 I think we're on now. So like I said, good afternoon everyone, and it's really an opportunity to be here. I want to appreciate all our panelists who almost all of them are my professors, Professor Dugar, can see Professor Dugar there, Professor Duro, me, Dr. Patrick Jute-Ote, and of course the person that we're celebrating to the Professor Toyu Rapo. I wanted to quickly say that my experience with Professor Toyu Rapo has been very astronomically a great blessing. I did my undergrad at the University of Joss, and my first publication ever, he literally took my eyes wings, and then I got that through. So I'm really privileged to have professors that are really forward-thinking and really looking forward to building young ones. Today, we will be taking on different things from the review to the panelists that we have in presentation about the book. And I just want to say thank you for being here. I also want to say thank you to our partner, Howround, for offering on the platform to Livestream, and then I hope that we have a great time. Congratulations to Professor Toyu Rapo once again, and of course to the entire DTOYA team. Really looking forward to having a great time with you today. I'll hand it back to Makodi for the next line of action. Thank you so much. We can't hear anything from Makodi. There's no sound. Professor Rapo. I can't hear you, Makodi. We can hear you in Lafayette, Makodi. You can hear us. Yes, go ahead. Okay. Thank you, everyone here. I know that the activities have been going on since two o'clock in different forms. And this is the period for the panelists. I have only minutes, so we try and keep to the eight minutes in the things that I want to say. It's a big challenge because when you have known somebody like Toyo for 40 years and you have to compress all of that to eight minutes, it's a big challenge, but I'll try. Professor Toyo's Theatre for Development Scholarship in Nigeria and beyond is what I'm talking about. But let me begin, Toyo, by saying happy birthday to you. It's good to be 60. It opens doors. It also tells you that you're getting old. So you have to manage this between the age and the sweet 60 that you have reached. As we say in Nigeria, the young shall grow. I think you have grown. So welcome on board. If I recall correctly, my first meeting with Professor Toyo was way back in 1982 in a workshop on popular theatre or theatre for development in Katsinala. I think Toyo was a student in the College of Education at the time and he was one of the very many students who were, he had to be part of the workshop by the late Tahura. It was an introduction to, if you like, a strange theatre practice for these young men and women who are in the College of Education. But I think it is that strange encounter that has grown Professor Toyo into what he is today. In moving them away from the classroom into communities, it was the beginning of a lot of experiences for them. And this was the beginning that was championed, interestingly, by the Benway State Council for Arts and Culture. Benway State, at the time of organizing this workshop, it was the second edition. The first one had been done in 1981. And for the Arts Council to become the hub of popular theatre, community theatre practice in Benway State at the time, was a new foray for them, as well as all the workshop participants. But I saw a lot of enthusiasm and interest on the part of the many students who were there, including Toyo, when, as a facilitator, we shaped them into communities. Wombo, Igura, Napae, they were looking at this. And, you know, our students, the usual thing is, what the hell am I doing in these communities when I should be studying books and all of that? But I think today he will also tell his own encounter of how students reacted to him in his many, many community theatre practices in the University of Jaws and elsewhere. And that's what has made him who he is. And I think that at the time we were ending that workshop in 1982, I had seen the enthusiasm and I was asking myself, who amongst all of these students would take this experience forward? I had no way of knowing who Theatre for Development would choose among them. It's not about who would choose Theatre for Development. My position always is that TFD chooses who it's wants. You don't choose Theatre for Development. Those who choose Theatre for Development don't last. But if you are chosen by TFD, it's a live engagement. And I'm saying that Tau was chosen by Theatre for Development and his experiences show that it isn't a one-off. It was not just for 20 years, but it's a long-term thing. And when all of these encounters was for me the first stage, the second stage of my newing, Professor Tau, was our engagement together in the Nigerian Popular Theatre Alliance. The Nigerian Popular Theatre Alliance is a national NGO that has operated in the last 33 years. And its own work has been mainly to take theatre practice into communities. But what was interesting for us and also for Tau is the fact that it was bringing together both the academic practice and the community practice as a learning platform for everyone who was engaged in that process. And for my own relationship with Tau within that period, I saw him won as somebody who was ready to learn. Secondly, he was playing the role of an administrator because Tau was the coordinator for the middle-based zone. NPT has zoned the country into six places, six zones. And each one had a coordinator. So Tau was learning administration. He was learning theatre practice. He was learning where the meeting points between the academia and community practice lay. And I think those were the mentoring processes that he was going through. Those of us who were leading the practice, we were also learners. I think one of the things is that a popular theatre or theatre for development does not have an everlasting guru. The guru is also a learner. So when I hear people say, this is the guru of TFD. He's a learner of TFD as well, because every experience is different. And you learn from that, the communities humble you because the knowledges that are bound there are usually