Documentary Review: Dancing Mask: The ANA Story by Carl Terver

I once learnt that the title to a piece of work is like an abstract, letting the consumer in on what the work is about. My head is still dancing around how the idea was begat that the title of this documentary should have anything to do with ‘dancing mask.’ Whoever thought up the idea it doesn’t matter, even if it is adapted from the words of the master himself, C. Achebe, in ‘The world is a Mask dancing. If you want to see it well, you do not stand in one place.’ But what can I say? The documentary is about an association with the name ‘Nigeria’ in it; a name itself that has been on a journey like that of a ‘dancing mask’ trying to understand itself. Either way, ANA – Association of Nigerian Authors – in its long years has decided to tell its story, and Dancing Mask: The ANA Story, a 54 minutes documentary straight out of Box Office Studios, directed by Tee Jay Dan (Mr Tukura), helps us see it, not standing in one place at all, thankfully.

Few seconds after 0:00 the story begins. Prof. Olu Obafemi starts it. The storytelling is batoned to Kole Omotoso, then to Mabel Segun, first generation writer, and then to Wale Okediran. The passing of the baton by the quartet is accomplished with such charm that the story flows, as if premeditated, from one narrator, or interviewee, to another. A technique the director will rely on for the rest of the documentary. It is perfect. The quartet handle the storytelling taking up to a quarter of the 54 minutes before other players, counting up to twenty-one (not specific), come in, prominent amongst them, Denja Abdullahi (ANA President 2015 – 17). Quite a number to tell ANA’s story in all its 30 years of existence; yet it is done leaving out almost nothing, apparently, if you ask. But this task – getting the story, putting the backstage work together, editing and all, to show that JohnBull is a speller of his name, relies largely on the intelligence of the director, to pull it off.

As it runs through the pages of Nigerian literature about the earlier times that a story cannot be told without the interruption of the military and their accompanying martial music so is ANA’s, formerly SONA (Society of Nigerian Authors), rattled at its birth by the coup of 1966. And martial music, too, interrupts the documentary’s soundtrack just when the narration of ANA’s story begins. This soundtrack effect is repeated at 10:25 as the story of Ken Saro Wiwa is told, and heightened at 11:49 towards a short rendition of the Ogoni struggle and demonstrations. Many things begin to come to light as the minutes read.

No minute wasted, The ANA Story (I decide to use only the subtitle of the documentary for our convenience) is unfolded. Those who have been in the Association long enough – your quartet – take the viewers (or now, listeners) to the history, the motivations, the spirit and the come about of ANA. They share their experiences too, which like a memoir, arrest the viewer, so that even only at the eighteenth minute before the introduction of new narrators the documentary will seem to have lasted for hours because of the weight of story covered, an element of compression deftly handled by the directing. (This is maintained throughout.) As this goes on, pictures, which narrate faster, lend subtextual and complementary consolidation to the documentary like some sort of album art, playing on the screen at intervals. For instance, a good number of book cover images are used to back-up where a narrator mentions the works of writers who had written out of ‘psychological distress,’ about dictatorship in their time, civil unrest, the Biafra War, and such. Same thing with the introduction of Mamman Vatsa, military General, whose literary history has almost been annihilated from our memory, an image displays beautiful lines of poetry (his’) hardly found today.

But with every good thing there are spoilers. The ANA Story begins to lose its mirth when it kindly left its more inspiring history of the eighties up to early 2000s and begins to brag about achievements in the years 2011 upfront. About its Teen Authorship Scheme at about 31:00; NWS (Nigerian Writers’ Series); Denja Abdullahi, becoming too sell-speak in his remarks about the strides of ANA, talking about how ANA ‘touched the grassroots’ and ‘carried the whole country along,’ reminding you of the pain of listening to our politicians speak. As if to continue with the spoiling an interviewee tells us about when she won the Best Literature Award in Africa (38:00) and you begin to think of coloured Sergeant Bombay.

In The ANA Story like its proverbial mother, Nigeria, it comes to light or officially known that it has bore the woes of experiment, sharing the pains of the limbo its mother is in. It has been suffering from lack of funds; ANA has no staff and no asset, per se; it has no secretariat; sometime in its past one of its president with a ‘sober’ hand had to curtail its excesses and ‘amorphous activities’; it has to tackle the atrophying culture of reading. But ANA has better days ahead. Someone should call Teju Cole because history is about to be contested: a Mamman Vatsa Writers’ Village is going to be built to immortalise the pen-comrade who fell by the hands of evil men.

