ABOUT THE COUNCIL FOR ARTS & CULTURE

The creation of Bayelsa State on October 1, 1996, marked the beginning of the Bayelsa State Council for Arts & Culture.  The services of thirty-seven (37) members of staff of Bayelsa State origin in the old Rivers State Council for Arts & Culture transferred to the newly created state with effect from October 6, 1996.  They had no alternative than to move over to Yenagoa, the new state capital that was then a virgin land completely. These persons formed the nucleus of the present Bayelsa State Council for Arts & Culture.  Paradoxically, the existence of the Council then was nothing to write home about, as staff had neither offices nor any rehearsal venue to ply their trade.

The Bayelsa State Council for Arts & Culture is a parastatal under the Bayelsa State Ministry of Information, Culture & Tourism. It came into existence officially with the signing into law of the Edict establishing it on May 4, 1998, by the then Military Administrator of the State, Navy Capt. Omoniyi Caleb Olubolade. The Council is responsible for preserving, promoting and fostering the appreciation, revival and development of the Arts and Culture of the State among other functions.

As the custodian of the Arts and Culture of the State, and as the organ that is flying the flagship of culture in the state, the Council has the vision of putting Bayelsa State on the national and international cultural agenda in the new millennium. 

However, while ours is to do regular performances, in our desire to bring theatre to the consciousness of the masses, we can only achieve the much-needed result if we get the desired patronage from all and sundry, every time our services are needed.  This is a sure way of developing the state of Arts & Culture in Bayelsa State… the glory of all lands.

 

FUNCTIONS OF THE COUNCIL 

Every Council for Arts & Culture is set up with specific aims and objectives. As it were, the Bayelsa State Council for Arts & Culture was set up specifically to: 

a)  To promote and foster the appreciation, revival and development of the arts and culture of the State

b)  To plan and co-ordinate cultural activities in the State and foster the development of literary, visual and the performing arts in the State.

c)  To organize and promote exhibition in visual, performing and literary arts as determined from time to time    by   the Executive Governor.

d)  To produce documentary films on the culture of the State for use in Nigeria and for export

e)  To organize and conduct lectures or demonstration workshops to provide instruction in the arts

f)   To cooperate with any other bodies or persons engaged in or connected with the arts in the State or any part of Nigeria.

g)   To publish or sponsor, or cause to be sponsored, the publication of any literature, periodicals, and newspaper or broadcast materials in relation to the arts.

h)   To promote the development of music, traditional dance, drama, opera, cinema, films, photography, folklore, oral tradition, poetry, literature, painting, sculpture, architecture, town planning and general arts, woodwork, embroidery, weaving and similar crafts.

 

          ADMINISTRATION OF THE COUNCIL

It is interesting to note that the Council started without a proper sense of direction, as there was no properly constituted authority. The most senior staff present at any given time held brief. This continued until November 18, 1998 when the then Honorable Commissioner for Information & Culture, Paul Orieware, appointed Bekewuru Benedict Ballard, a University of Calabar trained graduate of Theatre Arts, as the Acting Director.  Before his redeployment, Ballard taught Drama and Creative Arts at St. Jude’s Girls’ Secondary School, Amarata - Yenagoa.  

Ballard held brief until March 30, 1999 when Lt. Col. Paul Edor Obi, who had taken over from Navy Capt. Olubolade as the Military Administrator of Bayelsa State, appointed Chief Simon Meshu Opuwari Ambakederemo (a.k.a. Beks Royal) as the first substantive Executive Director of the Council. A ten-member Board with Branzuk C. Ikuli as Chairman was also inaugurated on the same day (March 30, 1999). Consequently, Ballard was redeployed to take charge of the Performing Arts Division.  

By June 2000, Chief Ambakederemo was retired, having put in the mandatory thirty five years service in the civil service; and the board also sacked.  His Excellency, Chief DSP Alamieyeseigha was later to approve the appointment of Barclays Foubiri Ayakoroma, a Theatre Arts lecturer in the Department of Creative Arts, University of Port Harcourt, Rivers State.  On August 22, 2000, Ayakoroma's appointment as the second Executive Director of the Council was announced formally, and he assumed duty three days later. By the special grace of God, he has considerably raised the standard of the Bayelsa State Troupe, and by dint of purposeful leadership, shown the way forward.  

 THE STRUCTURE OF THE COUNCIL

The Council is operating along the following organization structure: 

1. THE DIRECTORATE:  This is the office of the Executive Director, which executes policies.  Among other functions, it:  
a) Coordinates projects or programmes of the Council   
b) Initiates creative, literary and cultural programmes   
c) Supervises and organizes various divisions     
d) Oversees public and media relation’s matters    
e)  Advises  the ministry/government on issues relating to arts and culture.

