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Mimetic Analysis of Bomboy. Chiedozie Ude. Gbamlog.com

The novel Bomboy revolves around the character of Leke, a single young man who is portrayed as quite restless and antisocial; hence, he develops the habit of stalking women and stealing irrelevant things from people. He later finds out through a series of letter written to him by his biological father that the cause of his queer mannerisms stems from a generational curse placed on his family by a witch doctor whom they wronged. Having found the source of his troubles, Leke embarks on a mission to rid himself of the curse. All the events in the story prove that the novel Bomboy is one that can be analysed based on the verisimilitude it shares with the human society.

The novel Bomboy is rich in content in that it displays the relationship between modernity and tradition as it portrays human life. The novel portrays modernity through several ways. One of such ways is highlighted through the author’s depiction of a plethora of instances when Leke seeks modern and professional help in his search for rest and peace of mind. By so doing, themes such as: the universal theme of cultural conflict, as depicted by the clash between the Nigerian and South African beliefs; the theme of identity; the theme of love; the theme of racial discrimination; and the theme of the despicable nature of the prison system etc., are projected by the author. All the aforementioned help reinforce the argument that this novel contains some present issues faced by people in the society.

However, it is, arguably, the author’s use of traditional events that make this novel really stand out. By fusing tradition into the story, the author, who is of the Yoruba origin, has been able to reinforce several notions postulated by other Yoruba authors such as Wole Soyinka in Death and the King’s Horseman, Femi Osofisan in Women of Owu and Ola Rotimi in his Nigerian adaptation of Sophocles Oedipus Rex — that is, The Gods are not to Blame. One of these notions is the belief in the gods and their ability to affect destinies. Consequently, we have the theme of fate. All these themes combine to strengthen the argument that Bomboy is a realistic work of art with happenings that are peculiar to man.

The theme of fate can be considered as central to this story. The author develops this theme by employing several literary devices such as flashback, suspense and other factors such as happenstance. Through these devices, the theme of fate is established and the reader is also able to link different events to the subject matter. One may be tempted to argue that the author’s use of similar dates to convey past events that have significant effects on present events is purely coincidental. However, it simply strengthens the argument that everything has been premeditated by the gods. Hence, one can be justified to describe the gods as domineering and all powerful because they are capable of determining the destinies of man. This theme of fate is arguably most prominent in the life of Oscar, who from a very little age realises that he will never know peace or be happy because of the curse of the witch doctor, an emissary of the gods, on his family. Therefore, one can be justified to declare that it is the pronouncement of the gods that made Leke to behave awkwardly.

Another theme that is worthy of attention is the theme of cultural conflict. The concept of cultural conflict is a universal phenomenon which appears in many works of art. This theme is portrayed by Oscar who finds it difficult to get along with his South African colleagues because of his belief in the stories which surround the mythical and ancestral Queen Moremi of Ile-Ife. Because of this belief, Oscar fails to acknowledge South African heroes such as Rhodes. This clash of beliefs adequately sums up the tensions that plague the relationship between Nigerians and South Africans in the modern era — that is, 21st Century.

Closely related to the theme of cultural conflict is the theme of identity, another universal concept. The theme of identity is brought into focus in this book through the plights of biracial people. Both Leke and his father are the products of interracial unions; hence, they can hardly pass as whites or as blacks. This issue plagues Leke’s childhood because he gets bullied by school mates who recognise, through his white foster parents, that he was adopted. Another instance which reinforces the theme of identity is Leke’s name. Leke, because he was not raised by his biological parents, is forced to answer awkward questions about the meaning of his name and its origin.

The theme of love is another recurring idea which helps to project realism in the text. Love, however abstract, may be regarded as the force behind the actions of the characters. For example, Oscar’s grandmother is motivated by her love for her daughter; hence, she refuses to honour her promise by withholding her daughter. Unarguably, love may also be regarded as the catalyst behind Oscar’s decision to have Malcom Feathers killed. Also, everything Jane does for Leke is motivated by love and this explains why he really adores her, even after death, as seen in his ritual of planting 4 o’clock flowers. The budding love affair between Leke and Tsotso cannot be exempted. Through this theme, the characters have been able to vividly portray the sacrifices humans can do for their loved ones.