the knowledges that the elite may want to discounten us. But that's what makes the practice rich and what they're doing and all the things that we go to. One of the things also was Canvas is an initiative for development to be meaningful and to be participatory. Tau knows this very well from his many years of encounter. And as we cross the country from the north to the south, east and west. This way, the things we were promoting, the things we were seeing and the many things that came out of it later on. Tau could say, for example, in the practice of theatre for development, everywhere. And I think one of his articles talks about theatre for development everywhere. It's his contribution to my first trip when I turned 60. So I think that Tau has gone everywhere, whether it is within just the communities, the different parts of Nigeria or going to present seminar papers and being part of the practice in different parts of the world, whether it is Canada, UK, Germany, US and so on. This is a seasoned person in the practice of theatre for development or socially engaged theatre, as it is also called now in the new nomenclature. But one of the stages of Tau's development, which I found very interesting, is that the mentorship from Cassinala, from Nigerian popular theatre alliance, from within the university arena materialized when he founded YARAC. YARAC I think is a youth adolescent reflection and action center. When he founded YARAC, it was for me a point of saying, can I mobilize all of these ideas to serve one section of the underserved millions of Nigerians? And that section of the underserved was youth, adolescents and women. And that's what YARAC has focused on in many parts of Nigeria, working with the youth, working with women, working with adolescents, whether it's on sexual reproductive health, whether it is to do with substance abuse and so on. And it's been a rich digest of activities by YARAC, which was founded by Tau. But another point of interest for me is that YARAC is a platform for training young people to understand their issues, to understand the mechanism and methodology of reclaiming themselves from the different challenges that face, whether it is drug, whether it's sexual abuse or whatever. And I think therefore that the everywhere that Tau has gone materializes in YARAC and his academic practices. And when today I speak on the occasion of such a protege at 60 and I hear other people extolling his his hard work, his excellence and so on. I tell myself, I must be happy that I saw the seed that did not wither. That seed has grown, multiplied and is growing more seeds. So, Tau, thank you for being a good protege. Thank you for growing others. And I do know that you will do more. I want to conclude with a few observations. One, the history of theater for development, when it is written in Nigeria, it will not be complete if the Benway State Arts Council is not part of that history. And if the very intellectuals from Benway who championed and lit the torch 1981-1982 when it was still in the gestation period, in addition to ABU, that history must recognize the role of the Arts Council. And I do wish and hope that Arts Council is all over this country. We think of reintegrating the practice of theater for development in the activities because it's a combination of culture and this new practice and academia. And I think the Arts Council is not simply a forum for dance. It's a forum for using culture to explore what development can do for the ordinary persons of each state in this nation. And I would wish that that's the direction to go. Secondly, NPTA as a non-governmental organization has added value and indeed pushed the boundaries of theater for development, including the performance mode, research which it took to the arena of policy. NPTA has done a lot of policy research. And that policy research arena I think is what a lot of us have not really engaged. When we talk about socially engaged theater or theater for development, our notion of the theater playing on it to rural communities is actually outdated now. We must shift the boundaries of operation and performance beyond the rural communities in this country. The policy arena is a rich area for us to play at and to change things because no matter how much we talk to the ordinary persons in the rural communities, if there is no policy component, those things don't work. And I am saying that instead of talking to the oppressed all the time, we must target the oppressors because that's when the synergy and the change can happen. It's a tall order, but it is doable. Secondly, I also think that while one says that this is possible, I want to sound an alarm. One is that those of us who are in theater for development or social and socially engaged theater, we seem to be dancing on this spot now, on one spot. I read a lot of articles on theater for development and I think a lot of the academics are rehashing old ideas. Where are the new frontiers of theater for development? Where is the digital use of theater for development? What is wrong with theater for development operating in cyberspace? Is it not possible to hold a workshop and interrogate issues in the digital space? My answer is yes, it is possible. We need to explore that. We need to explore the policy arena. We need to explore a whole load of issues that we haven't paid attention to. And these are the challenges. People like Tau have done a lot, but there are lots more to do by younger people. How many minutes? I'll finish in a minute or two. Let me conclude. I want to say that Tau, you have done well, but let me ask one question. I asked this question against the background that in five months' time, I start the process of retirement from the university. And my question is, will you champion, will you continue to champion theater for development, even as you engage in new things? Or will you allow the light to dim on theater for development? And this question applies to every practitioner who is still active. Will the light for theater for development dim or will Tau and the others fire the practice on? Thank you. We can't hear