all the efforts necessary for its development and further outreach.
I strive to cooperate with every single member of the Committee and invest in their potentials, particularly because I have been working as an instructor of physics for more than 38 years, meaning that I apply the pyramid concept, i.e., everyone has his/her own role in the success of the action plan that we set when we were elected. And because I previously chaired the Committee of the Cedar Forest Friends,whose main purpose is to preserve the Cedars Forest and to plant cedar trees in the surroundings of the forest, I also believe in the importance of cooperation with all associations concerned with Gibran’s philosophy.
WA: WHAT SUPPORT DO YOU FEEL WOULD BE NECESSARY FOR GIBRAN NATIONAL COMMITTEE TO BE SUCCESSFUL?

JF: Gibran National Committee has been particularly relying on tourism to finance its fund that enables it to pay the dues of its employees and workers, noting that the financial returns from selling Gibran’s books by the Knopf publishing group stopped at the end of 2018; no doubt that the situation has worsened following the outbreak of the Corona pandemic and the suspension of all touristic activities. Therefore, we decided to reflect on new ways to support the Committee:

- Developing a program that aims to create a page for the museum on the social media platforms, i.e. integrating it on a digital system or otherwise establishing a twinning relationship between Gibran’s Museum and other international museums.
- Cooperating with international associations concerned with Gibran’s writings and paintings to host conferences and exhibitions abroad.
WA: IN WHICH AREAS WOULD YOU LIKE TO FURTHER DEVELOP GIBRAN NATIONAL COMMITTEE?

JF: Since our election, we have sought to achieve several improvements within the Committee in order to turn it into a well-developed entity at the administrative and professional level.We have updated the bylaws as well as the internal regulations of the Gibran National Committee so that it becomes more compatible with the needs and aspirations of the new generation.
As we were elected by the community of Becharri, it is hence our duty to further shed light on the noble and pioneering values that Gibran believes in to promote social justice and liberate the society from fake restrictions, customs and laws.
WA: TELL US MORE ABOUT THE WORKS OF KHALIL GIBRAN

JF: Gibran represents the beautiful face of Lebanon to the whole world whom we take pride in.He is the writer, the philosopher, the thinker, the painter, and much more. Our bond with Gibran has become more strengthened when we started, through his writings, to dive into the memories of our own childhood as they are the stages on which stand the protagonists of his stories; the orchards, the vineyards, the rivers, the mountains and the valleys which he depicts in his writings are all real places. Moreover, when we meet the characters of his stories, we find out that they resemble in fact many of the dignitaries, clergymen, wealthy and poor townspeople whom we encounter and live with. We can feel hence the flesh and blood of these characters because, despite the change of names, they represent true personalities who had their own history.
It is worth mentioning at this point that the religious memory, the spatio-temporal memory and the social memory of Gibran’s writings have all been represented in “Becharri in the Memory of Gibran”.
WA: WHAT’S YOUR FAVORITE WORK BY GIBRAN? WHY

JF: It is true that all the works of Gibran reflect the tales of his heart, that heart which loved, outraged, revolted, and yearned to an idealistic universe; it is also true that throughout his writings he exposes himself with enthusiasm, boldness, and transparency. And it is not a mere coincidence that “The Music” was the first book among Gibran’s literary works, since music represents the spiritual and artistic world of Gibran. It is the key treasure and the password of his literature. His thoughts, emotions, sorrows, and metaphors all flow like fine-tuned melodies and then become concretized in words. Music and its connotations have thus added to his narrative style a poetic dimension, conveying those silent distances and that being that remains silent and tranquil in the inner self of the poet.
WA: WHAT ARE YOU DOING TO MAKE HIS WORKS KNOWN ESPECIALLY TO READERS IN AFRICA?

JF: The Committee is carrying out the activities I mentioned earlier so as to encourage the new generation to explore the philosophy of Gibran and become influenced by his innovative and revolutionary thoughts; hence, this generation would be a tool for peace and love, not for war and injustice, a tool that efficiently serves to reach a better world.
At this point, I would like to thank your association, the Khalil Gibran Society in Nigeria and Africa, and its Chairman, Mr. Wole Adedoyin, for the artistic and literary works that you are working on. We look forward to preparing joint intellectual and cultural activities and holding exhibitions of Gibran’s paintings.
WA: AS THE CURRENT PRESIDENT OF GIBRAN NATIONAL COMMITTEE, WHAT ARE YOU DOING TO IMPROVE THE ORGANIZATION?

As I mentioned earlier, our activities mainly consist in implementing Gibran's will as stated in Article 2 of our bylaws, shedding light on the legacy, philosophy, and art of Gibran in Lebanon and the world, and providing continuous financial support to fund the activities organized by the Committee.
WA: HOW DO YOU KEEP YOUR TEAM FOCUSED?

JF: As previously indicated, I collaborate with each sub-committee separately and follow up on their work, in addition to preparing an implementation plan in cooperation with the specialized staff.
WA: WHAT ARE YOUR FUTURE GOALS FOR GIBRAN NATIONAL COMMITTEE?

JF: Developing and modernizing the Gibran Museum as well as providing a digital platform for it, in cooperation with ADABI Foundation;
- Developing and supporting Gibran’s Music Institute;
- Modernizing the Gibran’s Library and establishing links with other libraries in Lebanon and abroad;
- Holding exhibitions of Gibran’s paintings in foreign countries, so that the world can learn more about Gibran's art.
WA: WHAT’S THE MOST INTERESTING THING ABOUT KHALIL GIBRAN THAT PEOPLE DON’T KNOW?

JF: I believe that Gibran’s literature has managed to reach the whole world through The Prophet, his masterpiece which has been translated into more than 140 languages. Since it was first published in 1923, it has never been out of print. Most of the translations can be found in the Museum.
However, Gibran as a painter is not as well-known as a writer and philosopher. Although he undoubtedly represents a legend worldwide when it comes to narration and storytelling, his reputation has not made it that far with his visual arts. Although he painted more than 700 watercolors and drawings, his paintings were somehow overlooked in the West and most of them were shipped back to Lebanon after his death.
Gibran was a talented artist who painted alongside some of the most acclaimed artists of his days, notably the French sculptor Auguste Rodin. That is why we should deploy more efforts to highlight this aspect of Gibran’s legacy.

WA: CAN YOU TELL US A LITTLE ABOUT WHAT YOU KNOW ABOUT KHALIL GIBRAN SOCIETY IN NIGERIA AND AFRICA?

JF: I knew about your society through your Facebook page, and it will be my honor to meet you in person and have the chance to closely delve into all the interesting values you represent. I am confident that this cooperation will be fruitful and lead to successful outcomes in the future, whether by disseminating Gibran’s thought or holding exhibitions of his paintings.
WA: WHAT HAS BEEN THE BIGGEST HIGHLIGHT OF THE GIBRAN NATIONAL COMMITTEE

JF: Gibran National Committee is the custodian of Gibran's artistic and literary heritage. It was founded 88 years ago and it is entrusted with executing his will. Not to forget that it is the only committee in the world elected by the society as a whole. It has the exclusive right to his literary production.
WA: WHAT MESSAGE WOULD YOU GIVE TO THE READERS AND LOVERS OF KHALIL GIBRAN?

JF: Gibran wrote his books more than one hundred years ago, and till the present day, when we read his writings, we always feel that his topics remain topical, going beyond the limits of time and place, as if he is still alive amidst us and writing to us.
It is not a mere coincidence that his writings have been translated to all main languages of the world in all continents, especially The Prophet because this book has proved to transcend all religions, cultures, customs and races in order to reach the human being, the spirit of divinity on Earth. Gibran conveyed his revolutionary thoughts with enthusiasm, boldness, authenticity, warmth and clarity at the beginning of the last century, and they are still influentially and prominently present in our contemporary word, whether in the East or the West, particularly because Gibran echoes the values of pluralism, diversity, tolerance, freedom, justice and witness to truth.
WA: IS THERE ANYTHING ABOUT YOURSELF YOU WOULD LIKE ME TO KNOW?

JF: It is a pleasant incident that this conference gathering well-known speakers from all over the world to address the thought and art of Gibran, coincides with the commemoration of the 90th anniversary of Gibran’s death.
I find in your conference a valuable addition to Gibran’s heritage and the human heritage in general.
Isn’t he the one who said: “You are my brother, and both of us are sons of a single, universal, and sacred spirit. You are my likeness, for we are prisoners of the same body, fashioned from the same clay... You are a human being and I have loved you, my brother.”
I would like to thank your association for all the efforts deployed to shed light on the literature, art and heritage of Gibran from a holistic and innovative approach.And we cannot but rejoice, take pride and offer support.
The Gibran National Committee heartfully welcomes any initiative that can be added to its calendar of cultural and artistic activities.
Thank you.

OUR GOAL AT IHRAF PUBLISHES IS TO GIVE A VOICE TO THE VOICELESS - MISSY HAUG, IHRAF PUBLISHES EDITOR

Missy Haug is a copywriter, poet, and book editor based in Helsinki, Finland. In this Interview with Wole Adedoyin, President, Nigerian Chapter of the International Human Rights Art Festival (IHRAF), she shared with him few facts about her task as IHRAF Publishes Editor.

WA: PLEASE KINDLY INTRODUCE YOURSELF

MH: Until 5 years ago, I’ve always considered Youngstown, Ohio, my home. Now, I live and work in Helsinki, Finland as a writer and editor. I moved to Finland in 2016 in pursuit of a master’s degree in English Philology. I left behind my small, comfortable town and teaching job to immerse myself in a new place and culture. Among all the places I’ve lived and traveled, I have witnessed the stitching of lives together with stories. To read and write is no small thing, and I consider myself lucky to be one small part of an organization like IHRAF. To support writers whose voices are stifled, to continue the great tradition of storytelling—this is meaningful, moving work.

WA: WHAT WAS THE MOST CHALLENGING ASPECT OF EDITING IHRAF PUBLISHES?

MH: The most challenging aspect of being an editor is also one of the biggest perks of the job: I read so many beautiful pieces of art every single day. However, that means I also have to reject some works. Luckily at IHRAF we have a clear mission to publish work that aligns with our values and philosophy, which makes the process clear and manageable.

WA: WHAT GENRES DO YOU PUBLISH ON IHRAF PUBLISHES?