Before the ‘shooting-devil’ at 45:35 (when the person behind the camera starts to be careless) the director, too, begins his own kind of creative carelessness: 38:00 to 45:00 and so on. the ANA story here is about the bewailing of the reading culture, the debate of the death or life of the book or libraries and about funding. The soundtrack seems out of sync, sounding more apposite for a clip where a scientist is studying the progress of a specimen in a lab, or reminding you of the underwater soundtracks in Nat Geo Wild, or even something to take you to the site of some ancient shrine. At 44:21, too otherworldly eliciting the wrong effect from the viewer. Not even when Mabel Segun gives the description of a piece of land property owned by ANA in Abuja as resembling paradise, the soundtrack again, too intense, relegates her rendition to the background causing an internecine effect. But the viewer is saved some minutes later.

Done in memory of Chinua Achebe, it features clips from Dike Chukwumerije’s Made In Nigeria (2017) show, courtesy of Box Office Studios, with the artist of the same name doing a tributary at the beginning and end – as the credits disappear at the edge of the pixels – of the documentary.

Doing just more than a cameo in the documentary includes, again, Dike Chukwumerije, Su’eddie Vershima Agema, Richard Ali, Khalid Imam, Charry Ada Onwu, Lola Bala Gbogbo and Ado Dangidan Dabino, a guy who speaks only his language. Save for a few peccadillos here and there the director, Tee Jay Dan, has done his best, so far as one can tell, earning a B with or without a plus, I leave the viewer the verdict.

After 52 minutes of screenplay Mabel Segun tells the viewer ‘ANA will live forever.’



PS: The documentary shall be premiered later this year (2017)



Carl Terver is a porer of the English sentence and a critic of pop-culture. He likes to think of himself as an imaginary grandmaster. He is a fan of contemporary writers, Oris Aigbokhaevbolo, Adam Gopnik, Hua Hsu and Teju Cole.He is a critic at Praxis. @CarlTerver on Twitter. carl terver



The Association of Nigerian Authors (ANA) convention was slated for Thursday 11th December, 2014 to end on the 14th at Ibadan, the capital city of Oyo. The ground for the event was the historic University of Ibadan. You can imagine my excitement to be there. I could not wait to have my feet stamped, fully registered where most of the pioneers of African literature like the great Nigerian three–consisting of Chinua Achebe, Wole Soyinka and the poet, Christopher Okigbo—had done theirs. It was nice to note that this visit would be an opportunity to acquaint myself with contemporary writers from around the nation. Oh! It was also my first time of visiting the town. It was like a pilgrimage, because I was also longing to engage myself in what has become my hobby looking admiringly at creative and educational books and telling myself: “If I had money…” Ah! I knew I would storm the large bookshops and look up everything until the end of time!

We left Makurdi by seven o’clock. I was among the delegates from Benue State chapter of the association attending the convention. Some other delegates included the state Chairman and secretary, the poets Su’eddie Vershima Agema and Maik Ortserga; Vice Chairman Paul Ugah; Pever X (author of Cat Eyes); my colleagues at SEVHAGE Publishers, Debbie Iorliam and Ene Odaba; Sunday Aduma and the playwright, Doobee Dorcas Targba. Three other delegates; Celina Kile, Anselm Ngutsav and Damian Terkaa Jam, were to join us at the convention from different parts of the country.

I thought of Ibadan and of how I would be registering my presence at the Ibadan university, sighting the old rusty town and going book-window-shopping. My curiosity of what awaited blinded me to the slow pace of the Benue Links bus that took us some thirteen hours from Makurdi to Ibadan. I personally regarded the bus as a jealous one; jealous of the multiple joys I would be experiencing soon. Instead of blaming the bus and its driver, like most of my fellow passengers, I let my imagination take me to great halls I had no idea of, where I shared intellectual meals with the great three, amongst others. Only my body found presence in the bus as my spirit flew away. Thus started my convention.

