Dr. Usman Oladipo Akanbi is the new ANA president. In addition to academic publications, he is the author of several literary works in prose, poetry and drama. His prose works include Tales Across the Plains (2001) and Connecting With My Past: A Mid-life Memoir (2020), while his poetry include Weevils On Grains (2001), Suppletunes in Tightangles (2003) and Verdant Verses. He is also the author of the play, Labake Isale Eko & Other Plays (2018), among other appearances in various anthologies. In 2001, he established the Imodoye Writers’ Enclave, one of Nigerian thriving writers’ residency programmes.
Currently a Senior Lecturer and Head of the Department of Agricultural Economics and Farm Management, University of Ilorin since 2014, the widely traveled writer spoke to HENRY AKUBUIRO on his writing career and new position as the president of Africa’s largest writers’ guild, Association of Nigerian Authors.
You were recently elected the national president of the Association of Nigerian Authors at the ANA Convention. ANA seems to be the most controversial association in Nigeria with endless infightings, how are you going to navigate through this perennial turbulence?
As the newly elected national president of the Association of Nigerian Authors (ANA), my strategy to navigate through the organization’s perennial turbulence involves fostering open communication, implementing a robust conflict resolution mechanism, and defining clear objectives that unite members. I aim to promote inclusive leadership, encouraging diverse perspectives in decision-making. Professional development programmes will be instituted to enhance members’ skills, and a positive organizational culture will be cultivated, emphasizing collaboration and respect. Reviewing and updating the constitution, improving public relations, and empowering local chapters are key components of my plan. By celebrating literary achievements and emphasizing shared goals, I seek to shift the focus from internal conflicts to collective accomplishments, fostering a more harmonious and productive environment within ANA.
To the credit of past ANA administrations, the Mamman Vatsa’s Writers’ Village has become a reality, with state-of-the-art facilities. What new things are you going to bring to the village to improve the fortune of the association/ writers?
Building upon the achievements of past ANA administrations, my primary focus as the national president will be to enhance and expand the Mamman Vatsa’s Writers’ Village, thereby elevating the fortunes of the association and its writers. I propose the implementation of comprehensive literary programmes, including regular workshops, seminars, and residencies featuring renowned authors and literary experts. These initiatives aim to provide ANA members with opportunities for skill development, networking, and mentorship. Additionally, I plan to strengthen the operations of the ANA Creative Arts and Film Institute, currently in collaboration with Nasarawa State University, Nasarawa. I am committed to facilitating the prompt launch of the proposed international writers’ residency within the Writers’ Village. With the support of my executive team, I will ensure that the ANA library is better equipped with an extensive collection of literary works, research materials, and digital resources, encompassing not just the creative arts but all disciplines. By fostering an environment that encourages continuous learning and collaboration, we can guarantee that Mamman Vatsa’s Writers’ Village remains a dynamic hub for literary excellence, significantly contributing to the growth and development of Nigerian literature
Generally, what plans do you have for the Nigerian literary community as the leader of the apex writers’ body in the country?
As the leader of the apex writers’ body in Nigeria, my overarching plans for the Nigerian literary community revolve around fostering inclusivity, promoting literary development through workshops and mentorship, embracing digital engagement for wider accessibility, strengthening collaborations with educational institutions, facilitating international literary exchanges, enhancing and introducing literary awards, advocating for writers’ rights, supporting literary festivals and events, implementing community outreach programs, and providing publication support. These initiatives aim to create a dynamic and supportive environment, recognising and celebrating diverse voices, fostering literary excellence, and positioning the Nigerian literary community as an influential force both nationally and on the global stage.
You established the Imodoye Writers Enclave in 2021, what was the idea behind it?
Establishing the Imodoye Writers Enclave in 2021 was driven by the vision to create a nurturing space for writers, providing a conducive environment for creativity, collaboration, and professional growth. The enclave was conceived as a haven where writers could come together, share ideas, and engage in focused, uninterrupted work. The goal is to foster a supportive community that inspires innovation, offers valuable resources, and promotes the development of literary talent. Through the Imodoye Writers Enclave, the aim is to contribute to the enrichment of the literary landscape by empowering writers to explore their craft, exchange insights, and collectively contribute to the cultural tapestry of the written word.
Two years afterwards, has the enclave met with your initial vision for the project?