you. Can you unmute your mic? We can't hear you. Your mic is on mute. Yes, we can. I was surprised how much of a viewer at the public presentation of the presentation of the first day of our year last year. I want to start by talking about this process. Please, if you are connected on my local new system. I think it's the network. Who is expected to speak now? It's Professor Duga. He's actually reading the book right now. Okay. But his microphone is off because we can see his name. That's right. So I think he's connected via the CHS. They are on the internet over there. They are on Zoom account. Let me troubleshoot this. Let me reach out to them. Can you hear me? Yes, we can hear you now. There may be some echo, but we will try. We used to do this with the Vice Chancellor many years ago, finding technical solutions to issues, even from our students. So this book is about eight years in the making. It's a collaboration of six editors with a whooping 53 chapters structured into six sections spread over 789 pages. The authors pay tribute to the person of Tom Ballard, Joe DeRaube, and his artistic and scholarly outputs, as well as engage in the general discourse on the nature, practice, and social import of the arts. The authors are a healthy combination of veteran and fledgling scholars. The content is calibrated as follows, but one of his personalities from different perspectives triggers an interview and reflections on the person of the celebrant. Part two covers aesthetics and thematic studies of Europe's dramaturgy. Part three carries the crux of the book in its applied and doing theater, social transformation, arts, and change communication. Part four holds the theater for development, community organizing, and participatory theater discourse. This is the core of the practice that the celebrant has engaged in. Part five ventures into the broader issues of culture, democracy, and theater in Africa. The last part, part six is the icing over the cake with critical discourse in communication, dance, visual arts, and performance aesthetics. This well organized arrangement also touched on every relevant, everything relevant to the life of the celebrant. From the introduction by Ademiji Beko to the concluding chapter by Adagole Oklubia, whose life on earth we also concluded with the fitting burial yesterday. This book marks a tribute of many sorts. It is a celebration of mentorship, thought being a product of many mentors and a mentor to many others. It pays tribute to the institutions that raised him up from government secondaries through Casinala, the College of Education Casinala, the University of JOS, all public institutions that have faced challenges threatening to derail their ability to produce other Europers in the future. Issues of development and invariably, issues of development invariably take the bulk of the book and fittingly, fittingly so. Scholars have rightly spotted the social engagement part of the celebrant to be the core of his contribution to the arts in what one of the writers calls Europoist aesthetics. Those of you wanting to do master's degree, maybe you will take it from there. It seems to have been created in the life of Europo which delicately balances the individual and the community, the scholarship and the practice, the arts and development, and organizing and change communication. Generally, the book is well edited and read lucidly. A few of the chapters, especially those on performance laws, are accompanied by pictorial illustrations. Several personal tales add new angles to existing knowledge, but fresh perspectives have been brought up in the extensive contributions of the 71 writers and co-writers of the various chapters. A few errors can be detected if you take a supervisors rule to run through the book, but these are negligible and can be corrected with new editions, but they do not significantly distort or reduce from the high quality work served in this book. This book therefore comes to add to the literature on the various things stated above. It definitely will make valuable contribution to institutional administration, theater scholarship, community organizing, social transitions and development in Africa. The propriety of its release at this time can only be uploaded. From the current assignment of the celebrant as Vice Chancellor, it can be safely predicted that the recipe for another book has already been prepared in the last two years, and we should be ready for the oven in the next three years. Every institutional library needs this book. Individuals and communities need to absorb its content to learn to inspire children from Taraku to the top, from obscurity to global recognition as the celebrant has enjoyed. Once more congratulations to the celebrant and to the celebrators, those who contributed, who worked hard to get this book out, whose work is, as indeed, immortalized the celebrant. Thank you for listening. Let's appreciate Professor, can we appreciate Professor Ruzaduga again. Professor Ruzaduga and the development of community organizing and past patriot theater in Nigeria. Professor Ruzaduga, I am sure you are on cue. You have the floor. Thank you. Thank you. Let me just make sure that you can see me. Professor Ruzaduga, can you hear me? Yes, thank you. Thank you very much. First let me salute the celebrant of the day. Let me salute Professor Ruzaduga, the celebrant of the day. And it's better half Dr. Ruzaduga than the year after. Happy birthday to you and the entire family. It is my pleasure to join us all on this occasion of a colloquium and book presentation commemorating Professor Torjo Yoraku at 60. Let me also thank Professor Diron, Ademiju Beppo, and Dr. Tawafolabi for putting this together. Professor Torjo Yoraku has been known to me for quite some time, but I believe it's also appropriate to salute the keynote speaker, Professor Augustive Abba, who is known as the father of theater for development or socially engaged theater in Nigeria. The history of theater for development in Nigeria. Of course, before now, let me also thank Professor Victor S. Dugardin of Kuzhgarje School at Federal University