In Abuja, A Breath of Life brings a festival of performances and new connections
By Segun Ade-Martins
In 2023, I wrote about the second edition of ÌMÍ intensive lab with the theme My voice is… and the accompanying performance, The Offering. This year, the ÌMÍ lab was followed by The Offering: Bodies in the City.
In this edition, the ÌMÍ lab lasted ten days, double the amount last time. The cohort members were creatives exploring themes in environmental design and conservation, dance, visual art, spoken word poetry, and indigenous African technology.
The convener, Oluwabukunmi Olukitibi, still commands this space with the guiding principle that “the process is the outcome, and the outcome is the process.”
From the beginning
The Offering: Bodies of the City was a festival of performances that took place at Mama Village Garden on February 24, Ekondo Life, an interesting place filled with creative human life and rich plant life.
I walked in about thirty minutes late to find myself in the middle of the most intriguing panel discussion. Ms. Olukitibi sticks to time, no ‘African time’.
The panel covered architecture, art, policies, technology, urban development, creativity, and more.
The panellists were Imal Silva, an artist and entrepreneur; Anna Ekelodo, Executive Director; Afrilabs; Chidumaga Uzoma Orji, an artist and afrotechnologist; Nmadili Okwumabua, a Professor of African Architecture and Urban Design at CPDI Africa Architecture; Amara Nwakpa, a CMC Technology and Public Policy Expert; and Zainab Akwanga, who served as the panel moderator.
The discussion got more intriguing as it went on. Mr.Silva pointed out as the discussion was wrapping up that there were few people at the start, and at the end, the crowd grew and was eagerly asking questions.
The session was thoroughly enjoyable and engaging, with all sorts of points of view that should encourage introspection about the consequences of our lifestyles.
Mr. Silva says, “Don’t give a damn…Give everything you have,” when speaking to creatives about dedication to their endeavour.
Mr. Nwakpa talks about how Nigeria can shift its thinking by pointing out that currently we are “servants to ourselves rather than to our society [and thus] society becomes poorer.”
When faced with questions about what trends to expect in technology in the coming months and years, Mr. Orji says he thinks “less about trends and more about history shared by our ancestors.” He says, “If our ancestors created a mobile app, what would that look like?”
On advice to anybody who wants to be a visionary in any field but specifically in architecture, Ms. Okwumabua says, “Do your research-go and dig! Figure out who you are and who you were.”
Every breath is a performance
As the sun set, the crowd moved around to greet friends and acquaintances, me included. I caught up with a friend and his friends as we marched from the seating area towards the arena.
The night’s darkness embraced Abuja, but the stage was illuminated with acts. Pelemo Ava Nyajo gave two emotional performances: a poem and a dance performance. The incorporation of her crutches was majestic. Here we see the boundlessness of a human spirit. Amazing!
Moses Obi lifted spirits with a perfect pitch cover of Beyonce’s Halo. It truly was remarkable to witness. ISAH the Prince performed in what would be a precursor to a project release featuring key collaborations with cohorts of ÌMÍ.
Performances of some cohorts, some friends or partners of Hearts Heartist; Falilat Shittu, a ballet dance; Black Bones Theatre performed a Eyo masquerade dance routine; and Tonton Raymond performed.
Bally Queen breathed fire into the night with a solo performance of feminine affirmation and her trademark fire breathing.
Drummers made us dance to their beats. Odenose performed a rousing rendition of Mark Ronson’s Uptown Funk and more.
Finally, Ms. Olukitibi came from behind the scenes onto the stage to completely enthral the audience. The audience, including myself, was engaged in socialising as we engaged with her performance.
As this was the final performance, the audience hollered, whistled, and whooped more than usual.
Ms. Olukitibi gave a heartwarming speech and invited all participants, supporters, and partners to take a bow with her at the stage.
The reluctance of some was entertaining, but Ms. Olukitibi is an emphatic proponent of gratitude and made sure they received praise for their contributions. People like the festival coordinator, David Olukitibi, the moderator, Zainab Akwanga, etc.
Many things have changed.
This allows me to contemplate the contrast between The Offering in 2023 and this edition. The shift from raw immersion to a more designed presentation in 2024 reflects the maturing of the event.
Additionally, 2023 featured mostly performance or movement artists, aka dancers. However, look at the diversity of the practices of the facilitators, dance or movement artists: Alesandra Seutin, Jemima Talatu Angulu, and Wunmi Idowu.
Architecture professionals: Nmadili Okwumabua, Amanda Iheme. A hospitality consultant in Remi Osifo and Chukwugoziem Michael Miller, a massage therapist.
Then you have thought leaders, philosophers, and poets in Rodney Omeokachie, Bethel Afework, and Dike Chukwumerije. Finally, Chris Odeh, a film and TV producer, rounds out the diversity.
Ms. Olukitibi asked them to emphasise the other sides of typical success and impart that the journey is different for everyone.
The change is bigger, bolder, and more inclusive.
Ultimately, ÌMÍ 2024 and its festival, The Offering: Bodies of the City-(Re)imagining Urban Connections, is a platform for creative expression and has been a significant force in fostering change and sparking conversation.
It offered a more polished and accessible experience, highlighting the importance of creativity in fostering new ideas and connections.
The evening served as a springboard for conversations and new experiences that will continue long after the final act; ISAH the Prince’s project In Due Time’s final packaging was influenced by ÌMÍ.
Also, ÌMÍ 2024 served as a proving ground for Abuja 2045 and Anwuli Community Bank.
Now, we can look forward to future editions to showcase artistic exploration and cultural exchange. Consequently, the power of creative expression to inspire change will be demonstrated.
Originally published at http://thestrangejournal.wordpress.com on May 6, 2024.