This is the pivot on which the management of the Council revolves. 

2. ADMINISTRATION & FINANCE: This division takes care of:

a) Personnel matters – appointment, promotion, staff discipline, welfare, etc. 
b) Finance and supplies  
c) Transport 
d) Security 
e) General maintenance of the office/furniture

This Administration Division is under the headship of Moses Amatari Omeleh, an Assistant Director. 

3. PERFORMING ARTS:

This division showcases the rich cultural heritage of the state through drama, music and dance, as follows:
a) Handling the Bayelsa State Troupe performances     
b) Projecting the Arts Council Resident Band – The Glory Beats   
c) Embarking on schools drama programmes   
d) Initiating community theatre   
e) Undertaking enlightenments campaigns for government using the theatre   
f) Assisting in coordinating local cultural festivals    
g) Organizing State Cultural Festivals; and    
h) Participating in National and International Festivals

This division was the only visible area of the council before Ayakoroma’s assumption of office. This anomaly has been addressed.  The audience has always commended the level of professionalism exhibited by the troupe in its many stage performances.  

Ayakoroma brought his love for music to bear in the Council with the introduction of a live band, The Glory Beats. This has added color to the performances of the Bayelsa State Troupe. With the acquisition of good instruments, the resident band, with its crop of talented artistes, play highlife, owigiri (a popular brand of highlife music), native blues, reggae, pop, or gospel music brilliantly, depending on the composition of the audience or the occasion.  This is why the Council is currently reaching out to other States’ Councils for Arts & Culture and international arts management groups to facilitate our cultural exchange programmes. 

The Performing Arts Division is currently under the leadership of Sir Bekewuru Benedict Ballard, who is there on a second tour.   

For enquiries on the activities of the Bayelsa State Troupe and The Glory Beats:

Phone: 234-89-490-985; 234-803-313-3283 (cell); or 234-803-669-0916 (cell)
Email: bayelarts25@yahoo.com  

4. VISUAL ARTS AND DESIGN DIVISION:

This division has the responsibility of projecting the creative ingenuity of Bayelsans in the areas of:  
a) Graphics and designs    
b) Painting   
c) Woodcrafts   
d) Sculpture   
e) Weaving; and   
f) Carpentry

The division exhibits all such creative works in a gallery for prospective art collectors. The weavers, the carvers and the carpenters have been empowered with the provision of the necessary tools for them to work with.  

However, we have set up a loom for the weaving section, while there are plans to set up a second one for the training of new staff redeployed to division. Furthermore, some basic carpentry and carving tools have been purchased for those concerned to ply their crafts. The gains of the above could be seen at the Igbogene workshop of the division – beautiful walking sticks, wooden fish trays, fish pin trays, paddles, wooden guns, stools, benches, and other office construction works. 

The Visual Arts and Design Division is currently under the headship of Simbi Aye-Wellington, a Chief Arts Production Officer. 

5. RESEARCH, PUBLICATION, DOCUMENTATION & MUSEUM DIVISION:

This is expected to be the database of the Arts Council. This is from: 
a) Conducting research on material and non-material culture   
b) Documenting and publishing research findings    
c) Operating library and photographic services     
d) Handing audio-video documentation of cultural events    
e) Managing of the State Museum; and    
f) Establishing a cultural data bank for prospective researchers

Ayakoroma’s vision to start an in-house newsletter, titled Owoye, an Izon word meaning "our own" was realized when the maiden edition dated June 2001 came out of the press. Before printing the second edition, dated November 2001, we had completed the processes of getting an approved ISSN (1595 - 8957) from the National Bibliographic & Documentation Centre of the National Library of Nigeria.  Though Owoye started as a quarterly publication, we have published two special editions dated October 2002 (to mark the 42^ND National Independence Anniversary of Nigeria/6^TH Anniversary of the Creation of Bayelsa State), and November 2002, (to mark the 16^Th National Festival for Arts & Culture, NAFEST 2002).  Of interest is the fact that Owoye has now graduated to a bi-monthly publication, with the intent that it would be a monthly. 

The Research and Publications Division is currently publishing Abalabala, an academic journal on arts and culture. It is a medium for the cross-pollination and cross-fertilization of artistic and cultural ideas in the Niger Delta. Seiyifa Koroye, an erudite and respected scholar, who teaches in the Department of English Studies, University of Port Harcourt, is the editor the Abalabala journal.   

All articles for publication in Abalabala journal or enquiries about issues should be forwarded to abalabalajournal@yahoo.com.