in Lafayette. My own participation here is to discuss development of community organizing participatory theater in Nigeria. Let me say that the headquarters of theater for development in Nigeria is very easily the Amodubello University in Zaria. And most people may not know this, but I did start my career at the Center for Nigerian Cultural Studies of Amodubello University. Our center, of course, at that time was based in Kano, which later became Gidamakama. And those who started the theater for development at the Amodubello University then included Michael Etherton and Dr. Andrew On. Michael Etherton was in the Department of English just before the Department of English, which also incorporated the theater program. Of course, Andrew On was also one of them. And some of the earliest students at that time and those who had joined the service included Yakubu Nassidi, Iyo Isahai, Zikij, Kufu Orola. Of course, Professor Augustive Abba. Of course, Professor Lu Obafemi also was there at some point. And then, of course, the late James Opori and Sam Kafeu. Of course, as Professor Augustive Abba has mentioned, the late Ta Ahurao of the College of Education in Kathina, will play the prominent role, even at one of the earliest center conferences that were held. Now, let's connect all of these with a celebrant of today, Professor Thor Yorafu, who also did his undergraduate studies at the University of Jaws. I mean, yes, University of Jaws. Of course, from Zarya, a couple of people migrated, including Professor Iyo Isahai to Jaws. And then, of course, there was a Sony OT in the University of Jaws and Professor Shamsudin Amali. Of course, the likes of Irene Aguloye was also there. Now, out of all of these names that I've mentioned, those who are all involved in the Theater for Development, Professor Thor Yorafu, a celebrant of today, has actually extended the frontiers. I will not only engage Theater for Development, but also as a part of Applied Theater to actually having interventionist programs. And these interventionist programs have been mentioned here. You know, he's put to good use his vast experience and has mentored many, many young Theater scholars and made indelible imprints in the academia. And of course, in the founding and running of the youth adolescent reflection and action center, Yarak, which he started in Jaws. Of course, I have always been of the opinion that the Benway State scholars of Theater, whether they're in Theater for Development or in General Theater, and have included the late Professor David Carr, who was, of course, in the Department of English, Professor Ambassador Yorafu Sahari Hai, and then Professor Saint Gileca, and then Professor Charity Angia, and of course, the President of Santa, Professor Duki Gowon. You know, all of these people have extended the frontiers of Theater. Now, I have always been of the view that if you are in Theater, you must also be part of what is going on in your community, in your university. And the Benway State scholars, some of whom I've mentioned, Harri Hai, Saint Gileca, Charity Angia, Duki Gowon, and of course, Aron, Yorafu. This is not to forget, of course, Mr. Richard Sevende, who was in the Cultural Center in Makodi. Now, what they have done, if they've taken Theater into the administration and combined that also with Theater for Development, because I have always been of the view that whatever you do, do not sit on defense. Do not allow other people to come and run affairs for you. You must be part of it. You know, if you're in the university system, you must aspire to be dean of the faculty, you must aspire to be deputy vice chancellor, you must aspire to be vice chancellor, if possible. And if you look at some of the names that I've mentioned, especially Ambassador Harri Hai, Yo Wisan. Now, of course, he has exemplified a very strong Theater background from the time of his publication on the theater among the Benwe. You will also see that he's gone beyond that, he's become a minister, he's become an ambassador, and all of this still while promoting Theater, which he has done very well. So, of course, our own Tor Yoraku, I remember at one time, apart from starting the YARAC, he also did, of course, intimate us with his own ambition to be the governor of Benwe states. And we all, of course, tried as much as we could to support him. But anyway, he didn't become governor of Benwe State, but he landed the prestigious position of being vice chancellor of Benwe State University. Now, if you look at what has gone on in Benwe State University, then you will know that the theater people have actually captured the university administration there. I mean, apart from Debika, who has the English background, Charity Angea, and now, of course, Professor Tor Yoraku. Now, to focus some attention now, since we have very few minutes, is to look at the Youth Adolescence Reflection and Action Center, CARAC, which Professor Tor Yoraku started, which is a not-for-profit organization that he had quoted just. And the organization came into being at the end of some funding project by the MacArthur Foundation. So he's not only gotten this in terms of participation of people in the theater, he's combined that with art, he's combined that with sports. And the purpose of this program is to support persons in their mid-careers through certain projects we could develop or enhance their leadership skills and qualities. Some of the interventionist positions are focused on conflict prevention and peace building, education and advocacy, humanitarian aid, leadership and governance, reproductive health and HIV AIDS, research, documentation and information dissemination, and of course, sustainable development goals, transparency and accountability, and then youth entrepreneurship development initiative. Well, let me conclude here by saluting our AIDS administrator, who works with grassroots theaters interested in using art theater and sports, you know, to overcome violence and tensions that are inherent within the community. And all of that. So here is wishing his administrator, Professor Tojo Iwerapu, a happy diamond jubilee, and