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Friday <strong>30</strong> <strong>Mar</strong>ch <strong>2018</strong><br />

22 BUSINESS DAY<br />

C002D5556<br />

‘I get fulfillment when I am teaching,<br />

training or performing music’<br />

From following her mother to choir practices to becoming an MTNF-MUSON scholarship beneficiary, Fatima Uriame Anyekema has become one of the leading<br />

contralto voices in the Nigerian classical music scene. In this interview with OBINNA EMELIKE, the concert artiste/recitalist who has performed celebrated<br />

operas and oratorios talks about her journey into music, recent admission at University of Notre Dame, US, for Masters in Sacred Music, and expectations.<br />

How was your growing up in Benin?<br />

Benin was just a transition<br />

point for me. My father is<br />

a retired police man, so his<br />

job was the reason for our<br />

movement. I was born in<br />

Jos, Plateau State. From there we moved<br />

to Benin, Edo State where I spent a part<br />

of my childhood. I attended Eweka<br />

Primary School in Benin City. At some<br />

point, my dad was forcefully retired<br />

and to ease the pressure of training<br />

seven children, I had to stay with my<br />

uncle. That is how I found my way<br />

to Delta State where I continued my<br />

secondary school education at Ishagu<br />

College, Ogwashi-Uku between 1992<br />

and 1997. From there, I proceeded to<br />

Ondo State Polytechnic, Owo, where I<br />

studied Accounting for about four years<br />

due to many industrial actions. After<br />

graduation, I moved to Lagos, where<br />

I officially found my love for music, at<br />

least the academic part of it so to speak.<br />

How and when did you encounter<br />

music?<br />

I cannot really remember what my<br />

singing life was before age seven but<br />

from there on, I remember going to<br />

church society meetings with my late<br />

mother, Catherine and she made me<br />

and my friends to start leading songs<br />

during their events. From that point<br />

on, around 1988-1989, I discovered<br />

that I could sing and I kept singing<br />

in church mostly. That period for me<br />

was very interesting because everywhere<br />

singing was taking place, I was<br />

part of it. At some point, I became a<br />

choir mistress at a young age and had<br />

to teach songs to my mates. I had a<br />

mentor then who took interest in<br />

my voice, he would teach me songs<br />

to teach the choir. As little as I was,<br />

I was able to conduct and teach the<br />

choir new songs. That period was<br />

very eventful and interesting. When<br />

I got into secondary school, I did not<br />

sing at all for some strange reasons. I<br />

did not join the choir but then I was a<br />

member of the Scripture Union. So,<br />

when we went to other secondary<br />

schools in Asaba or Ibuzor, I would<br />

sing with my school scripture union<br />

group. It was the farthest I went with<br />

music in secondary school. When<br />

I came back to Benin, I went back<br />

to sing with the choir and I learnt<br />

responsorial psalms because as a<br />

catholic, I had to sing responsorial<br />

psalms and people always commented<br />

favourably.<br />

When I moved to Ondo State, I<br />

stopped singing again and did not join<br />

the school choir. I just faced my studies.<br />

But I still knew I had it in me even<br />

though I did not do anything about it.<br />

Eventually, I moved to Lagos in 2004<br />

for my Industrial Training and I needed<br />

something exciting and different. During<br />

my job search, I found MUSON and<br />

it ignited my passion and interest again.<br />

I never looked back and did not even go<br />

back to complete my HND.<br />

Is there any trace of music in your<br />

family?<br />

My journey into music began when I<br />

started going to the choir with my late<br />

mother, Catherine. Then, as a child, I<br />

A celebration of African modernism<br />

The Àdùnní Chair narrates traditional African aesthetics through minimalist elegance<br />