We arrived town and found our way to the University which was directly opposite the bus park. Despite the lateness of the time, the presence of the ambience of the great three was unmistakable. It was that day that I really knew the functionality of my sense. I touched spirits, heard them and felt them. We got to the faculty of Arts where we registered ourselves and waited for further details of what would follow. We got a lovely ANA Review of great quality in publication, as well as other registration materials which included full color magazines on Chinua Achebe and Wole Soyinka. We were served a meal. My desire now was for dawn, so that I could locate the feet marks of sojourners long gone, the great three too, if possible.

Time passed slowly. By this time, there was a literary party in full swing. The ANA President, Remi Raji and his EXCO among other members of the Association were already there, being thrilled in the opening ceremony tagged: ‘Night of Palmwine and Poetry’ under the mouthy direction of the actor and PEN Nigeria Secretary, Ropo Ewenla. It was thrilling as many poets like Chijioke Amu-nnadi, I call him a man of small letters since he writes all his poetry in small letters; Saddiq M Dzukogi; Uthman Ajibola, amongst others read their own poems. There was also a dramatization of the terror in the North as led by the Boko Haram champion Abubakar Shekau, by one of the spoken words poet. Though I was worn out, the thought provoking presentation evoked in me an unexpected flood of pity, hopelessness, insecurity that tears almost filled my eyes especially as the un-rescued Chibok girls were gradually sinking into oblivion. Just when I thought my patience would wear out, our Chairman, Su’eddie Vershima Agema came out and led us to the hotel where we would stay for the night; the U.I. Hotels. The Boko Haramic presentation kept echoing in my mind: “Walahi, talahi, I wili kilan por you, all of you. I am coming por you.”

Most of the events of the second day of the convention were held at the large lecture theatre of the University Faculty of Arts. It was actually a life fulfilling moment for me, in as much as Soyinka did not grace the occasion as I expected. The public lecture complemented me as I finally set my eyes and felt a physical interaction with the man who had been talking to me in diverse critical books and papers, Professor J. O. J. Nwachuckwu-Agbada–who presented the keynote address. Before his address, there was a speech by the President of ANA, Professor Remi Raji, who is the Dean of the Faculty of Arts and also, a speech by the representative of President Goodluck Jonathan, Ms. Molara Wood (the author of Indigo and Special Adviser to the President on Documentation). From the speech of both, it seemed the President had given the Association a donation to support the convention. The President promised to put writers in the scheme of things and properly establish his efforts through the Ministry of Culture and Tourism! Remi Raji said Ibadan was a salvage host of the convention while Port Harcourt was the honourary host of the convention. He made a promise hinged on a promise; that by next year the ANA convention would hold in Abuja at the ANA Writers’ village.

Anyway, the MC, Mrs. Chinyere Obi-Obasi invited Camillus Ukah, to come and do a citation in honour of the keynote speaker. He did well using traditional nuances to say that the honoured Professor was a tall tree of great magnitude. Sufficiently introduced, Professor Nwachukwu-Agbada presented a brilliant and mind-lifting paper titled: “Literature, Languages and Diversities: How Has Nigeria Fared since 1914?” In it, Agbada gave a concise history of how what came to be regarded as Nigerian literature emerged, and the language issue surrounding it. Questions followed the presentations and Professor Agbada again demonstrated his scholarship by swallowing them up and vomiting appropriate answers. After the refreshments that really relaxed my nerves, there was a Book chat on the Nigerian Writers’ Series, headed by Mallam Denja Abdullahi, the ANA Vice Chairman. The Nigerian Writers’ Series is the Nigerian equivalent of the African Writers’ Series. In summary, 10 books were published by ANA with support from the Niger State Governor, Aliyu Babangida. One of the authors on the list is our very own Pever X with his Cat Eyes. Pever X is the Publicity Secretary of our state branch of ANA and a talented writer. The book chat went well and people like Chike Ofili, Chinyere Obi-Obasi spoke well in the session.

We retired after that session and I found my way to the university bookshop in the company of Paul Ugah and Sunday Aduma. We met Su’eddie at the bookshop with a friend of his, Servio Gbadamosi. Su’eddie later served as a tour guide as he is a regular to Ibadan and a patron of its many bookshops, particularly this one. When we were leaving, he packed a whole bag of books!  I packed a whole bag of looks for the way I went about moping at the books. I was enthralled! I love books and this was book heaven! I heard later from Su’eddie that the glory of the library had really depreciated but what on earth was he talking about!