to wish him and his wife and his entire family the very best of these celebrations. This is it. I thank you all. Thank you very much, bro. That's how we should do it again. The president of Nigeria Academy of Letters, thank you very much, bro. Because of time, we will not take the random GPUs to people. I will just take one person. The first person I see, the first person I will speak for one minute. Going, going, going. Going. Can you be IAEA-ing? It won't be my phone. Camera on him. Thank you. You thinking you're random? Go ahead. Thank you very much, bro. This is the family we need to. You know, we will celebrate in talk. But we will also celebrate the power that has been behind us. This won't happen again. It's not easy to be my name at another time. But we will better rise from school. It's not the one thing that God has said. Thank you, man, for making this man who is the easier one that I know. I know what you're talking about. So I want to thank everybody and thank the rest of the world for celebrating with my brother and wishing him well. I know there are still a lot of things to do. You must see this one. So, thank you very much. Thank you very much. Thank you. Thank you very much. Thank you very much. Good evening our fathers and mentors who are online and physically present to honor professor. I just spent a few lines which I want to speak to. We know he's the author of April 14 21. And from the inspiration garnered from that text. I refer to toy or Apple as the good for man and builder on the academic construction site. Through him we see that the struggle for liberty is real in his works. And as we hold this event today. The centrality of linking the digital and the analog we have socially engaged the attire is concerned becomes very real for us today. We believe that there is no gain saying the stretching of the frontiers as the speakers have told us here today. And so whatever liberation ethics we see in the first shift I have not read it. I believe would be that forward looking arrow towards bridging the experiences in the past, the present ones and how they would help the young ones to take charge of their artistry as well as their citizenship. I believe that toy or Apple is someone the people can regard as their own. I've experienced his work once mainly in just and as a good for man. I see that that effort comes script April 14 21 remains an insight into your Apple's deep seated consciousness. And as a celebrant today, I would not want the euphoria, you know, to cloud whatever he needs to do from this point. Because young people and their race consciousness matter to development because the tomorrow of young people is now. And so I joined your family to wish you happy birthday. The last pick up took it from my mouth really that when you celebrate a man who has achieved a lot just look beside him behind. Look beside him and see that formidable woman who has been able to make things work to make this man we are celebrating today a shining light. May you be 70, may you be 80, may you become a sanctuary in the sphere of these socially engaged theater and made that development never elude our young people. Thank you so much. Thank you, thank you. you. Thank you. to be back on the last of George. Will the students please be happy for the minutes? Five minutes to find that now a student is a part of George's frequency. George? Yes, I'm here. Good evening, our dear celebrate and the esteemed guests. And I want to thank each and every one of you for this lovely evening. It's been quite an enriching session. And it is indeed an honor to be asked to speak during this auspicious assisted bed celebration of our dear friend, Professor Thor Iorapu, whom I have had the singular honor of knowing since 1989. It was a very close-knit circle in those early days. And everyone knew the next person. And that was extremely important in the practice of what we all refer to as theater. Within the context of what I'm going to talk about this evening, I want to say a special thank you and happy celebrations to Dr. Nina Iorapu. Because if she had not provided the enabling environment for him to thrive, he would not have become what he is today. So a double congratulations and a happy celebrations to Professor Thor Iorapu and to Dr. Mrs. Nina Iorapu. I have been asked to speak on doing theater in different models for one goal. It is indeed difficult to situate our celebrant under such a tight outline. Because in my estimation, right from the very early days, he took his foray into the theater from a different perspective. The productive entrepreneurial perspective, which a lot of us actually overlook, especially because we believe that being an entrepreneur or in the late terminology, being a theater premier belongs only to the realm of the patent medicine retailer. However, in the 1990s, theater was beginning to gain its rightful place within the scheme of national attention, whereby it was being used to address and confront many issues affecting our daily existence as inhabitants of a third world nation. Devolving away from the strictly performing definition of an Alawada or the comedian Baba Asala, it was the era of the single mindset where theater in the mode of theater for development was being used to address developmental issues that a lot of us were shined away from. Practitioners, and I tend to refer to them as pioneers, people like Professor Abba, Professor Oni, and in the younger mode, Professor Yorapu. Like our celebrant, they have been in the trenches using theater to educate, entertain, and highlight urgent issues deserving of attention. I know for a fact that his organization, YARAC, was in the forefront of using theater to address the then dreaded HIV AIDS. And it was indeed exciting times when you see our celebrant, with his famed knapsack hung on his back, and you knew for sure that he was on the move. And you know, in those early days, owning a laptop was a status symbol that would put you in the mode of a bourgeoisie. And he owned one. And when I confronted him about this, he said, and I quote, it is simply to make my work easier. In the fall