Another theme which ensures that this novel possesses verisimilitude with its environment is the theme which captures the despicable nature of the South African prison system. The South African prison system neither rehabilitates or reforms. Rather, it is a place where different vices such as murder, homosexuality, rape violence, etc., thrive. The pathetic situation of these prisons are vividly portrayed in Dennis Brutus poem: “Letters to Martha” where Dennis Brutus describes in detail the atrocities that are committed by inmates on one another. This inter-textual evidence strengthens the theme being discussed because it proves the truism of the theme through the similarities in the way the inmates in both texts act —that is, violence, homosexuality and killing are the order of the day. With all this evidence, one will surely not receive Oscar’s death in prison with much surprise. Therefore, one cannot gainsay the fact that the theme of the despicable nature of the South African prison system as portrayed in Bomboy captures the reality of prisoners in South Africa, and by extension, prisoners all over the world.

In conclusion, the text Bomboy is one which portrays real life with its setting — places drawn from real life; themes — ideas that are universal; and character actions etc.

Expressive Approach to Analysing “A Song for Ajegunle” by Niyi Osundare. Chiedozie Ude. GBAMLOG.COM

As is the case with most literary works of art, Niyi Osundare’s “A Song for Ajegunle” is a work of art which portrays realism. Realism is portrayed through the setting of the poem — that is, a place in Lagos known as Ajegunle. The place setting is reinforced or rather made known through the title of the poem. Aside from the setting which is drawn from real life, realism is also captured in the text through the way the poet vividly describes the happenings in the location. For example, his description of how so many children that should be in school are out of school aptly captures the situation of many a child in Ajegunle. Hence, one can without any iota of doubt say that this poem is, indeed, realistic.

The poem “A Song for Ajegunle” is one which captures the social, economic and political realities of Ajegunle. The poem centres on the poverty-stricken ghetto area known as Ajegunle. It contains the persona’s description of the dirt-infested and government-ignored area in the morning, evening and night. The persona does not mince words as he vividly describes Ajegunle, using a series of figurative expressions to give maximum effect to his description. Because of the indepth knowledge which the poet has of this area as exposed by the simile “curious bird”, this essay will seek to analyse the poem based on how it represents the poet’s feelings and attitude towards the subject matter.

The poet is a well-known romantic who, through his poems, has been able to promote the conservation of nature. Hence, it comes as no surprise that he bemoans the unhealthy situation of Ajegunle. Some of the issues which the poet raises in this poem include: poverty, insecurity, underdevelopment, irresponsible government, and filth etc. These issues are developed through the poet’s choice of words and of course, his use of figurative expressions.

The issue of poverty is central to this poem in that the poet does not mince words as he describes the pathetic situation of the people who live in Ajegunle. He brings this into focus by describing the smoke which comes out of their idle kitchens as pale. The phrase “idle kitchen” is apt because it depicts the lack which is inherent in this place. Niyi Osundare further comments on the issue of poverty by describing how children are unable to go to school and also how many households cannot afford decent meals — that is, the tables are without bread. Through the poet’s cacophonic choice of words such as rumble, manacling, battering etc., his unhappiness at the state of affairs is evident.

Another issue that is on top of the poet’s mind is the issue of underdevelopment. This issue is brought to the fore by Niyi Osundare through the use of contrast. In comparison to Ikoyi, Ajegunle is simply an empty bag that is sprawled. By this, Niyi Osundare, unequivocally, states the backward nature of Ajegunle in comparison to other popular areas of the state. The poet goes on to lament the deplorable housing condition of Ajegunle. To him, the poet, the houses are hovels or slightly better than hovels. He expresses his unhappiness by his repetition of the word “through” in stanza three. The repetition is significant because it serves as a medium which the poet uses to reveal how backward Ajegunle, indeed, is.

Of course, the theme of underdevelopment is related to the theme of bad governance. Niyi Osundare exposes the inability of the government to provide basic amenities for the people in Ajegunle. Niyi Osundare draws light to this by commenting on: the poor state of roads; the poor toilet facilities as exemplified by people’s penchant for defecating in the gutters; lack of good water as seen in the phrase “taps without water”; and of course, not forgetting the apparent lack of electricity which is exposed by Osundare’s nighttime description of the sweaty stupor of people sleeping in crowded mats. Through his use of different imagery such as sight, touch etc., Osundare is able to comment on the issue of bad governance.