MH: We publish both fiction and non-fiction ranging including short stories, poems, and essays. What matters most is that the form of writing flows from the heart and aligns with IHRAF’s values.

WA: HOW DO YOU RUN IHRAF PUBLISHES?

MH: In a nutshell, our goal at IHRAF Publishes is to give a voice to the voiceless. That means we are committed to carefully considering each submission and the mission of the artist. We review, edit, and publish submissions to ensure they align with our values of beauty, sincerity, vulnerability, engagement, and celebrating diversity. We search for innovative ways to reach our global audience, which requires consistent collaboration and communication between IHRAF team members. I work with the Editorial Team to review pieces and brainstorm our way forward.

WA: HOW IS IHRAF PUBLISHES PROMOTING THE WORKS OF UPCOMING WRITERS?

MH: We publish our writers on the IHRAF website, Facebook, and Instagram pages and founded the Creators of Justice Literary Awards. We also aim to anthologize selected works.

WA: WHAT MAKES YOU EFFECTIVE AS THE EDITOR OF IHRAF PUBLISHES?

MH: My background as an educator, editor, and student have each given me valuable lessons that apply to my work at IHRAF. I understand that every word that falls upon my desk has been written by a person and thus deserves respect and reflection.

WA: IN WHICH AREAS WOULD YOU LIKE TO FURTHER DEVELOP IHRAF PUBLISHES

MH: We are considering various paths to expand our reach. There are opportunities to grow our newsletter, engage in digital publishing, and establish ourselves as a niche publishing house in the future. I’m very excited by the possibilities available for IHRAF Publishes.

WA: WHAT ARE YOUR FUTURE GOALS FOR IHRAF PUBLISHES?

MH: We would love for IHRAF Publishes to be an end-to-end publishing house in the future.

WA: WHAT MESSAGE WOULD YOU GIVE TO THE READERS AND LOVERS OF IHRAF PUBLISHES? IS THERE ANYTHING ABOUT YOURSELF YOU WOULD LIKE IHRAF PUBLISHES READERS AND LOVERS TO KNOW?

MH: First, thank you to the readers of IHRAF Publishes—without your support our work would not be possible. Watching IHRAF Publishes grow at such a fast pace is truly encouraging. Together we have made a community of writers and storytellers with a goal to heal, to help, to motivate, to inspire.

Keep reading and writing—I will be right there with you. Your words matter and I am grateful and proud to be a part of IHRAF’s mission.

WOMAN SCREAM FESTIVAL’S PROJECTS ENCOURAGE WOMEN TO WRITE, TO CREATE, TO SHOWCASE THEIR TALENTS AND CHANGE THE WORLD USING ART – JAEL URIBE - WOMAN SCREAM FESTIVAL FOUNDER
Jael Uribe is a writer, storyteller, poet and painter. She is the creator of the female poetic foundation named Women Poets International. She is considered the initiator of the Woman Scream International Poetry and Arts Festival, a chain of events celebrated by poets, artists and cultural associations worldwide, to honor women and against women violence during the month of March. In this Interview with Wole Adedoyin, President, Nigerian Chapter of the International Human Rights Art Festival (IHRAF), she shared with him some facts surrounding her life, art activism and literary career.
WA: YOU ARE THE FOUNDER OF THE WOMEN POETS INTERNATIONAL MOVEMENT, WHAT ACTUALLY LED TO THE ESTABLISHMENT OF THE MOVEMENT?

JU: It was my own personal quest to find talented women writers all over the world that were using words as a healing process. Being confined in bed, years ago, due to illness and using poetry as a means to exorcise pain, I developed curiosity and started to seek for those female writers that were dealing with similar processes and that were sharing their poetry online seeking for an audience, just like me.

First, I created a page on Facebook to share these talented women's work. Then, I started making poetry calls and contests, then we made our first anthology. What was meant to be just a page, became a movement due to the great support of women that joined in Europe and Latin America. Then we reached abroad when we created the Festival Grito de Mujer (Woman Scream Festival), a place where all these women that became part of the movement, could emerge as cultural leaders and coordinators of their own physical poetry events, serving as platform to showcase female talented poetess on their own cities, instead of just one page.


WA: HOW IS THE WOMEN POETS INTERNATIONAL MOVEMENT USING ART AND POETRY TO ADVANCE WOMEN DEVELOPMENT IN THE WORLD?

JU: In 2011, we created the Woman Scream Festival not only as an open door to women poets but also, as an event with a sense of cause and a social mission beyond our own personal interests to become the voice of abused and mistreated women and families destroyed due to domestic violence. We decided to educate and advocate through arts. Instead of just making a poetry reading, we chose to communicate and deliver a message to those in moments of need: Women with low self-esteem, women of talent who didn’t really realize their own inner value. We encouraged them to write, to create, to show themselves, to speak up, as well as helping on their international promotion through our collective projects. We have also incorporated through Woman Scream Festival all genders and all arts, as means to target a bigger audience. In time men and children were incorporated in the cause, making our work more inclusive, reaching all other communities.

We believe only by uniting, we can reach the violence’s free society we seek for, especially the one affecting women, girls and families all over the world. We welcome anyone with any special talent to support the cause in any way they can and to help us spread our message further.


WA: WHAT HAS BEEN THE BIGGEST HIGHLIGHT OF THE WOMEN POETS INTERNATIONAL MOVEMENT?

JU: The Woman Scream Festival (Grito de Mujer) is our pride and joy. Being recognized by the world, awarded internationally and having been able to share our vision with people in around 70 countries, celebrating over 1,000 events worldwide, uniting volunteers and institutions in solidarity with our cause, has been the most amazing achievement we have ever conquered so far. We are coming for more!

WA: TELL US ABOUT YOUR BACKGROUND AND EXPERIENCE IN WOMEN ART AND POETRY?

JU: I’ve been writing since I was 10 years old. Motivated by long hours reading the books my father kept on his many bookshelves. I never knew what poetry was all about, until I encountered it at school, then decided to take it seriously before graduating from college. I began getting involved in cultural events a few years after I began creating my projects and ever since, poetry has been the only language I know. I have achieved some poetry awards and recognition for my involvement in human rights advocacy through the projects I’ve developed. There is very little time to create when you get involved so much to help others find their expression, however, poetry has always been my drawing board and so has art.

Having faced a very hard transition to adulthood, poetry saved my life “literally”, shaped the harsh, rebel and dark young girl I was and turned her into a Phoenix. That was exactly the type of experiences and expression I started looking for when I found my movement, getting to know women who were creating due to traumatic experiences and turning them into any form of art. I wasn’t in contact with female arts or poetry before that, I was facing my own personal process of understanding my own poetry and my own artistic expression as a designer, painter and artisan.

The work of women in poetry came later on, after I began to work with the Women Poets International Movement. I met women in arts two years later, after I started Grito de Mujer (Woman Scream Festival). Being a leader and creator of such a movement, gave me the impulse to improve and become a better poet and moreover, a better artist as I encouraged other women to do the same.


WA: WHERE IS ART AND POETRY TODAY IN TERMS OF WOMEN DEVELOPMENT?

JU: There’s so much we have achieved as women in arts and poetry compared to the past! but I certainly believe it's still not enough. The path of women in any stage of society has been literally paved by the blood of those who fought and gave their lives to make these changes happen and I feel women haven’t yet taken full advantage of the enormous space there is, men are still ahead and they are usually the most on any list. Until we reach at least half of the names highlighted not due to a quote but, as fruit of our talents, there will still be a lot we’ll need to do. I admit there is more openness of space for female expression nowadays, thanks to feminist movements such as mine but, the women names reaching an international level of recognition in art, poetry or any other, are still too little to consider. It’s time to change that!

WA: HAS THE SITUATION OF WOMEN CHANGED USING ART?

JU: If you mean by change, that women have achieved anything by expression themselves using art, I must say: YES! We haven’t changed as many laws as we should, we haven’t stopped women violence nor have changed the mind of abusive men but hey! How many sleeping consciences have we awakened? How many women have been saved? How many deaf hears have we unclogged ever since we all began screaming louder? We have made a difference in the world, and I mean all female movement around the globe making pressure to make this change occur. Yes, we have opened our eyes. Yes, we have regained self-esteem, respect and we have moved some important walls and yes, there is much more we can and will achieve if we remain united raising our voices.

WA: IN WHAT WAY IS THE WOMEN POETS INTERNATIONAL MOVEMENT CONTRIBUTING TO THE GROWTH OF WOMEN DEVELOPMENT IN AFRICA?

JU: The same way we have done for women in every country we take our mission: this is an opportunity! We open an international door through collective projects but it’s up to women to cross. Woman Scream is just a platform, it is just the base that seeks to make them strong enough to raise their voices. There are many other resources out there for women to further advance, what happens later and what they do with the support given, it’s up to them.


WA: AS A FOUNDER AND PROMOTER OF WOMAN ART ACTIVISM, WHAT KINDS OF OBSTACLES DO YOU FACE?

JU: A lot. You might think it is monetary, as this cause is only sustained by volunteer’s love but no. It is the tendency to sabotage and the lack of moral support that should not exist in such a beautiful art world. Sadly, many of these obstacles are imposed by women themselves, those we seek to reach. We do this to add a little more to the feminist fight around the world, to open a space in art for women of talent to grown, to be known however, we’ve encountered women sabotage each other sometimes, diminishing their own sisters, who only want to build their own path to shine. How can we grow, seek for equality and change, if we dig a hole for other women to fall as we walk the freedom path?

Sometimes, we find more support in men that are part of our cause and more resistance among our own womankind. It’s sad! That behavior only draws all female movements advances back.

WA: WHAT HAS BEEN THE HALLMARK OF YOUR TENURE AS THE FOUNDER OF THE WOMEN POETS INTERNATIONAL MOVEMENT?

JU: I believe the use of modern technology into the promotion and growth of our project that began in the Dominican Republic and spread all over the world thanks to nowadays tools.


WA: YOU ARE AN EFFECTIVE FEMALE LEADER. WHAT DRIVES YOU?


JU: I believe results speak for themselves. I believe if I had inspired any other woman with my dreams to achieve hers, that makes me an effective leader. There were only 400 women poets in our database when I began the Women Poets International Movement, now there are over 10,000 artists, women and men. We were only 200-300 followers in our Spanish fans page when we began, now there are over 20,000 plus, the thousands of followers in our festival’s pages. Our festival was only “Grito de Mujer” in Spanish in 201 now, it is translated into English, French, Italian, Portuguese, Dutch and others (Woman Scream, Cri de Femme, Grido di Donna, Grito de Mulher, Schrei Der Frau, etc.,).