The Research, Publication, Documentation & Museum Division is currently headed by Payeboye Festus-Lukoh, a Principal Cultural Officer. 

6. MARKETING DIVISION:

This division has the responsibility of: 
a) Selling the Bayelsa State Troupe to the outside world;     
b) Get contracts for performances;   
c) Get advert bookings for the Council’s publications;   
d) Initiate and coordinate special projects for the Council;    
e) Get sponsorship for major performances of the troupe;   and 
f)  Bring troupes from outside the state to perform for Bayelsa audiences

Somehow, the non-availability of performance venue for now has had debilitating effect on the proper functioning of this division.  However, the consolation we have is that we have an experienced and dependable staff on ground to streamline the operations of this division, once the Gloryland Cultural Centre complex is completed.  

The Marketing Division is under the headship of Jenny Preye Etebu, an Assistant Director.

For enquiries about the operations or marketing scheme of the council:

Phone: 234-89-490-985; 234-803-313-3283 (cell); or 234-803-710-2974 (cell)

Email: info@bayelsaartsng.com 

STAFF STRENGTH

With the recent approval by the Executive Governor of Bayelsa State, His Excellency, Chief DSP Alamieyeseigha, for the Council to absorb the first batch of eighteen (18) guest artistes, the Council now has eighty-eight (88) staff.  There are also twenty-five (25) guest artistes who have been contracted to take care of various aspects of our performances pending when there is approval for their employment. 

Still on employment, it is worth noting that the Executive Governor has offered three (3) guest artists automatic employment as a reward for their commendable performances in some productions. The first instance was on January 14, 2001 after a Command Performance of Elechi Amadi’s Peppersoup as directed by Barclays Ayakoroma, the Executive Director of the Council. The beneficiaries are Preye Ogbotubo (who played Ineba) and Laiye Romeo (who played Mavis). Kenekpoeye Obudu was the beneficiary on October 2, 2001 after a Command Performance of Dance on his Grave written and directed by Barclays Ayakoroma. For the production of Dance on his Grave, His Excellency, Chief DSP Alamieyeseigha also approved accelerated promotion for Miss Preye Ogbotubo (who had benefited from the Peppersoup largesse, for her brilliant interpretation of the role of Queen Alaere. On the other hand, Ken Obudu, who played the role of King Olotu, was employed on an enhanced salary grade level. The magnanimity of His Excellency on both occasions was in addition to cash rewards.

To show that Executive Governor is a lover of the arts, he also extended the same kind gesture to five (5) National Youth Service Corps (NYSC) members of Bayelsa State origin who played very active roles in the Year 2001 Bayelsa State NYSC Drama Troupe. They were offered automatic employment while those from other states were given letters of commendation to there state governors for such corpers to be offered automatic employment in their states. 

 GLORYLAND CULTURAL CENTRE COMPLEX

Perhaps one of the landmarks in Yenagoa, the Bayelsa State capital, which will always remain the cynosure of all eyes for many years, is the Gloryland Cultural Centre complex when it is eventually completed.  It is an edifice that will stand its ground anywhere in the world of the theatre. 

Situated at Hospital Road Junction, Ovom – Yenagoa, which is in the City Centre, it is located on the very site of the former one initiated by Navy Capt. Omoniyi Caleb Olubolade’s Administration.  His Excellency, Chief Alamieyeseigha ordered the demolition of that structure, as structural engineers contracted to test the solidity of the building submitted that it was defective, and that it was a death trap.  ENCON Associates are handling the present structure, and with its provision for a gallery audience, the main auditorium of the centre would accommodate well over 2,500 persons.

However, as the end users, the management of the Council has followed the construction work with keen interest. We have made some inputs to ensure that the necessary facilities are in place. These include the provision of a lighting booth (which was not in the original design); stage design; wiring the building in line with professional theatre requirements; fittings for split unit air conditioners, the lighting grid and the catwalk. This is to avoid any complication in the design and construction work, as His Excellency has always expressed his desire for us to have the most modern facilities in the complex.

With the completion of the new ultra-modern Gloryland Cultural Centre in sight, the State Troupe is repositioning its operations in order to put the place into effective use. This should enable the Council to practice theatre with greater ease and efficiency.  

PERFORMANCES

The Bayelsa State Troupe and the resident band, The Glory Beats, have become household names in Bayelsa State and beyond. The rich cultural and artistic heritage of the state have been showcased in Rivers, Cross River, Imo, Delta, Edo, Ekiti, Ondo, Plateau, Lagos, and Abuja, the Federal Capital Territory among other places.