Osundare sticks to stereotype in that this poem is in tandem with other poems written by him which talk about the environment. Due to this, it comes as no surprise that Osundare’s description is filled with visual images of filth. These images are further reinforced by the refrain which continually describes Ajegunle as a place that is sprawled. This issue of filth is one is dominant in the stanzas. Firstly, the poet describes the place as weed-infested. He goes on to address the issue of people defecating in gutters and this is unhealthy because it instigates the outbreak of water-borne viruses such as cholera. Osundare further comments on the issue of filth by drawing upon the image of smell. This is made known through the metaphor “the hooded stench of nightsoil” which further reinforces the issue of filth in the poem. Through this issue, Osundare expresses his disdain for the environmental hazards plaguing Ajegunle.

In conclusion, the poet fully utilises the expressive power of literature in this poem because he is able to shed light on several personal and national issues. In fact, this poem may be described as a poem which the poet uses to protest against the rulers of Nigeria; thereby, championing the cause of the masses.

UDE, Chiedozie Orji.

Department of English, University of Lagos.

09090953414

Everywhere Konji!!! 85-Year-Old Woman Caught Having Group SXX With 5 Men. GBAMLOG.COM

85-Year-Old Woman Caught In A Group SXX With 5 Men

An 85-yr-old woman has been arrested after she was caught having group sxx in woodland in Connecticut, the United States in the penultimate week.

On Aug 9, concerned citizens called the police to report a public hook-up happening in the wooded area. The octogenarian was spotted with 5 elderly men including her husband having an orgy.

Image result for 85-Year-Old Woman Caught Having Sex With Five Men, Including Her Husband

All six were apprehended and charged with breach of peace.

The senior citizens are identified as Joyce Butler, 85 – the only woman participating in the orgy – her husband Richard Butler, 82; Daniel Dobbins, 67; Otto D. Williams, 62; Charles L. Ardito, 75; and John Linartz, 62.

Image result for 85 year old woman

According to the Fairfield Police Department, the senior citizens were busted while getting hot and heavy at the Grace Richardson

The Scene of the group sex; and four of the culprits.

Conservation Area during a surveillance operation on public hook-ups in the area. Two of the suspects, Daniel Dobbins and John Linartz have additionally been charged with public indecency.

Dobbins was previously charged with second-degree breach of peace by Connecticut police after witnesses said they spotted him walking around a park naked before police found him inside his car “with his shirt and shorts draped over him and no underclothes.”

The culprits have been released and will appear in court at a later date.

Leave your comments below…

Source: dailyadvent

Analysis on Matiiku by Chiedozie Ude. GBAMLOG.COM

Ude, Chiedozie Orji.
Department of English, UNILAG

Analysis on Matiiku

It is no news that trying to analyse a live performance is a tricky job. This trickiness may be as a result of different factors such as place and time— or more impressive, the complex nature of literature. Notwithstanding this difficulty, this paper will make an attempt to critically analyse the stage play entitled Matiiku. This essay will succinctly summarise the play and its subject matter, making use of factors such as the stage management and the gestures (which some may refer to as body language) of the actors to defend the choice of subject matter. The attention that will be paid to the factors stated above stems from the technical nature of the dialogue — that is, it was, to a very large extent, exclusively performed in the Yoruba language. However, the focus on the gestures and stage management does not in any way downplay the usefulness of the dialogue in this analysis because its importance in making the play fit its setting, and also, its subject matter cannot be overlooked. Also, it is important to note that this essay will include foreign references — that is, events or even books outside the narrative — which will be used support the arguments expressed in this paper. All these will be combined to comprehensively analyse this play.

This segment of the essay will comment on the playwright and the setting of the play. Not much is known about the playwright; hence, we move on to the setting of the play. The play is set during the colonial era, and this is reinforced through the manner in which the stage was set, and the numerous festivities which took place — the market scene; the baby/ritual scene; and the court dispute between the colonial district officer and the people. The latter is unarguably the strongest supporter of the claim that the play is set during the colonial era because it not only captures the communication problems that plagued the colonial masters due to their inability to grasp the local languages employed by their subjects, but also captures the presence of the white man (The district officer); hence, justifying the time setting— that is, the colonial period. The place setting of the play is Lagos. The introduction of three characters at the beginning of the play who represent the three white-cap chiefs of Lagos is testament to this fact. They, unequivocally, strengthen the play’s genre — that is, a historical play.