In the evening, there was a show of the Yoruba version of Osofisan’s play Who is Afraid of Tai Solarin? as translated into Yoruba by Dotun Ogundeji and directed on stage by Tunde Kelani. Though it was difficult grasping the English wordings that were hardly staying for long on the screen, the highly comic aspects infused in the movie-stage rendition sent me beaming from ear to ear as I walked to U.I. Hotels.

Dawn sneaked in on us on the third day. We were scheduled to have a tour of Ibadan but we didn’t come out in time, and only our fellow delegates—Debbie Iorliam, Ene Odaba—went for it. They went to the African Heritage Research Library and Cultural Centre. They had much fun that left me wishing… IT was after missing that event due to the incorrect time I was keeping that I discovered the goodness of having an accurate time keeping device.

There was ANA Annual General Meeting which took place at the Large Theatre Hall. However, this took place after returning from ANA City Tours which were at the University Zoo and the African Heritage Research Library and Cultural Centre. In the A.G.M. of ANA, the president gave his speech, then the treasurer presented her report which was commended for its quick readiness and accuracy. Other issues as it concerned ANA were also discussed. The beauty of the AGM was how one does not know that he sits with a professor until he/she stands up to make a point. I left at some point but heard that there was a heated discussion on the suspended Secretary of the association, Tanko Mature Okoduwa who was absent on the day. There was also the issue of the authenticity of which Executive was in charge of the Edo State chapter of ANA…

The convention ended that day, with an enthralling Dinner Night Awards Ceremony at GloryView Hotel Bodija. I did not regret sharpening my teeth and putting on my eye glasses because I ate and I saw things that will forever remain memorable to me. The high table comprised personalities such as Emeritus Professor Femi Osofisan, a one-time President of the Association; Molara Wood (author of Indigo and Special Adviser to the President on Documentation); Professor May Nwoye; Professor Remi Raji – the ANA President to mention a few. The representative of the President of Nigeria, Molara Wood gave a speech after the welcome speech of the ANA President (after hailing the high table members, he simply said ‘Welcome’). There were also some presentations, the best of which was Iquo Eke’s performance of her poem, ‘Say my name’ with an actor/performer. Then it was time for the award presentation. The awards started with the general category which included awards to people for contributions to literature. Our Benue ANA matron and my lecturer, Dr. Maria Ajima was awarded for her contribution to the growth of literature and the association.  My boss, our Chairman, Su’eddie was up for two prizes after being shortlisted in the prose and poetry categories of the ANA awards with his books, Bottom of Another Tale and Home Equals Holes: Tale of an Exile respectively. We had interest in two awards too—Damian Terkaa Jam’s Sounds of a Metal Gong and Dul Johnson’s Melancholia, both books published by SEVHAGE, where I work. The hall went quiet as the awards started with the general awards.

The award for playwriting was announced; winner Soji Cole. The ANA/Chevron Prize for Environmental Writing (worth Two Thousand Dollars) went to Ifeoma May Nwoye. Next, the ANA Prize for Drama was announced. Dul Johnson’s play was shortlisted in this category. He lost to Tunji Ajibade who took the prize. The ANA Prose Prize was the next category and I held my breath. Su’eddie’s book came second runner-up while Immanuel James took the prize on account of the long length of the book or so the judges said. Our delegation was saddened. It was the last category next, the Poetry category. The judges announced that the competition was tough and that in the end, even out of their shortlist, a joint tie had been drawn. The winners are—Su’eddie Vershima Agema with Home Equals Holes: Tale of an Exile and Ebi Yeibo with his The Fourth Masquerade! We jumped up in smiles as we celebrated. Of all the winners, only May Nwoye and Su’eddie were present to receive their awards. The other awardees had their awards collected on their behalf by people in their chapters except for Immanuel James who no one seemed to know.

Soon, Richard Ali gave his parting speech. We trooped out, smiling. We got back to the hotel—Sunday Aduma and I—and before we hit the bed, probably slept.

The next day, we were up by 5:30am to head back to Makurdi. It was another long journey, and our delegates discussed all the 13 hours of the way. The weekend behind and a lifetime of experiences to hold on to, I looked forward to whatever literary adventure lay ahead.