Àdùnní (meaning ‘daughter<br />

of the sweet one’ in Yoruba),<br />

is a celebration of<br />

African modernism. The<br />

chair’s frame is made from Nigerian<br />

teak wood and is upholstered in two<br />

styles of the indigenous Yoruba textile<br />

Asò-oké. The front bears Asò-oké<br />

Gboro-gidi (solid) and behind Asòoké<br />

Onja-wú ati iho (perforated),<br />

both hand-loomed in Nigeria.<br />

The thoughtful material choices<br />

of the chair combine to stage a celebration<br />

of culture and art through<br />

furniture. The Àdùnní Chair is available<br />

in seven vibrant colours, each<br />

with a matching footstool. The colours<br />

are; pupa féré (pink), osàn<br />

(orange), pón (yellow), pupa (red),<br />

elésè àlùkò (purple), ewé (green)<br />

Fatima Uriame Anyekema<br />

and búlúù (blue).<br />

As the outfit formally launches<br />

the Àdùnní Chair, it is delighted to<br />

have Chidinma Ekile as its muse.<br />

Chidinma is a Nigerian singer and<br />

songwriter who rose to stardom in<br />

2010 after winning the third season<br />

of Project Fame West Africa.<br />

“We had the pleasure of producing<br />

the advertising campaign with an<br />

amazing team of creatives to execute<br />

our conceptual approach, ‘THIS IS<br />

US _ AFRICA’. Oladotun Ojuolape<br />

Kayode served ​for the second time<br />

as our creative director. Emmanuel<br />

Oyeleke, a fashion photographer,<br />

produced the stunning images. Jane<br />

Michael Ekanem, ‘Stylist to the stars’<br />

translated our 1920’s theme into seven<br />

looks”, the managment said.<br />

usually attended practices with her at<br />

St. Monica’s Choir in Benin, Edo State.<br />

There are seven of us in the family - six<br />

girls and one boy. Interestingly, four<br />

of my siblings were also in the choir<br />

at that time but then out of all of us,<br />

I was the only one who chose to do<br />

music professionally. If you look at<br />

some other families like the Sowandes’<br />

and so on, you will see that some of<br />

them played the piano, some other<br />

instruments and they studied music<br />

unlike ours, we were just choristers<br />

singing in the choir. At some point in<br />

my life, I decided to take the decision<br />

to study music.<br />

Aside singing, do you play any music<br />

instrument?<br />

I play the piano, I teach the piano too<br />

although I am not quite proficient.<br />

During the Diploma course at MUSON,<br />

I took grade 2 piano lessons and all the<br />

vocal major students were made to<br />

take piano course. When I went back<br />

to University of Lagos for BA in Music,<br />

I had to improve on it. I teach piano to<br />

beginners now. I did other minor musical<br />

instruments like violin, clarinet, but<br />

the piano came in handy.<br />

As well, hair-stylist Gift Ekhile<br />

and makeup artist, Oriaba Wakana<br />

brought together the concept to<br />

mimic African bronze statuettes.<br />

Others are Oladayo Odunaro, cine-<br />

As an MTNF scholar, what was that<br />

experience for you like?<br />

The sponsorship support covered my<br />

tuition, buying music books and pocket<br />

allowance. I was grateful for these things<br />

because they really came in handy.<br />

Also, the opportunities that the MTN<br />

Foundation provided for me were huge<br />

because I had the chance to perform on<br />

stages and platforms that would never<br />

have been available if I did not have<br />

a scholarship. MTN Foundation has<br />

been at the centre of driving the renaissance<br />

in Nigeria’s art and music space.<br />

Every year, we have valentine concerts<br />

and recitals that provide exposure to<br />

burgeoning talents. I am grateful for the<br />

association with the brand.<br />

How excited are you with the scholarship<br />

at the University of Notre Dame?<br />

Notre Dame came with a lot of exciting<br />

packages. Until now, I cannot pay my<br />

way through a university in the US, UK<br />

or anywhere in the world. One of my<br />

priests who had studied abroad told me<br />

that there is a school in America that is<br />

tuition free and that they study Sacred<br />

Music but then it is a Catholic school. I<br />

said what do I want to do with sacred<br />

music, I am not planning to become a<br />

reverend sister or a religious personage.<br />

He convinced me that they had masters<br />

in different programmes but I did not<br />

want to have anything to do with sacred<br />

music, so I totally forgot about it.<br />

Things took different turn when I<br />

was graduating from the University of<br />

Lagos. Interestingly, my research work<br />

was on the music of the church in Nigeria.<br />

By the time I finished, the priest<br />

asked me what my plan was and I said<br />

nothing yet and he asked if I had tried<br />

the school he told me about. I was still<br />

not sure if I wanted to do it but along the<br />

line, I got an email. It was a strange happening<br />

because over the years, I have<br />

applied for some competitions abroad<br />

and sometimes, they keep sending<br />

emails as updates. I got an email from<br />

of those organisations, which I applied<br />

matographer and editor, documented<br />

the magic of the shoot with music<br />

from SMirK.<br />

Ilé-Ilà, which means House of Lines,<br />

is a lifestyle furniture line designed<br />

for the competition advertising Notre<br />

Dame University, the same school the<br />

priest told me about and I wondered<br />

why I was being followed. By the time<br />

I read through their propositions, I<br />

realized that asides the scholarship,<br />

they had a lot to offer in terms of the<br />

faculty, staff, sourced materials and<br />

master classes. I am so grateful that<br />

the foundation provided by the MTNF<br />

scholarship has propelled me towards<br />

this new adventure and I am excited at<br />

what the future holds.<br />

What is your favourite genre of<br />

music?<br />

Growing up, I did not know I was a<br />

classical singer. My dad was a collector<br />

of different kinds of music; reggae,<br />

soul, and fuji. I did not come across<br />

jazz in his collection, but he collected<br />

so much music that anytime I go back<br />

home, it hits me that this must be where<br />

I was influenced. As a child, I spent time<br />

listening to music and sometimes I go<br />

back and look through his collections.<br />

I do not have a favourite, I sing classical<br />

music, and I may want to say it is my<br />

best but I enjoy all kinds of music. None<br />

stands out.<br />

How do you make money from<br />

music?<br />

Many people are concerned about this<br />

question. My dad also had this challenge.<br />

When he knew that I was into<br />

music full time, he was worried and<br />

asked how I was coping until in 2013<br />

when I invited him to watch my performance,<br />

that was when he gave his full<br />

blessings. There are a lot of things that<br />

you can do with music. You can teach,<br />

perform, attend workshops; you can<br />

write music and so on. A lot can be done<br />

with music. I get fulfillment when I am<br />

teaching, training or performing music.<br />

Do you have any expectations?<br />

I hope that I will subsequently apply for<br />

a PhD after the programme. That will be<br />

like the ultimate goal.<br />

and handmade in Lagos, Nigeria.<br />

The brand focuses on period-conscious<br />

furniture with contemporary<br />

African content. Ilé-Ilà was created<br />

by Tosin Oshinowo, architect behind<br />

the design and execution of the<br />

<strong>Mar</strong>yland Mall Lagos, a commercial<br />

piece of architecture that captures<br />

the rapid development of the subsaharan<br />

region.<br />

As an architect, she has a natural<br />

affinity towards product design. She<br />

is particularly interested in the functionality<br />

of chairs, but also placing<br />

them in a Nigerian-African identity<br />

context. Unlike her minimalist approach<br />

to architecture, which often<br />

uses mute colours, her furniture design<br />

aesthetic is a bright explosion of<br />

colour.

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