Not everything is about how much you make but about how much difference you can make with what you do, how many others you can inspire. What are you doing to be the change you wish to see in the world?

WA: WHAT MESSAGE WOULD YOU GIVE TO YOUNGER WOMEN AND GIRLS?

JU: We have had many events throughout the years focusing on young women and girls. They always have been my favorites. As I have been called to share my poetry for girls on poor communities, my message to them has always been the same:

“Study and learn. Do not depend on a man to call you a princess nor to build a castle for you. Build your own castle, be your own queen. Don’t wait for no one to show you you’re valuable, you’re pretty and should know your own worth. We, as women have a harder job in this society, we need to be the example for those who will come after us, may our lives serve as an example of strength and courage, may others see you as the girl who conquers now, the woman she will become.”

WA: AS SOMEONE WHO HAS SUCCESSFULLY COMBINED FAMILY LIFE AND CAREER ADVANCEMENT, WHAT ARE THE KEY LESSONS YOU HAVE LEARNED?


JU: -I have learned that nothing is easy: Even to convince your family that what you’re doing benefits them too it's hard to achieve. I did and do my part to predicate my example of courage and fight in spite of rough times.

-Nothing comes for granted: I have fought hard to conquer everything I have set as a goal for me and still wonder what’s next for me.

-Never stop and never remove your eyes from your goal: No matter how cloudy the sky might seem, stars are there, no matter if you can’t see them.

-Love yourself: Never stop believing.



WA: WHAT DOES THE WORD FEMINIST MEAN TO YOU?

JU: It is just a word. I’m a womanist, I believe in the fight for our rights as women and I believe no word should define who we are but women. Some words are vandalized by the minds of those who seek to put us down, those who think we haven’t earned our place so far. I am a woman, I guess I’m more drawn to that word.


WA: WHAT IN YOUR LIFE HAS BROUGHT OR GIVEN YOU THE GREATEST SATISFACTION OR FULFILLMENT?

JU: Knowing that I’ve achieved most everything I wanted in life and conquered old fears. Being proud of being me!


WA: LOOKING BACK, WHAT WOULD YOU HAVE DONE DIFFERENTLY? WHAT WOULD YOU DO AGAIN?

JU: I would have stopped worrying for unimportant things, paying less attention to those who tried to stop me and at that, at some point threatened to stop me from advancing in my goals.

If I have to sacrifice myself to build what I’ve built, like I’ve done all these years, I would have done it again!,



WA: WHO ARE YOUR FAVORITE CULTURAL HEROINES? WHAT APPEALS TO YOU ABOUT THEM?

JU: Any feminine figure that throughout history has conquered a better place for us women, is my favorite heroine. I believe the role in society of all of them has been key to reach the spot in which we are now. It is hard to pick a side!

POLITICIANS ARE NOT KNOWN TO BE OFTEN SWAYED BY ART AND WOMEN HAVE A UNIQUE ROLE AND POWER IN THE ARTS AND HUMAN RIGHTS WORLD – TOM BLOCK, IHRAF FOUNDER

Tom Block is an artist, writer and activist best known for the development and implementation an activist art theory, “Prophetic Activist Art.” His activist work includes the Human Rights Painting Project (www.humanrightspaintingproject.com), Shalom/Salaam Project (www.tomblock.com/11shalom/index.php), Response to Machiavelli Project and Cousins Public Art Project (www. tomblock.com/10cousins/index.php), as well as his Heretical Paintings. He also developed and produced the first ever Amnesty International Human Rights Art Festival (www.humanrightsartfestival.com), an international event that took place April 2010 in Silver Spring, MD. In this Interview with Wole Adedoyin, President, Nigerian Chapter of the International Human Rights Art Festival (IHRAF), he shared with him few facts about his path as an activist artist, and founder of the International Human Rights Art Festival.


WA: YOU ARE THE FOUNDER OF IHRAF, WHAT ACTUALLY LED TO THE ESTABLISHMENT OF IHRAF?

TB: We live in a world of strife, and the artist-activist often chooses a path of offering more strife — with oppositionality, righteous anger, creative expressions of disgust and other artistic
means which, while morally just and often factually accurate, do little — in my opinion — to actually change behavior and legislation. I desired to create a forum where the gentle but
powerful forces of beauty and engagement might make inroads into the halls of power. As Lao Tzu said: "There is nothing more soft and yielding than water, but for dissolving the inflexible,
there is nothing more powerful.” We base our work on connecting creative change-makers to decision makers, and expand the circle of “us” who is fighting to make the world a better place.

WA: HOW IS HIRAF USING ART TO ADVANCE HUMAN RIGHTS IN THE WORLD?

TB: The IHRAF uses a variety of strategies to advance the cause of human rights around the world. They are:
• Providing transparency and safety to artists and activists on the front lines of the struggle for human rights. Often, artists-at-risk have said that one thing that can help secure their safety in more repressive situations is a wide audience, and one that helps protect them from government thugs and security forces who might otherwise act with nefarious purpose, if they thought they could act without witness.
• Providing an international forum to artists and activists who might otherwise be overlooked.
• Partnering with government officials, politicians, non-art activists and other NGO’s to create a spirit force, and infiltrate it into the highest echelons of power.
• Support youth voices through a growing series of initiatives to empower these rising leaders as they prepare to become tomorrow’s leaders.
WA: WHAT HAS BEEN THE BIGGEST HIGHLIGHT OF IHRAF?

TB: Working directly with great activists — those who raise their belief in the highest human ideals above their concern for their own safety. The IHRAF has partnered with Omoyele Sowore (Nigeria), Wei Jingsheng (China), Mbizo Chirasha (Zimbabwe), Razack Buwaso Ibrahim (Uganda) and even an American, Reality Winner. As I have noted, words such as human rights, justice, freedom and democracy are sounds that can just as easily be uttered by a Donald Trump, Yoweri Kaguta Tibuhaburwa Museveni (Uganda) and Xi Jinping as Martin Luther King, Jr., Mahatma Gandhi or Nelson Mandela. These words only become real, when one of these great activists is willing to risk their safety to bring them to life.

WA: TELL US ABOUT YOUR BACKGROUND AND EXPERIENCE IN HUMAN RIGHTS ART?

TB: I have nearly three decades as an activist artist. I began my work by exploring spiritual thinkers from the three great Abrahamic paths through painting, back in the 1990s. Then, I explored how these ideals might if applied to the real world — that is to say, what happens to people who operate in the social and political worlds with the passion, faith and determination of great mystics. This led me to paint a series of portraits of human rights defenders around the world, working in conjunction with Amnesty International. This body of work became the Human Rights Painting Project. This allowed me to see the power of art to infiltrate and affect the social and political worlds — as I worked with major organizations such as Amnesty International and the AFL-CIO national labor union. I also met many activist artists who had passion, talent and creativity, but not a lot of audience. So I got the idea of founding the International Human Rights Art Festival, to concentrate all of this positive energy working for the common good.

WA: HAS THE SITUATION OF HUMAN RIGHTS CHANGED USING ART?

TB: An article in the New York Times (Why Authoritarians Attack the Arts) noted: “Artists play a distinctive role in challenging authoritarianism. Art creates pathways for subversion, for political understanding and solidarity among coalition builders. Art teaches us that lives other than our own have value...Authoritarian leaders throughout history have intuited this fact and have acted accordingly.” That is to say, a human right might be most visible when it is taken away. As the founding director of the International Human Rights Art Festival, I have worked with numerous people who have had their creativity truncated and their lives threatened due to their art. Zimbabwean poet-in-exile Mbizo Chirasha has moved clandestinely around southern Africa, sometimes actively pursued by the Zimbabwean security apparatus due to his writings. Ugandan poet-in-exile Razack Buwaso Ibrahim watched his editor beaten and arrested, and then fled Uganda to Kenya where he was jailed (his relationship with us helped get him released) and then he moved to Tanzania. Chinese democracy activist Wei Jingsheng spent 18 years in jail due to his creation of the “Democracy Wall” writings, and since his release due to international pressure, has said he will always work with artists, due to the fact that in his darkest hour, they were the only ones standing by him. And we worked on many occasions with Nigerian writer and activist Sowore Omoyele, who was tortured as a college student and has since spent his time fighting for human rights in his home country. Artists lionizing him and his activist work, he assured, helped him rebuild his sense of self after being tortured in Nigeria and watching some of his best friends killed.

I think art moves beyond being a “human right,” to being a central aspect of the human character, the one human act which points to the spirit of every human soul, and not just a believer in this or that political or religious system.

WA: IN WHAT WAY IS IHRAF CONTRIBUTING TO THE GROWTH OF HUMAN RIGHTS IN AFRICA?

TB: We are fortunate to have an expanding footprint in Africa. Not only have we initiated the IHRAF Nigerian Secretariat, but we have supported poets-in-exile Mbizo Chirasha (Zimbabwe) and Razack Buwaso Ibrahim (Uganda). Additionally, we participated in the SOTAMBE International Film and Arts Festival (Kitwe, Zambia, 2019) and have partnered with other groups in Burundi, Tanzania, South Africa and around the continent. We hope to bring the IHRAF to Africa when we are past this Covid pandemic!

WA: AS A FOUNDER AND PROMOTER OF ART IN HUMAN RIGHTS, WHAT KINDS OF OBSTACLES DO YOU FACE?

TB: a large, international human rights/art organization is a tall order. We face the usual structural concerns of person-power, funding and the like. We are fortunate in that — so far — we have met with little or no political or social resistance.

WA: HOW DO YOU DEVELOP RELATIONSHIPS WITH HUMAN RIGHTS GROUPS IN OTHER COUNTRIES?

TB: We have been fortunate in that as our profile grows, we have many groups approach us, from the Lawyers for Human Rights group in Paris to UNESCO-RILA in Glasgow, Scotland. Additionally, as we meet more and more like-minded activist creators, they often introduce us to new potential partners.

WA: WHAT ROLE DO WOMEN PLAY IN IHRAF?

TB: Women have a unique role and power in the arts and human rights world. We have sponsored several “Celebration of Women” live performance events; most of our Board, Staff and Volunteers are women and we highlight the power of women through our IHRAF Publishes literary magazine and other platforms on a regular basis.

