Title: On his Turf: Collected Interviews on Arts, Literary and Cultural Administration (Volume II)
Author: Denja Abdullahi
Publisher: Something for Everybody Ventures, Lagos
year: 2019
pagination: 137
reviewer: Professor Mabel Evwierhoma
The autobiographical impulse is clear in the book, especially as we see pointers to the circumstances of his birth, nurture and familial conditions. From its dedication to his elder brother Alhaji Abdulmumini Denja Abdullahi, it is evident that the author of On his Turf is connected to folks who render service to the community. As we pay particular attention to the contents of the book, this reviewer makes bold to aver that the interviews are evidence that Denja led in different areas, served and continued to create narratives that intersect the human condition and creativity.
The interviews first appeared in conventional and online newspapers and one was published in a journal earlier. In all, the breakdown of the artistic interrogations faced by the author from art and creativity journalists are two in 2019, which constitute the least. The periods of interview as chronicled in the book are: 2016: March, August, October (twice); 2017: August 18 and 22, September, 1, 14 and 15, and October 15; 2018: April (twice), March, and October; and 2019: June and July.
The opening interview is a tribute to the founding father of ANA, Professor Chinua Achebe, and as a marker discussion, with Yemi Adebisi, it sets the target for most of what the Denja Abdullahi-led executive was to focus on during its tenure. A major aspect was the ANA land in Mpape, Abuja. This interview highlights the executive’s accountability sheet to which his manifesto of ‘The Pragmatic Deliverables’ is also tied.
The next interviews conducted by Ibrahim Ramalan span issues on database of members, the intersection between ANA presidency, the authors role as cultural administrator and serving public servant, fulfilment of his campaign promises as well as the disputations within the ANA group. The ability to be frank in his responses channels the reader to pursue after commitment in service to the group that he leads. The strategic committees to turn around the fortunes of ANA and the internationalisation bid were well-marshalled out to Ramalan.
The dialogue with Evelyn Osagie further affirmed the planned intervention of the Denja Abdullahi leadership in ANA, most pertinently, in the attempt to establish the impact of ANA “on the development of literature in the country and the continent” (p. 20). The author’s response to this enquiry is informative: “ANA through its numerous and constant programmes and project has raised the banner of Nigerian Literature and has been an Association to emulate by writers in other countries of Africa” (p. 20). Nevertheless, the challenges of publication and distribution costs, piracy are yet to be surmounted. One should however state that Out of his Turf is an absolute scorecard for this executive in the areas of ‘A-Book-A-Child’ project’ (p. 21), that calls to mind the effectiveness of the Nigeria Book Policy where children’s literature is concerned (p. 33).
Where literary prizes are in focus, the interview with Adeola Ogunrinde shows Denja Abdullahi scathing castigation of the Nigeria Liquefied Natural Gas (NLNG) Prize for Literature: He affirms: “I was one of the fiercest critics of the NLNG prize right at its inception in 2004” (p. 35). He continues: “How much has NLNG invested in the arts and book industry in the country beyond doling out winning sum each year? The artist is a critic and primer for any agenda set to advance society. The proof is in the query of established systems by Denja Abdullahi, in a bid for the literary community to progress.
Edozie Udeze’s interview also dwells solely on the ANA land (pp. 85-90). One other hornet’s nest stirred by the author is the gargantuan National Library which he refers to as museum. Here, Anote Ajelourou draws the ire of the author who condemns and at the same time derides the government he is part of, for shirking in its duty to provide books, libraries, the latter as “sanctuaries for knowledge and the hallowed spaces where you can still go to think and write and come out with a sense of achievement” (p. 52).
Writing is a sphere for knowledge production could also transcend to one for monetary profit. Henry Akubuiro, highlights the foray into the economics of writing in the interview Denja Abdullahi. Boastful as the assertion may be, “We are set to make more writers millionaires” is a caption that may alarm and encourage at the same time, though much focus is not diverted to it in On his Turf.
Of crucial note is the deserving attention that academic publications should get and the market for books in Nigeria. Abubakar Adam Ibrahim’s interview with the author is one of the longest in the book and covers an array of discursive matters like an assessment of his tenure, which had been earlier asked by other colleagues of his in the book. The Nigeria Writers Series as imprint of ANA, royalties for authors published in the stable of ANA, hosting conventions that reflect value for money and input of other resources, and grants received.
The interviews, so far, interrogate and boldly ascertain the value of creativity on the side of the government and the governed. The interview conducted by Onyekachi Onuoha, throws up the novel chance for Nigerian writers to broadcast their written or oral works in digital form as the cybernetic space is yet to be explored by them. The author advocates that this should be taught also.
Putting the author on the spot, Kolade Olanrewaju Freedom takes him across time, local and international space to focus mainly on the author’s poetry and his author’s leadership position in ANA. The interviews that bring up the rear of examination session with Denja Abdullahi are with Edozie Eze, and three others, the crux of whose intervention was the Yusuf Ali Literary campaign which commenced in 2012 with a yearly grant to ANA.
Being an abridged version of the review presented by Prof. Mabel Evwierhoma, in Abuja, 26, 2019, during the 50th birthday of the author.