of development, he was in the forefront using theater as a means of elucidating and clarifying issues around our development as a nation coming out of the throes of a military dictatorship that civil society organizations, including YARAC, were in the forefront to see to his demise. More importantly, I would posit the fact that in those early days, the one major model that our dear celebrant popularized was the model of sourcing for grants to enable one work seamlessly and effortlessly with partners that gave the much needed financial means to work. I would say that in this region, and even to some extent on the national level, Professor Yorapu single-handedly popularized the then Nassent MacArthur Foundation through the groundbreaking work that he did with them. Again, we refer to the base that made this popular. It was the theater. Using the theater, he has also trained a generation of future leaders and academics who are significantly holding their own in their different areas of calling. This first script is a strong testament to this. I would conclude that the outgoing 60 years have been years of fruitful endeavors and brilliant entrepreneurship. Using that singular shape, we all refer to as theater. But which visionaries like our celebrant have elevated to an indelible part of our existence, making theater relevant in all areas of endeavor? We are eagerly looking forward to the years ahead. And who knows? Perhaps our celebrant will be in the forefront of a new generation of leaders that are their country so desperately needs. Happy years ahead, Professor Yorapu. I may God continue to strengthen you. Thank you. Professor Sierra, I know you seem to be happy with the technology, but what if she's online again? Are you online? No, she's not. She's not online. We're almost at the end of this session. We have lots to have, but we just go right on. And the next item is the response by the celebrant. Response by the celebrant. I want to give you my answer. Before the celebrant responds, I'm going to give you a quick message from our distinguished guests. I'd like to follow my master's alone, Professor Kanko Ishaya, for a quick message. Excellent. I'd like to give you a quick answer. Here, as we recommended, by the chairman, the Vice Chancellor of the University of University, members of the University Council of the President, University Senate, our senior professors and our colleagues that have joined our mind. It is a great privilege and honour for me to stand this afternoon to say a good-win message on behalf of the Council, Senate, management staff and students of the University of the University. I believe that if I take a sense of the identity of Joseph, the idea of President, and all the wonder that is actually a great Joseph. Please stand up. Please stand up. Whether you are a student of the University of the University of the University of Europe or you have come from George's, thank you very much. You are a student. We are going to demand the same stage in the University. With your permission. I believe that more than a path that I hear Today I've come here to celebrate a great man, independent of Professor Otto, he has been a great man. I've not had the opportunity of looking at a book, probably because of my area of species and things that I will not actually understand. I think Professor Hugo made an excellent review of the book and a lot of great speakers that have spoken about the book and also about the man, Professor Joe, I told Joe Europe. Having said that, I want to say a word about Professor Joe. There are a lot of people who have talked about having had an engagement and knowing Professor Otto for probably over 60 years. But I have the privilege and honor of knowing Professor Joe. I think about 13 years ago and even during that period of 13 years ago that I met, we started work and probably decided to discover as if we were twins, even though he's a senior, he's a senior brother, that we have known ourselves for over 50 years. Of course, he knows himself for over 60 years because he's 60. I'm not yet 60. We are following very closely, together very closely. Since then, I have learned to know a few things about Professor Joe. Professor Joe is without a doubt the most courageous mentor and leader I have ever met. He's a compassionate and humble person. Indeed, Professor Joe represents a man that I want to be. It's one of those that I know and I have tested that believes that the sky is too wide for every star to shine. And that is one of the reasons why he's a great mentor. I have benefited from that significantly. And I would say without any contradiction that perhaps I am here today by the leadership and the mentorship that Professor Joe actually demonstrated. I will never forget that on the 10th of 2018, when the position of deputy vice chancellor was to be appointed in the administration, we didn't know when the vice chancellor and the full senate nominated Professor Joe. And second, Professor Tanco and myself. Thank you for a microphone to ensure that I stepped down for Professor Joe, but he dropped the microphone for me. And when he took the microphone, the greatest surprise of members of senate leaders. Professor Toh said he was stepping down for myself. That was when I became the deputy vice chancellor again. Perhaps the opportunity that I had to be close to management but also that a little bit about money. And by the grace of God, they are my advisors. And you know, when you have that hat, Professor Toh stepped for me and deputy vice chancellor. But he became my vice chancellor before. And that is what I was going to say about. I can go on and on. In fact, we are more or less like, not even more or less, we are brothers. And that is why I love who we came on. You can see when he puts his wife on the right-hand side and hold the left-hand side. That is to show how very, very close they are. He did not invite any jobs for this occasion. He did not even invite me. I did not know I was going to be here. Until someone whispered to me and I said, I was in Papuja trying to address one thing or another. And some of my colleagues were