WA: IN YOUR OPINION, WHAT ARE THE GREATEST NEEDS OF HUMAN RIGHTS ART?

TB: I think there are two great needs: one is exposure and audience, and the other is access to those in power. Politicians are not known to be often swayed by art, but I think there is a strong possibility to change that, and to use art — through a growing constituency — to change legislation, support marginalized people and create a stronger platform for real social justice.

WA: HOW WOULD YOU BOLSTER HUMAN RIGHTS ART LITERACY?

TB: Through classes, workshops and hands-on engagement. The best way to learn is by doing, and involving school children in activist-art projects would open a new and important world to them, and affect them throughout their lives.

WA: HOW DO YOU PRIORITIZE MULTIPLE PROJECTS WHEN THEY ALL SEEM EQUALLY IMPORTANT?

TB: The IHRAF is very fortunate in that — as the Hasidic Rabbi MIkhail said — I have found that I never needed something until I already had it. For instance, our IHRAF Publishes Literary Magazine is getting very important, and too large for me to handle, so just at this point, we had a wonderful Editor appear, who is taking over and growing that as its own initiative. In the same way, you came to me and suggested beginning the IHRAF Nigerian Secretariat, which is amazing, as Nigeria is the country with our single largest number of Facebook followers! So, as we grow, we are finding that projects attract passionate people at just the right time — and so, we don't have to “prioritize”. We do them all at the same time!

ANCAPS INTERVIEW SERIES

YOUR BOOK COULD BE THE ANSWER TO SOMEONE’S PRAYER – GABRIEL O. UDENSI

Gabriel O. Udensi is the current Abia State Chairman of the Association of Nigerian Christian Authors and Publishers (ANCAPS), He is a published author of several books on Amazon, Okadabooks, Bambooks and Lulu platforms. In this comprehensive interview with Wole Adedoyin, he shared with him some facts surrounding his Christian writing career.


WHAT INSPIRED YOU TO START CHRISTIAN WRITING?

I realized that there were so much satanic evangelism, via the channels of literature and the media, corrupting the minds of the people especially youths with ungodly concepts, and the so called New age movement, leading them astray. Therefore, I consideredit a personal call and ministry, to counter such diabolic movement, with the sound doctrines of Christ Jesus, through Christian books, to pull down every strongholds, imaginations, ideologies and knowledge, bringing them to the obedience of Christ Jesus.

HOW LONG HAVE YOU BEEN WRITING?

Since my secondary school days, however, as a published author, l would rather say three years.

WHEN DID YOU START WRITING?

I embraced writing as a noble profession in the year 2014.

HAVE YOU ALWAYS WANTED TO BE A CHRISTIAN WRITER?

No, but the agony and suffering in the world as a result of perversions of the godly principles, compelled me to answer my call of destiny as a Christian writer, to serve the world with the bread of life and the living water of the Word, to satisfy their hunger, and quench their taste for sound knowledge.

WHAT ADVICE WOULD YOU GIVE A NEW CHRISTIAN WRITER, SOMEONE JUST STARTING OUT?

When you hear the voice of the Holy Spirit of God, prompting you to write for a specific target audience, harden not your heart; because your book could be the answer to someone’s prayer. Imagine this situation; if Apostle Paul had not obeyed to answer the call of writing, (I always use the word the call, because writing is an office and also a specific ministry), we will be so ignorant of the new creation realties. Therefore, obey, answer the call, and preach the gospel of Christ through the tributaries of literature.

HOW DO YOU HANDLE WRITER’S BLOCK?

I will play some deep spiritual songs, to relax my entire being. And also to access the portal of infinite wisdom, through the only legal door, which is Christ Jesus. In so doing, my thinking faculty will be revitalized, for spontaneous overflow of creative ideas.

HOW MANY CHRISTIAN BOOKS HAVE YOU WRITTEN? WHICH IS YOUR FAVOURITE CHRISTIAN BOOK?

I will say four. It’s very difficult to choose the favourite because each one is unique, and was written for different target audience, however, I will go for “Consider Jesus”, because it is a book that incorporated diverse concepts, which includes: science, mathematics,philosophy, commerce, and literature, in expounding the gospel of Christ, with thought provoking illustrations. The book is very unique, in it’s narrative style and it took me ten years, to draft and thoroughly revise it’s manuscript.

WHAT IS THE MOST SURPRISING THING YOU DISCOVERED WHILE WRITING YOUR BOOK(S)?

I always feel a presence, as if someone is standing by my side, whispering some messages, and deep hidden things, especially on my left ear.

DO YOU HAVE A FAVOURITE CHRISTIAN CHARACTER THAT YOU HAVE WRITTEN? IF SO, WHO? AND WHAT MAKES THEM SO SPECIAL.

Yeah, her name is Erinma, an orphan, though am yet to publish the manuscript by may/June this year 2021. Her tenacity, and passion to liberate her colleagues at the their work place, is extremely superb. She was initiated into voodoo cult as a teenager, but later in her life,she encountered Christ Jesus through the prayers of herfiancée’s pastor, who conducted a tedious deliverance for her salvation.

WHERE DO YOU GET YOUR INSPIRATION?

From the Spirit of Truth, the omniscient Holy Spirit of Christ. Also from the book of Job, Psalms, Proverbs, Ecclesiastes, and the Epistles of Apostle Paul.

WHERE CAN READERS PURCHASE YOUR CHRISTIAN BOOKS?

Through my Amazon author page:
amazon.com/author/gabrieludensi

At Okadabooks:
https://okadabooks.com/user/gabrieludensi
At Collins bookstore:https://collinsbookstore.com/product/consider-jesus/

Paystack:
https://paystack.shop/bookworld

WHERE CAN READERS FIND OUT MORE ABOUT YOU AND YOUR CHRISTIAN BOOKS?

Okadabooks:
https://okadabooks.com/user/gabrieludensi
Amazon author page:
amazon.com/author/gabrieludensi

Paystack link:
https://paystack.shop/bookworld

Collins bookstore:
https://collinsbookstore.com/product/consider-jesus/

HAVE ANY OF YOUR CHRISTIAN BOOKS BEEN MADE INTO CHRISTIAN AUDIOBOOKS? IF SO, WHAT ARE THE CHALLENGES IN PRODUCING AN AUDIO BOOK?
None have been made into audiobook, still strategizing to do so soonest.

WHICH OF YOUR CHRISTIAN BOOKS WERE THE MOST ENJOYABLE TO WRITE?

All of them. Writing their manuscripts gave me great joy, and a sense of fulfillment.

TELL US ABOUT YOUR FIRST PUBLISHED CHRISTIAN BOOK? WHAT WAS THE JOURNEY LIKE?

Awesome! The title of the book is “ConsiderJesus”. It was indeed an adventure of ten years, of gathering, clustering, prewriting, drafting, organizing, editing, and revising the manuscript prior to publishing it. It was anchored by forty days of fasting, and midnight prayers.

WHAT, IN YOUR OPINION, ARE THE MOST IMPORTANT ELEMENTS OF GOOD WRITING?

The clarity of the message, value, and its simplicity in expounding mysteries, to heighten understanding with respect to the target audience.

WHO'S YOUR FAVORITE CHRISTIAN AUTHOR OF ALL TIME? YOUR FAVORITE CHRISTIAN BOOK BY THEM?

Oh! Extremely difficult to choose, however, I will endorse E.W. Kenyon. Andmy favorite of his book is: “The Hidden Man.” Moreover, the works of Derek Prince, are excellent read.

ON YOUR LATEST CHRISTIAN BOOK, CAN YOU SHARE WITH US SOMETHING ABOUT THE BOOK?

Still a project at work. It’s about a young teenage girl, who was initiated into a witchcraft coven, by the goddess of a River but was delivered from the shackles of darkness into the light of Christ, after her fiancée’s Pastor, conducted a deliverance that nearly took his(Pastor’s) life.

ARE THERE ANY SECRETS FROM THE BOOK, YOU CAN SHARE WITH YOUR READERS?

Yes, it very paramount that a Christian should always be on guard, by putting on the whole armour of God, in order to be able to ward off the fiery darts of the enemy. The midnight hours are extremely dangerous, and a lot of spiritual transactions takes place in the midnight. Therefore, as a believer, it’s expedient to be spiritually alert, and sensitive to the promptings of the Holy Spirit, to escape from the onslaught and hidden snares of the enemy, during the night hours.

WHAT WAS THE INSPIRATION FOR THE STORY/BOOK?

The quest for deliverance, liberty, and freedom of lawful captives from the hands of the mighty , and wicked captors. Suffice it to say that, the book of Isaiah 49:24-26, inspired the plot and conflict of the book.

WHAT IS THE KEY THEME AND/OR MESSAGE IN THE BOOK?

The love, mercy, andgrace of Christ, is all encompassing, and doesn’t discriminate. It’s available to all, irrespective of our past failures, sins, and ignorance. Whenever anyone embraces the gospel of Christ, he/she will be justified and made righteous, just as if he/she hadn’t sin at all. Moreover, as a believer, it’s pertinent to be vigilant, watchful and prayerful, especially in this last days of trials and tribulations.

WHAT DO YOU HOPE YOUR READERS TAKE AWAY FROM THIS BOOK?

They will learn spiritual warfare strategies.And understand the nature of the tricks, and evil schemes of the crafty serpent, to be able to discern, and resist them, whenever they comes.

WHAT IS THE SIGNIFICANCE OF THE TITLE?

“Erinma, the tragedy and triumph of a super woman”; speaks for itself because it narrates the process of transformation of a formal witch, a voodoo princess from the darkness of sin, to the great light of righteousness, through the liberty granted by Christ Jesus.


HAS A CHRISTIAN BOOK EVER CHANGED YOUR LIFE?

Yeah, “TheHiddenMan”, by E.W. Kenyon, impacted me so much, with the imprints of the New Creation Realities.

WHAT GENRES OF CHRISTIAN BOOK DO YOU LOVE?

All genres, provided the gospel of Christ, is being preached with simplicity, and self explanatory illustrations.

ARE THERE ANY GENRES OF CHRISTIAN BOOK YOU DISLIKE?

No.

WHAT CHRISTIAN AUTHOR (WHO IS STILL LIVING) WOULD YOU DEARLY LOVE TO MEET?