The subject matter of the play revolves around a man, who was predestined to be king, right from birth. This information was exposed by the narrator, before the start of the play. Hence, one can say that the plot of the play is based on the child, whom the oracle chooses as king. As expected, he becomes the king of Lagos once he attains adulthood; although, the colonial government later wrestled power from him. It is important to state that the fulfillment of the prophecy on the life of the king is a common motif in Yoruba themed plays— that is, the oracle can never be wrong— such as Ola Rotimi’s The Gods are Not to Blame, where the pronouncements of the oracle on the main character comes to pass. Therefore, one can be justified to state that there is a theme of fate (inevitable destiny) in the play. Another thing that is worthwhile to discuss is how the scenes in the play are linked by an interlude of music and dance. These performances (music and dance) may be regarded as entertaining because of the choreographic dance steps employed by the dancers. Being a traditional play, these songs should have deeper meanings, but that is not the focus of this essay. So, this analysis will rate the musical interlude from the standpoint of pleasure and entertainment.

One may describe the stage management as almost impeccable due to the perfect way the stage was set to represent the setting, and also, their flawless deployment of the lighting technique. To me, it is this lighting technique that makes the play stand out. The lights came up when and where necessary, not a second too early or late. Unarguably, the lighting technique was most effective when it was employed to show time — that is, day and night. This topnotch use of this technique is also brought to the fore when the lights were dimmed during the ritual scene. The solemnity and sacredness of the rituals were well captured by the eerily spooky umbrella of semi-darkness. This was enough to make the watcher understand the importance of these rituals. Another important thing I noticed due to the arrangement of the stage is the market scene. The market scene is crucial in traditional plays. The market is known as a place where rumours and stories thrive. Little wonder the birth of the would be king is announced in the market setting. The market scene is also ideal for announcement of the king’s birth because it reinforces Soyinka’s principle in Death and the King’s Horseman of the market place being a strategic location for the meeting of the three realities in Yoruba mythology — that is, the world of the unborn; the world of the living; and the world of the dead. It is important to note that the market place also serves as a link between these realities. Hence, this well believed myth strengthens the writer’s use of the market scene to announce a transition — that is, from the world of the unborn to the world of the living. The stage management was described as almost impeccable at the beginning of the paragraph because it had slight flaws. One of such flaws is the bad sound systems used in the play. Aside this, one can be justified to give the stage management crew an excellent score for a job well done.

Also, the gestures of the actors also enable non speakers of the Yoruba language to have an insight on some of the happenings in the play. The slow pace, with which those who are to make prophecies on the child move, gives insight to the audience that these men must be truly special and of high importance in the society. The greatness which is proclaimed on the baby is evident when the priests and other spectators bow to the child. However, the child’s mother refuses to bow to her child; hence, bringing into play the African belief that expects a child to prostrate himself to his parents, and not the other way round.

In conclusion, if I were asked to give my personal opinion on the play, I would rate it as a largely successful performance. The topnotch techniques employed by the stage management crew played a huge role in this. As a member of the audience who could not fully grasp the dialogues, I was entertained by the dance interlude. Hence, I can boldly describe the play as a successful one. In conclusion, this essay has made an attempt to analyse the production of the play Matiiku.

Works cited:
Ola Rotimi’s The Gods are Not to Blame.
Wole Soyinka’s Death and the King’s Horseman.