Terese Uwuave, writer and critic, lives in Makurdi and Sokoto state, Nigeria.



ANA Invitation_2

The National Executive of the Association of Nigerian Authors by this notice calls for submissions from interested writers around the world for the 2014 ANA Review. The ANA Review, published yearly by the Association, is a journal that seeks to assess the pulse of contemporary Nigerian and African writing.

Submissions are called for in the following genres—
1] ​Poetry—No more than six poems per submission.
2]​Prose—Short stories or fiction excerpts must be under 3,000 words.
3]​Essays—Academic and literary essays on subjects related to literature are welcome; must be under 5,000 words.
All essays are to be formatted in line with the MLA Style Manual.
4]​Drama—Skits only, under 3,000 words.   All submissions should be sent as attachments via email to with the following details on the first page.

3]​Complete Contact Details
4]​100-word bio.

Deadline for submissions is September 25th, 2014.

Editor: The ANA Review Editor for 2014 will be Richard Ali.

Richard Ali is a Nigerian lawyer and novelist who has previously edited the Sardauna Magazine and the Sentinel Nigeria Magazine. He has, since 2011, served as Publicity Secretary [North] of the Association of Nigerian Authors.

So, what are you waiting for? Send the tale already!

Posted in POETRY

Did You Not Know The Man? [A dirge for Kofi Awoonor] By Richard Ali

Did you not know the man you killed as a wildebeest in the press

Of skeltering feet at the Westgate Mall? Was it a flash decision

Reflex running blind through rifle sight to de-humanize

Making stags of men, impersonal, clinical, shooting them down?


O mirror likeness of my sorrow, which is the finer sadness—

At the affray of kin or the weaverbird eulogies following?

Or at heirs whose bullets are the bowl balls that toppled

Alchemist Awoonor, mesmersmith, knowing him not?


Still now is the chest holding his heart pierced through, full my eyes

Recalling his line – “Dzogbese Lisa has treated me thus” – verse that

Made sterling cause the threads of my harried, desperate Black!

O, cruel Somali brother, did you not know this man you killed?



Kofi Awoonor, poet and patriarch of African poetry passed on to our memories on September 21st, 2013 in the Westgate Mall Attack in Kenya. Across a new dawn produced here from WSJ Blog was one of his last poems. He remains an inspiration to a whole lot of poets around the world and a personal friend that I never had the good fortune to meet.
Kofi Awoonor, poet and patriarch of African poetry passed on to our memories on September 21st, 2013 in the Westgate Mall Attack in Kenya. He remains an inspiration to a whole lot of poets around the world.



Richard Ali is the author of  the book, City of Memories (Black Palms, 2012). He is a managing partner at Paressia Books Ltd, and the Public Relations Officer (North) of the Association of Nigerian Authors.







Association of Nigerian Authors

Okay, it’s been what we have been asking for since forever!!

Finally, the Association of Nigerian Authors (ANA) National have released a copy of the ogbonge constitution ratified at the last congress in Uyo. You can download it here or click here ANA Constitution 2012

Whichever you do, ensure you save a copy of the constitution and adhere to it.

Meanwhile, I hear some states have Bye-Laws and all…

Hmm. Oh well… Congratulations to the entire Executive of the National Association of Nigerian Authors and the various chapters for getting this done.


Best wishes…

Posted in LIFE



Why are they being so harsh and against protesters? Why didn’t they show this aggression when certain people protested against the anti-gay marriage bill?
Not in a long time has Nigeria seen this kind of unity. It simply speaks of a people determined to overhaul the draconian laws of a supposed democratic government.
Whether fuel subsidy is right or wrong is no longer the question. The question is ‘Do Nigerians support it?’
The various pictures and protests from all over the country simply say the same thing: ‘NO!’
Writers, Doctors, Traders, Journalists – the general masses are saying ‘NO!’
Why is the government being obstinate?
We are together across the lands from every part.
I salute all those standing for their voices, Seyi Balogun (Rest in peace Sir), Emman Shehu, Chika Unigwe, Jeff Unaegbu, Richard Ali, Doowizi Akegh, Nasir El Rufai, Gimba Kakanda, The NLC, TUC, Citizen Musa, Citizen Chinasa, Citizen Titi, Citizen Terdoo, and us all….
Let Aondo (God) help us. We are together and trudging on.