already here. And I called him yesterday and I said, oh, you are celebrating your 60th birthday and you didn't invite us. And he said, no, you know, the birthday was so important for me. I just wanted to do this. The reason why I am saying this is because it was all except a new light to the university of choice. I can assure you that this mode would not be too small for people from the university of choice. That is the value that we place on this map that we celebrate today. We are proud and we are privileged to talk to you. And of course, every successful map there is always a one behind success. Besides, sorry, not behind, besides success. So, if you go through the pages of that book, there must be a number of pages that you have captured. I believe most of the writings you would have prepared for the last while would be there, you know, helping to draw the teeth and the eyes. I like the speech of the keynote speaker. And I just want to say this one. Indeed, the digital world is here. And we must embrace it. I remember the first time I came close to computer science. I came close to anything that has to do with theoretical practice. It was when computer science was actually close to my dream of us. And we started looking at how we can make an impact today on performance. And I was privileged to actually have supervised a PhD candidate in performance and also in musicology in computer science. We begin to understand that we are close, that there are a lot of synergies. In fact, as far back as 2002, we organized a performance, an online performance, and I had it. And now the graduate students who did that. And people, students, everybody who followed our teaching, were actually joining, you know, to join those performances. The technology is already here. We thank God that we are having all the speakers from all over the world. So there's no reason why we cannot, you know, adopt the technology. We changed the narrative of how, you know, theater and performance really changed. Dr. Masato actually championed one thing in the University of Georgia. We currently have a collaborative collaboration with the German colleagues, Egotte and Bracey in Toronto, the Astro and the National Film Institute, National Film Foundation, and the University of Georgia, that the program, the master's program called Film Culture and Advanced Studies, that was actually championed by Provost Ossoff. He's now a liar and he's going on. As we speak, we have, I think, about three or six of our students spending six months in Germany, all paid for by the year before. That was the program. And I also have the privilege to also work with you. I can tell you that we are moving ahead. We are actually thinking of bringing technology and film art, culture, archival performances and computing to roll out a collaborative PhD program with our colleagues in Germany. I don't think we're proud of each other. So I would like to thank you all and I'm bringing the congratulations of the University. We hope that when you celebrate the next 60 years, we will also have the privilege of being here. The next 60 years, but that's our prayer. But then you have to turn this end of the cross. At that time, you'll see me working. You'll not be coming in by the end of the cross. I wish you a very, very happy birthday. And I wish many, many more happy returns. And I want to most sincerely thank all our colleagues that have traveled from just, you know, to witness this. Thank you. Thank you very much, sir. I wish me to quickly invite Associate Professor Sarah Loas for a presentation. Thank you very much. My deputative. I apologize sincerely. I have issues with connectivity. We talk about so at 60, a classmate and activist. I'm delighted to speak about him as a classmate. And the class of 88 was unique in many ways. The class, but we all blended well. And Tor, who jumped because he was his truthiest smile. And he was very artistic. He could dance. He could act. No wonder he let the class productions that we had. And he was a rallying point for us in terms of organization or coordination of classwork. So after graduation, Tor was a child too. He was just sure that he was available. He just championed the cause of ensuring that the class had a reason to reunite, was an advocate for oneness and fraternity. And a significant case in time or in point was during the painful passing of one of us, Professor Samuel Caffee, that was indeed when the class. So Tor remained a pillar of strength and support to the family ever since. He is just a burner and extreme good looks. Tor was never one to turn down a challenge. His persona, a pretty professionalism and consent to just and the university is one I will not forget very. The reasons he has not moved on to live elsewhere outside of just even though opportunities have come in several ways for him to do so. So he's truly truly a tin city percent. And of course the familiarity with social realities that place plateau in the central discourse of the development of the country. So we're indeed very respectful of this and my decision to join academics was premised in a way to how well he was doing. So he's been a constant through times of turbulence and crisis. And I would say he is very human human. He's undeniably fond of his classmates and commands the respect and attention. So you would call him. Brace the odds and emerge top of our class in many significant ways. The professor Dean of the faculty member governing council. Governorship aspirant at some point and now vice chance. I'm struck by Tor's deep sense of compassion and the desire to do things right all of the time. These are stories to tell and we have quite a number. He's always has a way, had a way of naturally putting himself in the place of someone in need and is very quick. Always presenting a reward from the cleaners in the faculty, Indigenous student and the general welfare matters to very significant and poignant moments of passing of colleagues and their family members. So reflecting on Tor's academic journey points us to his clear stance on issues of building and human development. I personally understood what