Andrew Wommack

DO YOU LIKE TO DISPLAY YOUR BOOKS ON A BOOKSHELF OR KEEP THEM IN A VIRTUAL LIBRARY?

I love both.

DO YOU PREFER FLASH CHRISTIAN FICTION, CHRISTIAN SHORT STORIES, CHRISTIAN NOVELLAS, OR CHRISTIAN NOVELS?

All genres.

WHAT CHRISTIAN BOOK CAN YOU RECOMMEND TO ME?

The Hidden Man by E.W. Kenyon.

WHEN DID YOU LAST VISIT A LIBRARY?

In the year 2019, because the only library we have in Aba is undergoing some renovation and remedial construction works.

HAVE YOU EVER HAD A CRUSH ON A CHRISTIAN BOOK CHARACTER?

Not yet.

HAS A CHRISTIAN BOOK EVER MADE YOU LAUGH OUT LOUD?

Yeah, my unpublished work, about Erinma. It’s tragi-comedy master piece.

ABOUT GABRIEL O. UDENSI

The author hails from Abia State, from the Bende LGA. He is an apostle of JESUS CHRIST; also an associate Member of the Nigerian Institute of Building (NIOB).

He is member of the Association of Nigerian Authors (ANA), Abia State Chapter ( currently serving as the Assistant General Secretary), also a member of Aba Book Club, and Aba Poetry Club.

He is an internationally published author of several books, printed by Ukiyoto publishing company, Toronto Canada.

His books such as Consider Jesus, Flashes of Insight and Bible for the Scientists, Mathematicians, Philosophers, Atheists, Gnostics and Christians; are globally distributed on Amazon site and other bookstores. His author page can be accessed via this link:
Amazon.com/author/gabrieludensi

MISSION STATEMENT:

To preach, teach and advance the gospel of JESUS CHRIST to the uttermost parts of the world through the channels of literature, arts, and the media.
© Association of Nigerian Christian Authors and Publishers

ANCAPS INTERVIEW SERIES

YOUR BOOK COULD BE THE ANSWER TO SOMEONE’S PRAYER – GABRIEL O. UDENSI

Gabriel O. Udensi is the current Abia State Chairman of the Association of Nigerian Christian Authors and Publishers (ANCAPS), He is a published author of several books on Amazon, Okadabooks, Bambooks and Lulu platforms. In this comprehensive interview with Wole Adedoyin, he shared with him some facts surrounding his Christian writing career.


WHAT INSPIRED YOU TO START CHRISTIAN WRITING?

I realized that there were so much satanic evangelism, via the channels of literature and the media, corrupting the minds of the people especially youths with ungodly concepts, and the so called New age movement, leading them astray. Therefore, I consideredit a personal call and ministry, to counter such diabolic movement, with the sound doctrines of Christ Jesus, through Christian books, to pull down every strongholds, imaginations, ideologies and knowledge, bringing them to the obedience of Christ Jesus.

HOW LONG HAVE YOU BEEN WRITING?

Since my secondary school days, however, as a published author, l would rather say three years.

WHEN DID YOU START WRITING?

I embraced writing as a noble profession in the year 2014.

HAVE YOU ALWAYS WANTED TO BE A CHRISTIAN WRITER?

No, but the agony and suffering in the world as a result of perversions of the godly principles, compelled me to answer my call of destiny as a Christian writer, to serve the world with the bread of life and the living water of the Word, to satisfy their hunger, and quench their taste for sound knowledge.

WHAT ADVICE WOULD YOU GIVE A NEW CHRISTIAN WRITER, SOMEONE JUST STARTING OUT?

When you hear the voice of the Holy Spirit of God, prompting you to write for a specific target audience, harden not your heart; because your book could be the answer to someone’s prayer. Imagine this situation; if Apostle Paul had not obeyed to answer the call of writing, (I always use the word the call, because writing is an office and also a specific ministry), we will be so ignorant of the new creation realties. Therefore, obey, answer the call, and preach the gospel of Christ through the tributaries of literature.

HOW DO YOU HANDLE WRITER’S BLOCK?

I will play some deep spiritual songs, to relax my entire being. And also to access the portal of infinite wisdom, through the only legal door, which is Christ Jesus. In so doing, my thinking faculty will be revitalized, for spontaneous overflow of creative ideas.

HOW MANY CHRISTIAN BOOKS HAVE YOU WRITTEN? WHICH IS YOUR FAVOURITE CHRISTIAN BOOK?

I will say four. It’s very difficult to choose the favourite because each one is unique, and was written for different target audience, however, I will go for “Consider Jesus”, because it is a book that incorporated diverse concepts, which includes: science, mathematics,philosophy, commerce, and literature, in expounding the gospel of Christ, with thought provoking illustrations. The book is very unique, in it’s narrative style and it took me ten years, to draft and thoroughly revise it’s manuscript.

WHAT IS THE MOST SURPRISING THING YOU DISCOVERED WHILE WRITING YOUR BOOK(S)?

I always feel a presence, as if someone is standing by my side, whispering some messages, and deep hidden things, especially on my left ear.

DO YOU HAVE A FAVOURITE CHRISTIAN CHARACTER THAT YOU HAVE WRITTEN? IF SO, WHO? AND WHAT MAKES THEM SO SPECIAL.

Yeah, her name is Erinma, an orphan, though am yet to publish the manuscript by may/June this year 2021. Her tenacity, and passion to liberate her colleagues at the their work place, is extremely superb. She was initiated into voodoo cult as a teenager, but later in her life,she encountered Christ Jesus through the prayers of herfiancée’s pastor, who conducted a tedious deliverance for her salvation.

WHERE DO YOU GET YOUR INSPIRATION?

From the Spirit of Truth, the omniscient Holy Spirit of Christ. Also from the book of Job, Psalms, Proverbs, Ecclesiastes, and the Epistles of Apostle Paul.

WHERE CAN READERS PURCHASE YOUR CHRISTIAN BOOKS?

Through my Amazon author page:
amazon.com/author/gabrieludensi

At Okadabooks:
https://okadabooks.com/user/gabrieludensi
At Collins bookstore:https://collinsbookstore.com/product/consider-jesus/

Paystack:
https://paystack.shop/bookworld

WHERE CAN READERS FIND OUT MORE ABOUT YOU AND YOUR CHRISTIAN BOOKS?

Okadabooks:
https://okadabooks.com/user/gabrieludensi
Amazon author page:
amazon.com/author/gabrieludensi

Paystack link:
https://paystack.shop/bookworld

Collins bookstore:
https://collinsbookstore.com/product/consider-jesus/

HAVE ANY OF YOUR CHRISTIAN BOOKS BEEN MADE INTO CHRISTIAN AUDIOBOOKS? IF SO, WHAT ARE THE CHALLENGES IN PRODUCING AN AUDIO BOOK?
None have been made into audiobook, still strategizing to do so soonest.

WHICH OF YOUR CHRISTIAN BOOKS WERE THE MOST ENJOYABLE TO WRITE?

All of them. Writing their manuscripts gave me great joy, and a sense of fulfillment.

TELL US ABOUT YOUR FIRST PUBLISHED CHRISTIAN BOOK? WHAT WAS THE JOURNEY LIKE?

Awesome! The title of the book is “ConsiderJesus”. It was indeed an adventure of ten years, of gathering, clustering, prewriting, drafting, organizing, editing, and revising the manuscript prior to publishing it. It was anchored by forty days of fasting, and midnight prayers.

WHAT, IN YOUR OPINION, ARE THE MOST IMPORTANT ELEMENTS OF GOOD WRITING?

The clarity of the message, value, and its simplicity in expounding mysteries, to heighten understanding with respect to the target audience.

WHO'S YOUR FAVORITE CHRISTIAN AUTHOR OF ALL TIME? YOUR FAVORITE CHRISTIAN BOOK BY THEM?

Oh! Extremely difficult to choose, however, I will endorse E.W. Kenyon. Andmy favorite of his book is: “The Hidden Man.” Moreover, the works of Derek Prince, are excellent read.

ON YOUR LATEST CHRISTIAN BOOK, CAN YOU SHARE WITH US SOMETHING ABOUT THE BOOK?

Still a project at work. It’s about a young teenage girl, who was initiated into a witchcraft coven, by the goddess of a River but was delivered from the shackles of darkness into the light of Christ, after her fiancée’s Pastor, conducted a deliverance that nearly took his(Pastor’s) life.

ARE THERE ANY SECRETS FROM THE BOOK, YOU CAN SHARE WITH YOUR READERS?

Yes, it very paramount that a Christian should always be on guard, by putting on the whole armour of God, in order to be able to ward off the fiery darts of the enemy. The midnight hours are extremely dangerous, and a lot of spiritual transactions takes place in the midnight. Therefore, as a believer, it’s expedient to be spiritually alert, and sensitive to the promptings of the Holy Spirit, to escape from the onslaught and hidden snares of the enemy, during the night hours.

WHAT WAS THE INSPIRATION FOR THE STORY/BOOK?

The quest for deliverance, liberty, and freedom of lawful captives from the hands of the mighty , and wicked captors. Suffice it to say that, the book of Isaiah 49:24-26, inspired the plot and conflict of the book.

WHAT IS THE KEY THEME AND/OR MESSAGE IN THE BOOK?

The love, mercy, andgrace of Christ, is all encompassing, and doesn’t discriminate. It’s available to all, irrespective of our past failures, sins, and ignorance. Whenever anyone embraces the gospel of Christ, he/she will be justified and made righteous, just as if he/she hadn’t sin at all. Moreover, as a believer, it’s pertinent to be vigilant, watchful and prayerful, especially in this last days of trials and tribulations.

WHAT DO YOU HOPE YOUR READERS TAKE AWAY FROM THIS BOOK?

They will learn spiritual warfare strategies.And understand the nature of the tricks, and evil schemes of the crafty serpent, to be able to discern, and resist them, whenever they comes.

WHAT IS THE SIGNIFICANCE OF THE TITLE?

“Erinma, the tragedy and triumph of a super woman”; speaks for itself because it narrates the process of transformation of a formal witch, a voodoo princess from the darkness of sin, to the great light of righteousness, through the liberty granted by Christ Jesus.


HAS A CHRISTIAN BOOK EVER CHANGED YOUR LIFE?