Two years after the establishment of the Imodoye Writers Enclave in 2021, I am pleased to see that the enclave has largely aligned with my initial vision for the project. The space has successfully served as a nurturing and collaborative environment for writers, providing a platform for creative exploration and professional development. Writers within the enclave have engaged in meaningful exchanges of ideas, participated in workshops, and benefited from the supportive community that encourages innovation. The enclave has played a pivotal role in fostering a sense of camaraderie among writers, facilitating uninterrupted work, and contributing to the growth of literary talent. As we move forward, the challenge is to continue expanding and enhancing the enclave’s offerings to ensure it remains a dynamic hub that consistently meets the evolving needs of the writing community.
You belonged to the ANA Peace Committee established four years ago to broker peace between the warring factions, but there seems to be unfinished business still in terms of bringing everybody under one umbrella. How was the assignment?
Serving on the ANA Peace Committee established four years ago to broker peace among warring factions was a challenging yet essential undertaking. The assignment involved delicate negotiations, active listening, and fostering constructive dialogue to address deep-seated issues within the organization. While progress was made, it’s evident that there is unfinished business in terms of achieving full unity and consensus among its members. The task required navigating complex dynamics, and although initial steps were taken toward reconciliation, sustained efforts and ongoing commitment will be crucial to ensure that all members come together under one umbrella, fostering a more harmonious and united Association of Nigerian Authors.
You are a multi genre writer – novelist, poet and a playwright – which of the genres appeal to you the most?
I find a particular affinity for poetry, as reflected in my greater number of publications in this genre. The freedom inherent in poetry appeals to me, offering a unique platform to express my innermost feelings and thoughts.
What issues dominate your artistic consciousness as a writer, going by your oeuvre?
I typically delve into a broad spectrum of themes and genres in my writing. I explore existential topics, delving into fundamental questions about life and meaning. At times, my work takes on a didactic tone, aiming to impart knowledge or moral lessons. I also enjoy creating entertaining content that captivates my audience. On other occasions, I weave narratives that tell stories from historical perspectives, drawing from the past to enrich my storytelling. This diversity reflects my multifaceted approach, allowing me to engage with various themes and provide a well-rounded experience for my readers.
As an academic, your specialty is agriculture economics, where is the meeting point between this and your art and how do you leverage each other?
Agricultural Economics is essentially a behavioral science – its convergence with art creates a symbiotic relationship where the expressive power of art is harnessed to communicate complex economic concepts, advocate for agricultural issues, and educate a broader audience. By infusing creativity into data visualization and educational materials, one can enhance the accessibility and engagement of economic ideas. Artistic expressions serve as a potent tool for advocacy, drawing attention to crucial topics such as sustainable farming practices and rural development. Conversely, agricultural economics contributes substance and context to artistic endeavours, providing content and inspiration for works that reflect societal dynamics and the evolving landscape of agriculture. This interdisciplinary collaboration enriches both fields, fostering a deeper understanding of the intersection between economics and art.
Looking forward as a writer, what areas do you think you should focus more attention on?
Given the diverse themes and genres that I explore, I believe my strength lies in my ability to navigate various topics, from existential reflections to didactic pieces and historical storytelling. To further refine my focus, I intend to place greater emphasis on themes that resonate most with my audience or align closely with societal needs and interests. Since I have experience in agricultural economics, I will further strengthen the contents of my writings not just to entertain but also educate and advocate for important agricultural and economic issues – some of the stories in my short story collections –Tales Across the Plains – are clear examples in this direction. Balancing creativity with informative content can make your work both impactful and appealing to a wide range of readers. Ultimately, your unique strength lies in your versatility, allowing you to address different facets of human experience through your writing
There are renewed criticisms that the new minister of art, culture and creative economy hasn’t factored the Nigerian literary community as an important member of the creative industries. How true is this and what’s the way forward?
In a recent interview, the Minister emphasized the pivotal role of a robust creative and cultural economy as a catalyst for Nigeria’s growth, both locally and globally. Proposing an ambitious eight-point plan, she likened creativity to the new oil, outlining a vision for the sector’s development. Madam Musawa, known for her insightful critiques in the Nation Newspaper, assumed her role less than a year ago. While her strategies for implementation remain undisclosed, a recent round table on the creative industry showcased her commitment. However, an oversight was noted in the omission of the Association of Nigerian Authors, the continent’s prominent literary body.
Despite this lapse, a constructive approach to advancing the creative industry involves fostering dialogue and advocacy to address the perceived neglect of the Nigerian literary community. Collaboration between the government and literary organizations, featuring shared initiatives and festivals, is essential. Tailored policy recommendations should be presented to address the unique challenges and contributions of literature. Inclusion of literary programmes in educational initiatives, promotion of awards, and international recognition for Nigerian authors are crucial steps. A unified and strategic effort highlighting the significance of literature can contribute to a more inclusive creative economy, acknowledging and supporting the indispensable role of the Nigerian literary community