Lagos — I swung into the pool of Nigeria's performing Arts exactly 30 years ago, in the joyous festivity and carnival atmosphere of FESTAC.

I was a guest performer from the London Zone to perform as a "musical poet." I was also engaged as the festival's guest reporter for the Punch Newspapers. After the bubby atmosphere, I was beclouded with the euphoria of home sweet home. I decided to settle home and down to performance as a practitioner Teaching, Acting, Drumming and Writing.

I have taught Acting and Speech in the two Universities' in Lagos, UNILAG 1988-89 and at LASU 2001-2005.

I also took my Cabaret show through schools and colleges including and through social clubs such as Island Club, Ikoyi Club, Domino Stores, Arts Place, Afrikan Shrine, Museum Kitchen, Ojo Cantonment.

My Cabaret Stage Performances went up to UNICAL, UNIPORT, UNILORIN, UNIBEN; ENUGU CAMPUS UNIVERSITY OF NIGERIA, through the eighties; My Theatre live-production moved from the National Theatre Main Bowl, and Cinema Halls, Exhibition Hall.

On screen, I have a record a number of appearances in Nigerian soaps, starting with the pioneer soap 'The Village Headmaster, For Better for Worse, Mirror in the Sun.' Adio family, 'Sparks', Ripples, and a string of about 20 'soaps' including the two I am serving at hand - Living for Tomorrow and Heavens gate. About 20 in all over the 30 years.

The Big Screen was not missed out with Ola Balogun's 'Cry freedom, Eddie Ugboma's films on MONEY and OIL, Oladele's film the OMEN OF LOVE. Another long string of Home Video. I played in the very first Home Video in Nigeria - "The Witch Doctor of the LIVING DEAD', and in the subsequent ones like "BLOOD MONEY II", "FOR EVER" "BLACK POWDER", "RAT RACE", "DECREED BY GOD', "THE SURGOURN", "FULL MOON" etc and recently - THE FAMILY SECRET".

Capping all with my musical contribution through my Cabaret shows, I have only just finished a six-track musical album of "Drumcall Poetry which I tagged Jazz Fuji.

Apart from contributing the word "Performing" at the inaugural meeting of PMAN, I have put very little into Nigerian Pop music, though I never stop drumming to back my poems.

Radio still holds my interest since my BBC Bush House' experiences. Since coming home, I have done very little of radio plays in the eighties. As for writing, I never stop. Apart from my arts contribution newspaper columnins, I still write essays, plays and poetry. I have just published a collection of 128 poems specially designed for performance and 'song-lyrics'.

As an overview, I believe that the market for commercial arts has been established but it has not taken roots nor started growth for growth to start, there must be quality. Better quality promotes sales and makes for growth.

I have been greatly appreciated by the general public. I couldn't expect too much as member of the pioneer generation of the industry.

That generation missed the money, nevertheless, some took crowns of royalty and lost all royalties of their past performances. The memories remain fresh as reference points. Here's a GBOSA! For the Village Headmaster cast and crew! GBOSA!

Financial appreciation and reward can only come from the government and institutional structuring for remunerations compulsory levies and encourage investments to aid the industry. The private appreciators have expressed their minds through their expressions.

The few such as The Kuboye's Jazz 38 honour of "BABA AWARD" which I cherish very much as I was honoured soon after my late friend and great artist, Fela Anikulapo Kuti, I have since been honoured with a chieftaincy as the OMENKA of AKUMAZI KINGDOM by the Obi of Akumazi, the home of Ndudi Nwabueze's Living for Tomorrow. I am the first elected president of Actors Guild of Nigeria. More than everything else, I have the Grace of God to keep me 'keeping on' with the creative energy to perform.

The only regrets I might express is that the government and the multi-nationals have not rallied round the artists to support the industry and help it grow. The people and the governments believe too much that talent is enough to build an industry. The entertainment industry needs investments, in building theatres, publishing companies, direct financial support for Repertory theatre companies, subsidies for sound and lighting equipments musical instruments for established art companies. Beyond mere contribution to the Arts, it is important to lend support to the practitioners.