The Council has reached out to sister states with the idea of embarking on a performance tours with Ineye Johnny-Dudafa’s Mangrove in the Desert, as a modest contribution to the Resource Control struggle. Abia and Imo States have indicated interest to host us, and modalities are being working out collectively for the tours to materialize.  

The management of the Council is desirous of showing the immense artistic potentials of Bayelsa State to the outside world. His Excellency, the Executive Governor, has even thrown that challenge severally to the troupe after some of command performances. It is in this light that the Executive Director has initiated Inter-State Cultural Exchange programmes at the Meeting of Chief Executives of Culture of the Federation.  Directors of Councils of Arts & Culture, and History and Culture Bureaux of the 36 States and Abuja meet to exchange ideas in this forum. The Benue State Arts Council realized the essence of inter-state cultural exchanges, and extended an invitation to the Bayelsa State Troupe, among others.   

Lagos State Council for Arts & Culture followed suit by inviting the State Troupe to participate in the 2^nd Black Heritage Festival which took place mid 2002.  Unfortunately, we could not honour the invitation then because the time was too short for the necessary approval and release of funds for participation. 

However, it is gratify to note that the Council has coordinated many cultural events in the last three years. These include Independence 2000, Launching of Bayelsa for Peace Initiative on November 14, 2000, Visit of Mr. President from March 14-15, 2001, and Democracy Day 2001. Others are Independence 2001, Democracy Day 2002, Independence 2002, and His Excellency’s Birthday Cultural Carnival 2002.  

The Council has also presented many Command Performances and featured in many special ceremonies. Some of the major productions so far include Simon Ambakederemo’s Isaac Boro, Tom Omara’s Exodus, Elechi Amadi’s Peppersoup, Ola Rotimi’s Grip Am, Ineye Johnny-Dudafa’s Mangrove in the Desert, Okogbule Wonodi’s A Wife for Two, Barclays Ayakoroma’s Dreams of Motherland, Dance on his Grave, and Castles in the Air. This is in addition to a mélange of drama sketches, dances, choral music, and dance dramas used as variety packages under the title: A Nite of Entertainment.  The Glory Beats has become the toast of the audience every time it is on stage. With every outing, the thinking in several quarters is that the band is moving to greater heights.  It was such that fans expressed serious interest as to the possibility of acquiring standard musical instruments to improve the outfit.  It was in this bid to enhance productivity that the Executive Director conserved funds during NAFEST 2002 to buy some instruments for The Glory Beats. Pleased with this development, the Executive Governor approved funds to equip the band fully.  The Deputy Governor of the State, His Excellency, Dr. Goodluck Jonathan, supported the band also by donating a set of backup instruments.  With this development, the band now needs just a few instruments to have a full backup band set with a view to taking care of two assignments simultaneously where the need arises. 

VIDEO FILM PRODUCTIONS

A prelude to the council embarking on the production of video films appears to the production of the video film version of Barclays Ayakoroma’s latest play, Castles in the Air. The Bayelsa State Troupe premiered this play on September 30, 2002, as part of the activities marking the 6^th Anniversary Celebrations of the Creation of Bayelsa State.  The video film version of Castles in the Air would open a window of opportunities for the Council in the desire of the present management to put its imprint in the emergent Nigerian home video film industry.  

The command performance of Castles in the Air on September 30, 2002, as directed by Barclays Ayakoroma, featured an array of stars from the Bayelsa State Troupe, and the dramatic experience thrilled the audience.  The movie version of Castles in the Air stars Sam Loco Efe, Sunday Omobolanle (a.k.a Papi Luwe), Chuks Oparaocha, Ifure Ufford, Frances Nsonwu, Joy Dandison and Francis Omoh.  Our own Amassoma-born Charles Biriabebe is the Director of Photography, while Erica Ezewu of Mutez Production is the producer. 

Venturing into video film productions would not only project and promote the rich culture of Bayelsa State, and at the same time, it will be a widow for artists of the state origin to break into the industry. This is has improved the economic base of Enugu State, to the extent that the Enugu State Government is working seriously towards building a Film Village. This, no doubt, would generate employment and revenue for the state annually. 

Currently pre-production planning is on for three video film scripts: Barclays Ayakoroma’s Dance on his Grave, popularly known in Bayelsa State as "Close your legs, kpaam!" Simon Ambakederemo’s Isaac Boro, and Ineye Johnny-Dudafa’s Mangrove in the Desert.  The major contacts have been made already for Dance on his Grave, and if funds are made available, the shoot should take place before the end of 2003.  The production plan starts with Dance on his Grave because the story is captivating; it is straightforward; it is without complex technical demands; and it would be easier to shoot.  Once it is successful, realizing the other film projects would be a foregone conclusion. 