Yeah, “TheHiddenMan”, by E.W. Kenyon, impacted me so much, with the imprints of the New Creation Realities.

WHAT GENRES OF CHRISTIAN BOOK DO YOU LOVE?

All genres, provided the gospel of Christ, is being preached with simplicity, and self explanatory illustrations.

ARE THERE ANY GENRES OF CHRISTIAN BOOK YOU DISLIKE?

No.

WHAT CHRISTIAN AUTHOR (WHO IS STILL LIVING) WOULD YOU DEARLY LOVE TO MEET?

Andrew Wommack

DO YOU LIKE TO DISPLAY YOUR BOOKS ON A BOOKSHELF OR KEEP THEM IN A VIRTUAL LIBRARY?

I love both.

DO YOU PREFER FLASH CHRISTIAN FICTION, CHRISTIAN SHORT STORIES, CHRISTIAN NOVELLAS, OR CHRISTIAN NOVELS?

All genres.

WHAT CHRISTIAN BOOK CAN YOU RECOMMEND TO ME?

The Hidden Man by E.W. Kenyon.

WHEN DID YOU LAST VISIT A LIBRARY?

In the year 2019, because the only library we have in Aba is undergoing some renovation and remedial construction works.

HAVE YOU EVER HAD A CRUSH ON A CHRISTIAN BOOK CHARACTER?

Not yet.

HAS A CHRISTIAN BOOK EVER MADE YOU LAUGH OUT LOUD?

Yeah, my unpublished work, about Erinma. It’s tragi-comedy master piece.

ABOUT GABRIEL O. UDENSI

The author hails from Abia State, from the Bende LGA. He is an apostle of JESUS CHRIST; also an associate Member of the Nigerian Institute of Building (NIOB).

He is member of the Association of Nigerian Authors (ANA), Abia State Chapter ( currently serving as the Assistant General Secretary), also a member of Aba Book Club, and Aba Poetry Club.

He is an internationally published author of several books, printed by Ukiyoto publishing company, Toronto Canada.

His books such as Consider Jesus, Flashes of Insight and Bible for the Scientists, Mathematicians, Philosophers, Atheists, Gnostics and Christians; are globally distributed on Amazon site and other bookstores. His author page can be accessed via this link:
Amazon.com/author/gabrieludensi

MISSION STATEMENT:

To preach, teach and advance the gospel of JESUS CHRIST to the uttermost parts of the world through the channels of literature, arts, and the media.
© Association of Nigerian Christian Authors and Publishers

ASSOCIATION OF NIGERIAN CHRISTIAN AUTHORS AND PUBLISHERS (ANCAPS)
CHRISTIAN AUTHOR OF THE MONTH SERIES – FOR THE MONTH OF JANUARY 2021

CHRISTIAN AUTHOR IN FOCUS - DAVID OYEDEPO

DAVID OYEDEPO

David O. Oyedepo (born September 27, 1954) is a Nigerian preacher, Christian author, businessman, architect and the founder and presiding Bishop of the megachurch Faith Tabernacle in Ota, Ogun State, Nigeria, and Living Faith Church Worldwide, also known as Winners' Chapel International.

The Winners' Chapel International network of churches is located in over 300 cities, in all states of Nigeria, and in several cities in 45 African nations, Dubai, the United Kingdom and the United States. Oyedepo has been seen as one of the pioneers of the Christian charismatic movement in Africa and has been referred to as one of the most powerful preachers in Nigeria. He is the Chancellor of Covenant University and Landmark University. He was named in 2011 by Forbes magazine as being the richest pastor in Nigeria.

Early life

On September 27, 1954, David Olaniyi Oyedepo was born in Osogbo, Nigeria, but is a native of Omu-Aran, Irepodun Local Government Area of Kwara State. He was raised in a mixed religious family. His father, Ibrahim, was a Muslim healer. His mother, Dorcas, was a member of the Holy Order of the Cherubim and Seraphim Movement Church (C&S), a branch of the Aladura movement in Nigeria. He was raised by his grandmother in Osogbo, who introduced him to the virtues of Christian life via early morning prayers which she attended with him. She also taught him the importance of tithing.

Education

Oyedepo studied architecture at the Kwara State Polytechnic Ilorin. He also received a PhD in Human Development from Honolulu University, Hawaii, US.

Career

Oyedepo worked briefly with the Federal Ministry of Housing in Ilorin before resigning to concentrate on missionary work.

Ministry

Oyedepo was "born again" in 1969, through the influence of his teacher, Betty Lasher, who took an interest in him during his high school days.. According to him, he received a mandate from God through an 18-hour vision in May 1981, to liberate the world from all oppression of the devil through the preaching of the word of faith. This is the inaugural vision that led to the founding of the Living Faith Church World Wide (LFCWW), first called Liberation Faith Hour Ministries, in 1981.Two years later, on September 17, 1983, Pastor Enoch Adeboye, General Overseer of the Redeemed Christian Church of God, ordained David and his wife, Florence Abiola Akano (known as Faith Abiola Oyedepo) to become pastors and officially commissioned the new church. Five years later, Oyedepo was ordained as Bishop.
Living Faith Church (AKA Winners Chapel International) started in Kaduna but moved to Lagos, the former capital of Nigeria in July 1989, to start a new branch of the church after Oyedepo claimed to have received instructions from God to reach out to the people of Lagos.

Oyedepo is the wealthiest preacher in Nigeria with a net worth of over US$150 million. The church owns four private jets and several buildings, including in London and the US. Oyedepo is an author and publisher who has written over 70 titles apart from periodicals. He is the chairman/publisher of Dominion Publishing House (DPH), a publishing arm of the ministry.

DPH has over 4 million prints in circulation to date. Through Oyedepo; Covenant University, Faith Academy and Kingdom Heritage Model Schools have been established to equip the youth for global impact. The construction of a third university named Crown University is already underway, located in Calabar, Cross River, Nigeria.

In 1998, Oyedepo claimed he was instructed by God to build a new base for the Commission to accommodate the increasing number of worshippers. This resulted in Oyedepo's church's acquisition of the initial 530-acre (2.1 km2) facility, known as Canaanland, which serves as the headquarters. It is the home of the 50,000-seat capacity auditorium, the 'Faith Tabernacle', which is reputed to be the largest church auditorium in the world. This was a feat also recorded by the Guinness Book of Records.

Faith Tabernacle was reported as the Worlds' Largest Church Auditorium in December 2005
Construction was completed within 12 months. Reports also claimed that this building was built debt free. This 50,000-seat edifice was dedicated on September 18, 1999, under the administration of former President Olusegun Obasanjo.

Canaanland is in Ota, Ogun state and is the 5,000-acre (20 km2) estate and campus, that houses The 50,000 seat auditorium, the church secretariat, the church's youth chapel, a primary school called Kingdom heritage model school, a full boarding mission secondary school called Faith Academy, with over 1,500 students and the Covenant University facilities which accommodates over 7,000 students, fully resident in ultra-modern hostel facilities - with fully equipped faculty buildings and numerous staff housing facilities. Canaanland campus also has for-profit establishments operated by the church such as a bakery, a bottled water processing plant, a petrol station, various restaurants and shopping stores, several residential houses that provide for the over 2,000 church employees and guesthouses. Four banks are also present on this Estate, three of which are branches of external commercial banks and one which is a community and micro-finance Bank and operated by the Church. The whole of Canaanland which includes a proposed 15,000 housing estate known as Canaan City had increased to 17,000 acres as at 2012.

The Ministry's biggest annual meeting Shiloh, holds every December in the same Faith Tabernacle and often welcomes thousands of congregants across the world.

Christian ministry

The teachings of Oyedepo have put him in the category of what is commonly called the Word of Faith Movement. He has referred to principal exponents of the Faith Movement such as Kenneth Copeland, Gloria Copeland, the late Kenneth Hagin, E. W. Kenyon, T. L. Osborn, Smith Wigglesworth as well as renowned Nigerian preachers; Enoch Adeboye and the late Benson Idahosa as mentors. As with many of his influences, Oyedepo has been described as a preacher of the prosperity gospel.

Winners Chapel International operates a Bible training programme known as the Word of Faith Bible Institute for members and non-members alike to develop knowledge of Christian principles as well as to develop leaders and future pastors. The institute is run in major branches of the Church.

Oyedepo is the president of David Oyedepo Ministries International (DOMI). DOMI is the umbrella organisation comprising Living Faith Church World Wide (a global network of churches), World Mission Agency (WMA); the global missionary arm of the church's operations, Dominion Publishing House; the publishing arm of the church, Covenant University, and the Social Development Missions projects - made up of hospitals, maternity homes, schools, etc.
Oyedepo has criticised corruption in Africa as a whole and poor leadership in government.

Book publishing

Oyedepo's church also operates its own publishing house, called Dominion Publishing House (DPH), commissioned on December 5, 1992, which has published over 70 Christian, inspirational and motivational books, mini books, magazines and other resources. Some of his authored books include:

• Not By Power Nor By Might
• The Turnaround Power Of The Word
• Understanding The Power Of Faith
• The Breakthrough Power Of Vision
• On Eagle’s Wings
• The Unlimited Power Of Faith
• In Pursuit Of Vision
• Pillars Of Destiny
• Signs & Wonders Today
• Exploits In Ministry
• Winning The War Against Poverty
• Walking In Dominion
• Possessing Your Possession
• The Wisdom That Works
• Exploits Of Faith
• Anointing For Exploits
• Understanding The Power Of Praise
• Walking In Newness Of Life
• Maximise Destiny
• Commanding The Supernatural
• Winning Invisible Battles
• Success Systems
• Understanding Financial Prosperity
• Success Strategies
• Understanding Your Covenant Right
• Miracle Meal
• Exploring the Riches of Redemption
• Anointing For Breakthrough
• Excellency Of Wisdom
• Breaking Financial Hardship
• The Release Of Power
• Walking In The Miraculous
• Satan Get Lost!
• The Winning Wisdom
• Walking In Wisdom
• The Healing Balm
• Manifestations Of The Spirit
• Breaking The Curses Of Life
• Overcoming Forces Of Wickedness
• You Shall Not Be Barren!
• Exploring The Secrets Of Success
• Winning Prayer
• Understanding The Anointing
• Fulfilling Your Days
• Towards Mental Exploits
• Understanding Vision
• Understanding Divine Direction
• The Force Of Freedom
• Born To Win
• The Shower Of Blessing
• Riding On Prophetic Wings
• All You Need To Have All Your needs Met
• Operating In The Supernatural
• Ruling Your World
• The Blood Triumph
• Keys To Divine Health
• Winning Faith
• Conquering Controlling Powers
• Put Your Angels To Work
• Covenant Wealth
• Keys To Answered Prayer
• Miracle Seed
• The Hidden Covenant Of Blessing


Family

In 1982 he married Florence Abiola Akano (now known as Faith). They have four children together (David Jr, Isaac, Love and Joyce). David Oyedepo Jr and Isaac Oyedepo were ordained as Pastors in May 2007 by Kenneth Copeland. David Oyedepo Jr formerly pastored the London Branch of the Church with his wife, Kemi but is now the resident pastor of the Ministry's headquarters church (Faith Tabernacle) while Isaac Oyedepo pastors Winners' Chapel International, Maryland, in the United States of America with his wife Ayomitide. His first daughter Love is married to Stephen Ogah, who also pastors in Winners' Chapel. Joys Priscilla is the last child and second daughter. She got married to Abimbola Abodunrin in 2020.