Man Arrested For Sleeping With Mad Woman In Lagos (Photo). GBAMLOG.COM

The man arrested for sleeping with a mad womanThe Police in Lagos have arrested a 30-year man, who reportedly specialised in engaging and impregnating mad ladies on the streets, after he allegedly took a pregnant mad woman into an uncompleted building to have s-x.The suspect, Laminu Alli, was apprehended by the Lagos residents after he was reportedly caught inside the uncompleted building, where he went to have s-x with victim simply identified as Christiana.The incident happened at Isheri Olofin along Igando-LASU Expressway to Iyana Iba area of Lagos.PM Express gathered that it was not the first the suspect, Alli, had reportedly been caught with mad women inside uncompleted building but the residents decided to confirm their suspicion over a period of time.Alli was said to have taken the mad victim, Christiana, into the building and pulled his trouser in order to penetrate her before he was caught and accused of armed robbery.However, he denied being an armed robber but only took the victim into the building in order to have sex with her despite the fact that the victim was pregnant and not mentally balanced.He was handed over to the Police at Idimu Division. After interrogation, the Police found him culpable and later arraigned him before the Ejigbo Magistrates Court for attempting to rape a mad woman by force with the knife found on him.He pleaded not guilty.The prosecutor, Supol Kenneth Asibor, asked the Court to give a date for hearing since he pleaded not guilty to enable the Police to prove the matter.Thus, the Presiding Magistrate, Mr. T.O Shomade, granted him bail in the sum of N100,000 with two sureties in like sum.He was remanded in prison custody pending when he will perfect his bail. The matter was adjourned till 12th August, 2019.

Source: tori.ng

The man arrested for sleeping with a mad womanThe Police in Lagos have arrested a 30-year man, who reportedly specialised in engaging and impregnating mad ladies on the streets, after he allegedly took a pregnant mad woman into an uncompleted building to have s-x.The suspect, Laminu Alli, was apprehended by the Lagos residents after he was reportedly caught inside the uncompleted building, where he went to have s-x with victim simply identified as Christiana.The incident happened at Isheri Olofin along Igando-LASU Expressway to Iyana Iba area of Lagos.PM Express gathered that it was not the first the suspect, Alli, had reportedly been caught with mad women inside uncompleted building but the residents decided to confirm their suspicion over a period of time.Alli was said to have taken the mad victim, Christiana, into the building and pulled his trouser in order to penetrate her before he was caught and accused of armed robbery.However, he denied being an armed robber but only took the victim into the building in order to have sex with her despite the fact that the victim was pregnant and not mentally balanced.He was handed over to the Police at Idimu Division. After interrogation, the Police found him culpable and later arraigned him before the Ejigbo Magistrates Court for attempting to rape a mad woman by force with the knife found on him.He pleaded not guilty.The prosecutor, Supol Kenneth Asibor, asked the Court to give a date for hearing since he pleaded not guilty to enable the Police to prove the matter.Thus, the Presiding Magistrate, Mr. T.O Shomade, granted him bail in the sum of N100,000 with two sureties in like sum.He was remanded in prison custody pending when he will perfect his bail. The matter was adjourned till 12th August, 2019.