volunteerism is when he was the director of the American corner in the University of just participatory. Tor had a non-negotiable position for the need for people to collectively embrace their diversities for social and democratic change. His various scholarly works, evidence of this and the text April 14, 2021. And motivation to remain involved in social activism as a social actor is very instructive. His great sacrifice for human development is indeed producing a pipeline of activities through his NGO Yara. His brilliant assessments of the Nigerian democratic landscape. I believe in the obligation of those in the power to give the right orientation that can liberate people or citizens from forces of oppression. Issues surrounding this lack of support. And so on. Of course, I highlighted in his works, it is a true reflection of how social crusader, because it's not a job for the faint hearted, but for courageous, for the courageous. And so the commentator of the Tor's vast knowledge in applied theater and transformation cannot be told without appreciating the perspectives he offers. That we are indeed all responsible governance. Therefore, it is our duty to reframe the narratives on issues of representation or reverse policies of government by creating more engagements and access to freedom of expression, which is not only the individual one, but also a collective one. We must also take a look at our cognitive and creative skills to advance our development. Reference to youths and women and rural communities and the social responsibility of the press or media in his works show that there is urgent need for inclusiveness and change in the competencies of our leaders. And information must be disseminated effectively. So our collective participation, despite our capacities, is key to entrenching good governance. We all agree that there is crisis in information and it's a danger to democracy and that needs to be addressed as quickly as possible. So when he points out journalism and the functions of to be socially responsible, we are concerned about the importance of journalism. And journalism is at risk. We are confronted with a different landscape of journalism, a lot of myths and disinformation. The news media produces into our ecosystem. And these spells do. So the media must not be seen to be detrimental to the efforts of good governments. Again, we are not looking critically at the lived lives of women. We are looking at a broader understanding of what their role is in politics and how the public perceives them. So media portrayal and public perception can be done through effective training. He has specific people . So you see that he actually has a passion to help women in politics. So the media that helps portray in this . I must be seen. Hello. We are running out of time. Can you hear me? Yes, we can hear you. So I'm so sorry. So finally, I would just like to say congratulations . As you advance into the seventh floor, God keep you vigilant to work against evil and injustice. May he punctuate your hard work. Continue to draw up support for you and the cause you promote, especially when your shadow is a tyrant. Happy belated birthday and more wins. Thank you. Thank you very much. So . . . . Thank you. Because we are online, We have been given that time. Please, the next set of people to come on, we will. Let's be conscious of time. My pleasure to invite you to the presentation of the group. Professor, you are all set. Are you ready? If you are set, you can do it. Professor, it's working. Okay, so we don't need to do it. Okay. So, let them do it. No, they said that one is working. That's all. I believe that the lack of opportunity is actually there. I'm not going to ask why. The thing is, you know, it's conscious and you're not at risk. Why do you have a good risk? Because you have a good courage. You don't have to cause too much trouble. It's simple to visualize and define. That's it. That's why you must come up here. You are the right person. You are great. Thank you very much. You're excellent. Let's appreciate the excellency of that. We can look at that piece. Before we change this, it's mine. It's mine because the Zuna director of NT Network Center is here. Welcome. Welcome. Welcome. Thank you very much. You're welcome. Thank you. Yes. The celebrants. Let me invite the celebrant now to make a worthy response to all that has happened. Our they go up and try it 60 a.m. Or we can continue on to 60 a.m. No, I'm not going to say 60 a.m. I'm not going to say 60 a.m. I'm not going to say 60 a.m. I'm not going to say 60 a.m. I'm not going to say 60 a.m. I'm not going to say 60 a.m. I'm not going to say 60 a.m. I'm not going to say 60 a.m. I'm not going to say 60 a.m. I'm not going to say 60 a.m. I'm not going to say 60 a.m. I'm not going to say 60 a.m. I'm not going to say 60 a.m. I'm not going to say 60 a.m. I'm not going to say 60 a.m. I'm not going to say 60 a.m. I'm not going to say 60 a.m. I'm not going to say 60 a.m. I'm not going to say 60 a.m. I'm not going to say 60 a.m. Thank you very much, I continue to be launching and the presentation of the Can you hear me? Yeah, I just wanted to say thank you everyone for being patient with us. I know we had some technical issues here and there, but deeply appreciate the thoughts and the opportunity to be part of this. I want to thank you to Howround for giving that platform to get this out there and of course to CSET and thank you to all the props for your wonderful remarks today. Like I said at the beginning, I'm a testament to the work mentorship of Professor Toyu Rappu and deeply appreciate the opportunity to to work with him back in University of Jaws and continue to work with him. Congrats to the team, the editorial team for the great work. I know there's a lot of work pulling this together and thank you once again to everyone for being here and to all our professors and all the remarks. Deeply appreciate it and congratulations once again and happy, happy birthday Prof. Over to you. Thank you to everyone who came online to be part of this. We appreciate all of you. Thank you, thank you and thank you.