To become a member of ANCAPS, kindly contact Wole Adedoyin on 08072673852 or woleadedoyin@gmail.com

https://nigerianchristianauthorsofthemonth..com/2021/02/dr-david-oyedepo-christian-author-of.html

YOUNG NIGERIAN WRITERS SET TO PARTNER WITH WOMAN SCREAM INTERNATIONAL POETRY AND ARTS FESTIVAL ON BOOK AND POETRY READINGS

The Society of Young Nigerian Writers has officially partnered with the Woman Scream International Poetry and Arts Festival (Grito de Mujer®).

This was contained in a statement issued by the national President of SYNW, Wole Adedoyin in Ilesha on Wednesday.

The Woman Scream International Poetry and Arts Festival (Grito de Mujer®) from Dominican Republic is a worldwide chain of events celebrated in March, where institutions, poets and artists of different countries volunteer to honor women, sending messages of self-esteem, respect and rising voices against women violence. It includes events for the public such as: Conferences, art exhibits, poetry recitals, concerts, fairs, theater presentations, films, etc.

Woman Scream is celebrated throughout the month of March (from 1st to 31st only). This festival has been celebrated in over 50 countries since 2011, with over 600 successful events coordinated.

In an invitation letter dated January 26, 2021, addressed to the President of the Society of Young Nigerian Writers and signed by Jael Uribe, President MPI and WS hinted that SYNW has been invited to become part of the festival’s volunteers team for next March 2021, and will be coordinating events as part of Woman Scream’s worldwide chain, during the course of the month.

This will be the Second time SYNW will be partnering and participating in this international programme. Year 2016 was the last time the literary body partnered and participated in the project which got some works of its members published on their online Poetry Journal at http://antologiagritodemujer..com/2016/04/poems-woman-scream-2016-nigeria.html and in which book and poetry readings took place in eight ( states of the federation in collaborations with the reading arms of SYNW like the Ibadan Book Club, Osogbo Book Club, Eko Book Club, Abeokuta Book Club and Akure Book Club respectively.

Society of Young Nigerian Writers (SYNW), is an umbrella organisation that was founded to promote creative writing and literary arts among writers based in Nigeria between the ages of 10 and 40. It was founded in 2010 at the former house of the Nobel Laureate Professor Wole Soyinka at the University of Ibadan. It was formerly known as the World of Poets and Literary Society.
Society of Young Nigerian Writers (SYNW) is a member of the International Authors Forum (IAF). It has also collaborated with different international organizations like Alliance Francaise (Nigeria), 100 Thousand Poets for Change (USA), Woman Scream International Poetry and Arts Festival (Dominican Republic), Girl Child Creativity (Zimbabwe) and the International Human Rights Art Festival (USA).
In 2019, Society of Young Nigerian Writers (SYNW) was duly acknowledged and mentioned in a book titled “TEEN LIVES AROUND THE WORLD: A GLOBAL ENCYCLOPEDIA (2 VOLUMES)” edited by Karen Wells. The Society of Young Nigerian Writers (SYNW) was described as the only teen writers’ body in Nigeria.
SYNW provides a platform for young writers to meet and collaborate, enhance and hone their writing skills. SYNW also publish, promote and market the works of its members.

IBADAN BOOK CLUB PARTNERS RACE COURSE AMPHITHEATRE TO REVIVE AND PROMOTE READING CULTURE IN OYO STATE
Ibadan Book Club, one of the reading arms of the Society of Young Nigerian Writers (SYNW) has partnered with Race Course, a newly established leisure centre recently cited inside the Lekan Salami Stadium Adamasingba to promote and revive moribund reading culture in Ibadan and Oyo State in general.
This was contained in a statement signed by Wole Adedoyin in Ibadan on Thursday.
The newly established leisure centre was built to accommodate literary podium where writers, artists and book lovers can meet to read, discuss, hone and share educative and informative books. The idea behind this is to make the Centre a book and literary oriented apart from other services rendered at the centre.
Every last Saturdays of every week and month, book lovers, writers, artists will be converging at Race Course to discuss old and latest books, read to an interesting audience, meet the guest writer and reader and also get their works published in the newsletter of the club.
Ibadan Book Club is an initiative of Society of Young Nigerian Writers. It was established by the Society in order to contribute its own quota towards the growth and development of Reading Culture in Oyo State. Ibadan Book Club consists of group of people who get together, periodically meet to discuss the book they have read, and to exchange such books. The members of the club encourage each other, and learn to read with a critical awareness, articulating their opinions on a particular book with the others. Certain types of books not available or read receive attention through the book club.
Few of the publications published by Ibadan Book Club are: Olubadan Centenary Anthology: A Collection of Essays, Articles, Poems and Artworks on Oba (Dr.) Samuel Odulana, Odugade 1, Voices from Oja Oba Market and lastly Senator Abiola Ajimobi: Memories, Dreams, Reflections of A Mind Always in Motion.
For more information on how to join the book club, kindly visit www.ibadanbookclub. or www.ibadanbookclub..com.

SYNW RELEASES A NEW PUBLICATION IN HONOUR OF LATE PROF JERRY AGADA, FORMER EDUCATION MINISTER
The Society of Young Nigerian Writers, SYNW, is pleased to announce the publication of the most authoritative and most compelling collection of poems, articles, essays and interviews in honor of the legendary Late Prof. Jerry Anthony Agada (May his gentle soul rest in perfect peace).
For a mighty iroko and a household name like Prof. Jerry Agada who lived the most part of his life ensuring a better human society through the propagation and promotion of the Gospel of Literature and the scribal arts, one of the most deserving things any individual, group or organization could do in his fond memory is to seek to immortalize him on printed pages.
This, the SYNW has done in the grandest of styles. One may not find anything else on Agada (posthumously) as compelling as what the SYNW avails one in this definitive and encompassing collection!
With this pioneer publication, the SYNW wishes to reiterate an already known fact, that Prof. Agada poured out his soul on the pages of paper for the human race, and that the human soul is immortal, just as writers.
If writers do not decorate the pages in grand celebration of one of theirs, who then will?
Rhythms in Honour of Prof. Jerry Agada: To download your electronic copy, kindly click on the link below: https://rhythmsinhonourofjerryagada./2021/02/04/rhythms-in-honour-of-prof-jerry-agada/

KHALIL GIBRAN @ 90 POETRY AND ART ANTHOLOGY
CALL FOR ENTRIES: ANTHOLOGY OF POEMS AND ART WORKS IN COMMEMORATION OF 90 YEARS OF KHALIL GIBRAN’S DEATH”.
SUBMISSION GUIDELINES:
THEME(S): LOVE, DEATH AND LIFE – (ARTICLES AND ESSAYS ON KHALIL GIBRAN ARE ALSO WELCOME
1. Only one entry is allowed per entrant (Poem (poet) and Art Work (Artist)).
2. Poets are only allowed to write on any of these three themes, Love, Death and life and submitted artworks also must focus on the mentioned themes
3. Entrants can write on personal experience
4. Entry must be written in English Language
5. Entry should be brief: a maximum of 40 lines for poetry
6. Author’s information -Name, age, gender, location, phone number, school, permission to publish your work in one or two sentences, and a short bio of no more than 40 words should be included in the submission.
7. Entry must be type-written and sent in the body of the mail; NOT AS AN ATTACHMENT. Entries sent as attachment will be automatically disqualified.
8. Entry must be the original work of the entrant. Any indication of plagiarism leads to disqualification and must not be published in any other anthology(ies)
9. All entries should be sent on or before February 28, 2021. Late entries will be disregarded.
10. Entries should be submitted to: khalilgibransocietyng@gmail.com and also copy societyofyoungnigerianwriters@gmail.com
11. The subject of the email should be ‘POETRY AND ART ANTHOLOGY IN HONOUR OF KHALIL GIBRAN @ 90
12. Please note that only works that comply with the submission guidelines will be selected and published.
13. Entries are welcome from all over the world
14. Only well edited entries will be published

BENEFITS:

1. All successful and shortlisted entries will be published in the proposed khalil Gibran @ 90
Poetry and Art Anthology (Electronic) Anthology.
2. Published works will also be uploaded on both the Gibran National Committee’s Website and that of the Society of Young Nigerian Writers.
3. Certificate of participation will be awarded to all entrants.
4. Certificates of excellence will be awarded to only the shortlisted/published entrants.
5. Automatic/free membership and admission into the Khalil Gibran Society for the published entrants.
6. Only published entries will be read at the Khalil Gibran @ 90 National Reading/Art Exhibition Day

For more information, please contact Wole Adedoyin (Khalil Gibran Society) woleadedoyin@gmail.com, Hoda (Gibran National Committee, Lebanon) - hoda@gibrankhalilgibran.org

https://khalilgibransociety..com/2021/01/call-for-entries-khalil-gibran-90.html

KHALIL GIBRAN @ 90:
23 QUESTIONS ABOUT KHALIL GIBRAN YOU WANTED ANSWERED

By Wole Adedoyin

For those hearing or reading about Khalil Gibran for the first time. We were fascinated by the range of questions about Khalil Gibran, we urge you to learn more about Khalil Gibran, his life, times and works. So take a look through the 25 fascinating questions we compiled with answers and see if any of your questions got answered!