NAFEST 2002

The 16^TH National Festival for Arts & Culture (NAFEST 2002) held in Port Harcourt, Rivers State from 2^nd – 9^th November 2002.  The National Council for Arts & Culture organizes this festival every year, baring unforeseen circumstances.  Popularly called the Unity Forum, the 2002 edition drew participation from about 28 states, including the Federal Capital Territory. It was a rallying point for the projection of the rich cultural heritage and potentials of the Bayelsa State.  The highlights of the gains of NAFEST 2002 are as follows:·      

• It projected Bayelsa State for  the first time in the Unity Forum
• The State was among the few states (three in all) that featured children in Choral Music and Moonlight Games
• The entry of Bayelsa State in the Choral Music and Moonlight Games events at the festival earned us an invitation to participate in KIDDAFEST 2002, an international children’s festival, in Accra, Ghana. (Unfortunately, the timing was not in our favor, as the letter only got to us a few days to the festival.)
• The Bayelsa State Council for Arts & Culture organized an Arts & Crafts Exhibition for the first time
• The council also featured in the Drums Exhibition. Bayelsa was were the only state whose drummers did live demonstration on the drums for the Honourable Minister for Culture & Tourism, Boma Bromillow-Jack, who declared the Exhibition open.
• The resident band of the Bayelsa State Council for Arts Culture, The Glory Beats, which featured on the bandstand, became the official live band of NAFEST 2002, and was on demand every night.
• Bayelsa State won the first and the third prizes in the senior and junior categories of wrestling respectively at the festival.
• The Council was among the few, which prepared briefs on its operations. We capped it with a special edition of Owoye, our in-house newsletter, to tell our story to the outside world.
• We were also among the few states that featured on Aso Radio, Abuja and Communication Trends Ltd (CTL), a satellite re-broadcast company based in Port Harcourt, in interview programmes to promote the positive cultural development of Bayelsa State.
• Our activities during the festival also received adequate coverage from three reputable national newspapers:  The Guardian, The Nigerian Tribune, and The Independent.
• We judiciously utilized the approval for NAFEST 2002, and saved funds to buy some musical instruments to improve The Glory Beats.
• Since the world has become less than a global village, we also used the opportunity offered by NAFEST 2002 to start the process of launching the Bayelsa State Council for Arts & Culture onto the information highway by getting Internet access, through Linkserve, an established Internet Service Provider (ISP). Our official email address is bayelarts25@yahoo.com.  This was with a view to developing a website for the Council subsequently.
• Finally, we created a good impression in all and sundry that Bayelsa State is poised to blaze the trail in the arts and culture sub-sector in Nigeria.

  FOREIGN TOURS

  A cardinal point in the mission of the Executive Director of the Council is international exposure for the Bayelsa State Troupe.  Somehow, the precursor to the fulfillment of this vision was the invitation of the Egbelegbele Cultural Troupe of Amassoma to feature in the 2002 Tianjin International Children’s Festival in China.  As the leader of the State delegation, Ayakoroma made quite a number of contacts during the festival, which drew participants from all the continents.  The result was that the Bayelsa State Troupe was to represent Nigeria in the Year 2003 International Friendship Festival, in South Korea.  The troupe could not make this trip because of extenuating circumstances in the global scene.  

  LAST WORD

  There is a saying that seeing is believing.  It is when one sees what the Bayelsa State Troupe can do that he/she would be in a better position to appreciate the talents of the artists.  We believe that the troupe needs the necessary encouragement towards the realisation of the collective goals exporting the rich Ijaw cultural heritage.  

  In the theatre, we are conscious of the fact that the production process is a collective pregnancy. This is to the extent that all hands must be on deck to actualize any given production.  Until there is a good performance before a good audience, there are always moments of anxiety or uncertainty by all involved. This underpins the position that the enabling environment (or atmosphere) is invaluable in order for artistes to achieve a good performance before a good audience. 

  While the management of the Council is trying to make effective use of the available human and material resources, the financial resources are not very much in our favor.  However, we see this medium as a window through which philanthropists and lovers of the arts could promote the Bayelsa State Troupe.  We see this as the dawn of a new era for professionalism to thrive in the arts and culture sector in Bayelsa State.   

  Our people say when you see a bird dancing on a bush path, know that what is drumming for it is in the nearby bush.  Without mincing words, we make bold to say that with this development, we foresee purposeful development for the Arts & Culture industry in Bayelsa State, globally. We would indeed stamp our identity in the global cultural scene, in no distant time.

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