Source: tori.ng

REALITY CLASSIC TALE: LOVE? OR SLAVERY? By Hilary Chikuvira | GBAMLOG.COM


“If you are not going to be a girlfriend and wife, who is submissive, who follows the lead of a husband, then we got to deal with this now, because no wife of mine will rule my house, give me orders or go to a separate church from mine!”, said Tendai fuming, his voice was shaking from anger, l could see he was totally charged up and no longer caring to select his choice of words.
I was also fed up myself, and l retorted angrily, “fine, if you want me to be that kind of a wife and fiancée, then to hell with it, what are we even doing now? Let’s not waste each other’s time anymore. Have a great life”. I slammed his car door nice and hard as l climbed out and walked away into the dark.
So how did things get so messy?
Tendai and I had fallen in love with each other a year ago, he was all l ever wanted in a guy, ‘at first’ and l was his dream girlfriend too. Both of us at the age of 28 just thought this definitely was it. The search for true love was over.
With time there emerged those nitty-gritty human imperfections. Tendai is traditional, old school and reserved on the other hand l am less cultural and a newly emerging activist for feminism and gender equality. He is the type that prefers to not touch alcohol, deems it unclean for his soul, he prefers the traditional kind of music, and he loves spending his days chilled, watching movies or visiting family and friends. It made me look like l was the wild one, so eager to try anything and everything, ready to live, never content with sleeping before 11 pm on a weekend, and definitely never one to repeat the same activities over and over again.
So as expected in such cases, we started getting into each other’s nerves. He began to think l was too independent, l had no respect for tradition and that l could just not make a good wife for him, but this was never said out aloud. I began to find him quite boring, and just not fun to hang with. But none of us could audibly say it out. We had just come a long way to quit because of what we thought to be a few indifferences.
In my culture, men pay lobola to show respect to the bride’s family and say thank you for raising your daughter well. The culture sort of sells women under the guise of culture. Lobola can be 15 cows including other cultural things that a guy must pay up, not to mention that after the lobola the guy must sponsor the white wedding ceremony as well. The bride’s family demands the amount of lobola they want, and the amount can even add up to 15000 us dollars, which is a 2-year saving for a typical middle-class guy who has decided to forgo buying a house, a car, and a decent living style. Lately, families have become overly greedy and are demanding alarming lobola prices. The fathers of the bride use the lobola to buy things like a fancy car or spend the money getting drunk. And in turn the bride has to leave her family, her religion, her lifestyle, her surname and almost everything else important is foregone by the lady as she follows her husband. It becomes the duty of the wife to clean, cook, take care of the husband and kids, as well as to get formerly employed somewhere and contribute to the new family income. If lobola was truly a cultural way of appreciating a partner l do not see why both partners cannot give lobola to the spouse’s family, or why a guy cannot give out what he has, but instead must toil for years to get to afford a wife.
And as you can imagine, l being a feminist, who realizes there is something seriously wrong with this culture from as early as 11 was totally ready to rebel. And certainly not prepared to be sold off, so l tried reasoning with the love of my life.
We were sitting in Tendai’s car, he was preparing to drive me home, after we had spent the day in the park, doing what we usually do, ‘Chilling’ in the relaxed way he likes. And poor I got bored; there was nothing new to say, no interesting conversation about the latest movie, or the hit song on the market. Just family talk about how we would chill like this, during the weekends once we were married.
Sol blurted out, “Tendi, love brought us together, l love you dearly, but there are a few things we should change love. For starts l would love to keep going to my church, l like it there, and l would love for you to take care of your siblings, but the family culture of a newly wedded couple living under the same roof with family relatives just takes the vibe off honeymoon phase, we can always share, but l prefer staying with you only and my kids, unless we really have to take in someone in need. Can we do that?
Tendai’s eyes grew big, as if they were gonna pop out of their sockets, all he could mutter was “whaaaaat?” Since l had kept this buried for so long in my heart, l thought, ah why not just let it all out, after all, he is my boyfriend, he is bound to see things more from my perspective if l explain well.
“Yes Tendai, l think women’s positions in the house are a bit unfair too, for instance a man gets to come back from work, sits at home, and watches tv whilst the lady who has also come back from a long day at work, breaks her back to cook, wash and do dishes as well as take care of the kids. It sounds more like slavery rather than marriage. I hope when we are married we can share tasks according to everyone’s capabilities, it would make married life easier for me love”.
Tendai looked at me long and hard, with clear bewilderment in his eyes. “Love a woman should be a woman, know your place, and know that it will always be behind me, your boyfriend and future husband, l will be the head of the family, l will make the final decisions, you will be my wife, what is the purpose of a wife? Is it not taking care of the husband? Talk to your mother, talk to your church elders, talk to anyone and they will tell you the same! The husband leads, the wife follows. Equal rights are there, but just not on this!” He ended, fuming with fury.
I guess in his mind he was thinking, oh this gal, what nonsense is this, women are women, and they should remain women. That was the moment when l finally opened up my eyes to the truth l had refused to see all the time; nothing was going to change in this relationship. Not me and certainly not Tendai. It was my purpose to actively campaign for women’s rights. So l took my leave from the car that had become stuffy and tension-filled from the heated argument.
This is the issue that has brought about the end of our so-called love to where we are right now, bitterness, regrets, anger, and anger.
We both think we are right; we both want the other to see how they are the ones who are wrong. And above all, no one wants to compromise.
I take a taxi, and head home, with deep sorrow inside of me, hoping someday, the society will see life in the eyes of a woman because for now, life is just far from being fair where men and women are concerned. I don’t blame Tendai though; he was born in this world, where culture and tradition plays a major role in people’s lives, even if the culture clearly weakens another party and gives the other all the power. It’s the way it is, and everyone has a choice, to do away with the bad culture, or keep it alive and running for the next generation to copy.
But l know my stand on point.