1. WHY IS KAHLIL GIBRAN IMPORTANT?

Kahlil Gibran was the key figure in a Romantic movement that transformed Arabic literature in the first half of the twentieth century.

2. WAS THE PROPHET WRITTEN IN ENGLISH OR ARABIC?

The Prophet is a book of 26 prose poetry fables written in English by the Lebanese-American poet and writer Kahlil Gibran. It was originally published in 1923 by Alfred A. Knopf. It is Gibran's best known work.

3. WHAT IS THE MESSAGE OF THE PROPHET BY KAHLIL GIBRAN?

The Prophet provides timeless spiritual wisdom on a range of subjects, including giving, eating and drinking, clothes, buying and selling, crime and punishment, laws, teaching, time, pleasure, religion, death, beauty and friendship. Corresponding to each chapter are evocative drawings by Gibran himself.

4. WHAT NATIONALITY IS KHALIL GIBRAN?

Lebanese

5. WHEN DID KHALIL GIBRAN DIE?

10 April 1931

6. WAS KAHLIL GIBRAN A MYSTIC?

Gibran's undying fame, however, rests as a great poet, thinker and mystic writer. He believed in the essential divinity of human being and the continuity of life. Most of his writings were done originally in Arabic and later translated into English either by himself or by others.

7. WHO INFLUENCED KAHLIL GIBRAN?

William Blake. Symbolists such as Rodin and the English poet and artist William Blake, who was a big influence on Gibran, favoured romance over realism and it was a movement that was already passe in the 1920s as modernists such as TS Eliot and Ezra Pound were gaining popularity.

8. WHAT GENRE IS THE PROPHET BY KAHLIL GIBRAN?

Prose poetry

9. HOW MANY CHAPTERS DOES THE PROPHET HAVE?

Gibran's musings are divided into twenty-eight chapters covering such sprawling topics as love, marriage, children, giving, eating and drinking, work, joy and sorrow, housing, clothes, buying and selling, crime and punishment, laws, freedom, reason and passion, pain, self-knowledge, teaching, friendship, talking, time, ...

10. HOW MANY PAGES IS THE PROPHET?

107

11. WHY IS KHALIL GIBRAN FAMOUS?

Lebanon-born writer and artist Kahlil Gibran became famous for his mystical Arabic and English works, earning fame following the 1923 publication of 'The Prophet. '

12. WHEN WAS THE PROPHET WRITTEN?
1923. Since it was published in 1923, The Prophet has never been out of print. The perennial classic has been translated into more than 50 languages and is a staple on international best-seller lists.

13. WHEN WAS THE PROPHET WIDELY READ IN AMERICA?
1923. Popularity. The Prophet has been translated into more than 100 languages, making it one of the most translated books in history. By 2012, it had sold more than nine million copies in its American edition alone since its original publication in 1923.

14. IS THE PROPHET A RELIGIOUS BOOK?

It is not a religious book, but it is spiritual, and Gibran was clearly a man who embraced the best of Christianity, Judaism and Moslem teachings. His poetic prose is exquisite.

15. WHEN WAS KHALIL GIBRAN BORN?

6 January 1883

16. WHERE WAS GIBRAN BORN?

Bsharri, Lebanon

17. WHERE IS KAHLIL GIBRAN BURIED?

Gibran Museum, Lebanon

18. WHAT DOES KAHLIL GIBRAN SAY ABOUT MARRIAGE?

By way of advice on the secret to a loving and lasting marriage, Gibran offers: Let there be spaces in your togetherness, And let the winds of the heavens dance between you.

19. DOES MUSTAFA DIE IN THE PROPHET?

Mustafa refuses to try to escape, giving his final animated poem, this time on death. His final wish is that his friends to return to the house and rescue all his paintings and writings before the army can destroy them.

20. WHO IS ALMITRA IN THE PROPHET?

Almitra. Almitra is a seeress in the temple of Orphalese. She has been a supporter of Almustafa throughout the twelve years he has spent in her city. It is Almitra who encourages Almustafa to answer the townspeople's questions before he departs and heads back home.

21. IS ORPHALESE A REAL PLACE?

The Prophet comes down from the hill and heads towards the city named Orphalese. Though the city has no real existence, the construction of its name is very significant.

22. WHAT DOES KHALIL GIBRAN SAY ABOUT LOVE?

When love beckons to you, follow him, Though his ways are hard and steep. And when his wings enfold you yield to him, Though the sword hidden among his pinions may wound you.

23. WHERE ACCORDING TO THE PROPHET DOES THE ARCHER SEE THE MARK?

“The Archer sees the mark upon the path of the infinite, and he bends you with his might that his arrows may go swift and far” Here archer refers to

https://khalilgibransociety..com/2021/01/khalil-gibran-90-23-questions-about.html

SYNW AND IHRAF’S ENDSARS NATIONAL POETRY ANTHOLOGY, ‘ENDSARS RHYTHMS’ HAS FINALLY BEEN RELEASED
The Society of Young Nigerian Writers, (SYNW) and the International Human Rights Art Festival (IHRAF) has finally released the highly anticipated poetry anthology tagged ENDSARS RHYTHMS.
ENDSARS RHYTHMS is a product of SYNW and IHRAF’s keenly contested EndSARS National Poetry Competition that took place in the year 2020. SYNW and IHRAF has taken the bold step to publish some of the most outstanding entries received in the collation, selection, recognition and award of very remarkable pieces from deserving participants in the contest.
Literature and arts owe society the duty not just to entertain and educate but also to document the history of the people as well as mirror and x-ray the society. The collaborative efforts of the Society of Young Nigerian Writers, SYNW, and the International Human Rights Arts Festival, IHRAF, to harness the thoughts, feelings and responses of Nigerian artists as well as creative writers and the international writing community on the theme Police Brutality, Assault And Battery by organizing a national poetry contest tagged ‘EndSARS’ National Poetry Competition, 2020 is indeed timely and commendable.
Globally, police are notorious for their corrupt tendencies of bribery, extortion, high handedness, brutality and human rights abuses, sometimes leading to extra judicial killings. The Nigeria Police has not been an exception to this global anomaly. In 2017, a Twitter campaign using the hashtag ‘#ENDSARS’ by Nigerians to demand the disbanding of the Special Anti Robbery Squad, SARS unit of the Nigeria police by the Nigerian government started. In October, 2020, there were renewed calls for the disbandment of SARS generally. This time, the online and social media campaign championed by young Nigerians was followed by widespread protests, marches, demonstrations, online activism and civil disobedience in some cases.
Selecting few entries for award out of more than a hundred beautiful entries from very creative and talented poets across international borders is by no means an easy task. The pain of having to eliminate some fine entries to arrive, even at a Longlist of twenty, let alone a Shortlist, is by far one of the most excruciating and unsung aspects of the job of a judge and editor; especially, a contest whose central theme touches on a global and sensitive aspect of our shared humanity. It is therefore, a huge source of consolation to SYNW and IHRAF for the opportunity to publish additional pieces out of the vast pool of amazing entries received during the call for entries to the EndSARS National Poetry Competition in 2020.
SYNW and IHRAF are happy therefore, for this unique opportunity to make available for your reading pleasure, a significant number of pieces out of the more than a hundred entries we received. It is also hoped that this modest gesture will placate and further console additional number of writers who sent in entries for the competition. We also hope that this compilation provides a rich reading resource and reference material to a variety of readers.
To download your copy, kindly log on to https://ihraf.org/endsars-poetry-competition or https://endsarspoetryanthology./2021/01/20/end-sars-rhythms-poetry-anthology-on-police-brutality-assaults-and-battery-finally-out/

SYNW ESTABLISHES CAMPUS WRITERS BODY, APPOINTS NATIONAL EXECUTIVE COUNCIL
In its effort to promote creative writing and book reading among Nigerian students in tertiary institutions (Universities, Polytechnics and Colleges of Education), the Society of Young Nigerian Writers (SYNW) has established a new platform tagged “Nigerian Society of Campus Writers (NSCW)”. The membership of this newly founded initiative is strictly for students of tertiary institutions. “Nigerian Society of Campus Writers (NSCW)” is similar to the National Association of Campus Journalists (NACJ) but NSCW is strictly for creative writers.
This was contained in a statement made available to newsmen by the President of SYNW, Wole Adedoyin in Ilesha on Sunday.
Currently, SYNW is managing over 30 campus writers’ branches in different Universities, Polytechnics, Monotechnics and Colleges of Education across the country. The Objectives of the newly established initiative are: To create an avenue where campus creative writers can brainstorm, meet and network, to promote creative writing and book reading culture in tertiary institutions, to hone and enhance the creative writing skills of aspiring campus writers, to award, reward and recognize outstanding campus writers, to organize seminars, symposia, fora and conferences at educating and informing aspiring campus writers, to publish and market the works of aspiring campus writers and lastly to hold monthly book reading and meeting
In line with the Constitution of the Nigerian Society of Campus Writers (NSCW), an initiative of the Society of Young Nigerian Writers (SYNW). A Seven man National EXCO Committee has been appointed for the outfit. The appointed committee members are: President - Innocent David Chinaecherem (Federal University of Technology Owerri - FUTO), Vice President - Alabi Matthew Damilare (University of Lagos - UNILAG) , General Secretary - Angelica Chinecherem Uwaezuoke (University of Nigeria, Nsukka - UNN) Assistant Secretary - Sakinat Yusuf (Bayero University - BUK), Finance Secretary - Cynthia Chukwunenye Maduekwe (University of Calabar), Information Secretary - Abdulrazak Denja Balema (Federal University Lokoja FUL), Social/Welfare Secretary - Yusuff Opeere (Federal College of Animal Health and Production Technology, Moor Plantation), Education Secretary - Chinwendu Chinonyerem Emmanuel (Alvan Ikoku Federal College of Education).
The newly appointed executives are to serve for a period of four (4 months) after which an election will be conducted to duly elect new national officers among the Coordinators.
The above EXCOS were appointed due to their past performances and records in their different schools.
The newly appointed national EXCO are charged to create more SYNW Chapters in Nigerian Universities, Polytechnics, Monotechnics and Colleges of Education and to also coordinate their activities and report back to the National Headquarters of the Society of Young Nigerian Writers (SYNW).
https://societyofyoungnigerianwritersblog..com/2021/01/synw-establishes-campus-writers-body.html