Author: The Nation

  • Why Southeast APC endorsed Tinubu ahead 2027 elections

    Why Southeast APC endorsed Tinubu ahead 2027 elections

    Southeast leaders of the All Progressives Congress (APC) last weekend gathered in Enugu for what they called “Izu Umunne,” where they not only endorsed President Tinubu for a second term but also engaged in political self-examination—an attempt to redraw the region’s place in Nigeria’s power equation ahead of 2027. DAMIAN DURUIHEOMA reports

    The Enugu gathering of Southeast leaders of the All Progressives Congress (APC) was not a routine political meeting. It was a statement of intent—a deliberate attempt by a region long trapped at the margins of national power to re-enter the centre of Nigeria’s political equation. The APC stakeholders’ meeting, which took place at the Presidential Hotel under the banner of Izu Umunne (family meeting), marked a turning point: the Southeast, or at least its dominant political leadership, openly chose pragmatism over protest and strategy over sentiment.

    At the heart of the meeting was the unanimous endorsement of President Bola Ahmed Tinubu for a second term in 2027. Beyond the symbolism of endorsement, however, the gathering represented a collective self-assessment by the Southeast political elite—an admission that the politics of isolation has yielded diminishing returns and that relevance in Nigeria’s power structure is negotiated, not wished into existence.

    Governor Hope Uzodimma, Chairman of the Southeast Governors Forum and the APC’s lead strategist in the zone, framed the moment with rare candour. He called on leaders to confront the hard truths of the 2023 election, in which the Southeast delivered barely six per cent of its votes to the APC, even as other regions spread their political bets and secured leverage at the centre. In Nigeria’s transactional political system, Uzodimma argued, predictability is a weakness. A region that votes monolithically against the mainstream forfeits bargaining power, regardless of the righteousness of its cause.

    This admission is significant. For decades, the Southeast has complained—often rightly—about marginalisation. Yet the Enugu meeting suggested a new diagnosis: that marginalisation is sometimes reinforced by strategic choices. While other zones practised bridge-building, the Southeast chose moral isolation, placing all its chips on a single narrative and expecting national outcomes to bend accordingly. The result was emotional satisfaction but political exclusion.

    It was this reality that gave weight to the intervention of former Senate President, Ken Nnamani, who described the Southeast’s endorsement of President Tinubu as both courageous and strategic. Nnamani warned that the region’s long-standing complaints of marginalisation could persist longer than necessary if Ndi Igbo failed to play what he termed “the right politics.” He likened the Southeast’s predicament to crying in the rain—an exercise in futility, no matter how justified the grievance.

    READ ALSO; Arewa, this has to stop

    “If you cry in the rain, nobody will notice you. If you want to avoid the rain, you must enter the shade,” he said, urging the region to move away from emotional protest and towards calculated engagement as the only realistic path to influence and equity in Nigeria’s power structure.

    From the APC’s perspective, this was the central lesson of the 2023 election. While the Southeast delivered overwhelming votes to Peter Obi and enjoyed the moral satisfaction of unity, the region remained outside the winning coalition and, therefore, outside the decisive room where power is negotiated. In a federal system driven by alliances across zones, moral victories that lack national spread rarely translate into political capital.

    The APC leaders’ decision to endorse Tinubu, therefore, was presented as a conscious break from that cycle. Politics, Uzodimma insisted, is “pay as you earn.” No single zone produces a president on its own, and no region can afford to remain permanently outside the corridors of power while still expecting equity. Supporting Tinubu’s second term, from this perspective, is not subservience but investment—a down payment on future relevance.

    Governor Peter Mbah reinforced this argument with concrete examples. He described the Southeast’s recent political realignment as a paradigm shift grounded in pragmatism rather than opportunism. According to him, alignment with the centre is already yielding dividends: the Eastern Rail Line has returned to the national agenda; Enugu Airport has been approved for concessioning as an international gateway; and long-neglected gas and energy prospects in the region are receiving renewed federal attention.

    For Mbah, these are not symbolic gestures but strategic interventions—evidence that the federal government now sees the Southeast as a partner rather than a peripheral observer. His assertion that “we are not standing at the crossroads of history; we are shaping history itself” captured the optimism that pervaded the meeting. The endorsement of Tinubu was framed not as blind loyalty but as a calculated alignment of vision at the centre with delivery at the states.

    Critically, the Enugu meeting did not deny the emotional undercurrents of Southeast politics. The so-called “Peter Obi factor” hovered over the gathering—unspoken but unmistakable. In 2023, Peter Obi swept the Southeast almost entirely, making it his strongest electoral base nationwide. That performance demonstrated the Southeast’s capacity for mass mobilisation when inspired by a compelling narrative of competence and reform.

    However, APC leaders in Enugu argued that 2023, while emotionally satisfying, exposed the limits of protest politics. Obi’s impressive vote haul did not translate into national power, nor did it improve the Southeast’s bargaining position within the federal structure. The region celebrated moral victory, but power gravitated elsewhere. In a political system driven by coalitions and cross-zonal numbers, the Southeast discovered that purity without spread is insufficient.

    Obi’s recent defection to the African Democratic Congress (ADC) further sharpened the APC’s argument. For Southeast APC leaders, the move symbolises the danger of fragmented ambitions—of scattering votes across platforms that lack national depth. The communiqué’s pointed rejection of “self-serving interests of any individual, however highly placed” was a clear call for discipline and unity—not a personal attack but a strategic warning.

    From the APC perspective, the lesson of 2023 is not that the Southeast was wrong to aspire, but that aspiration must be sequenced. Supporting Tinubu to complete an eight-year tenure is presented as bridge-building—a way of earning trust, influence, and goodwill that can later support a credible Southeast presidential bid. Politics, as several speakers emphasised, is give-and-take, not winner-takes-all.

    The statistics cited at the meeting were meant to reinforce this sense of momentum. Since 2023, the APC’s footprint in the Southeast has expanded significantly: three governors instead of two, increased representation in the Senate and the House of Representatives, and greater control over state assemblies and local councils. These shifts suggest that the political class in the Southeast is already recalibrating, gravitating towards a platform perceived as viable and nationally competitive.

    As Uzodimma bluntly put it, “No serious politician joins an unpopular party.” Each defection, he argued, brings with it thousands of grassroots supporters. The task ahead is to consolidate this elite consensus into popular support by 2027, ensuring that the growth recorded at the top is reflected at the ballot box.

    Deputy Speaker Benjamin Kalu captured the strategic thrust of the meeting when he urged leaders to abandon sentimental politics in favour of numbers-based alliances. In his view, relevance at the centre is restored not by isolation but by participation in dominant coalitions. Increased national revenue and improved federal allocations to Southeast states under the current administration, he argued, are early indicators of what alignment can achieve.

    Equally important was the economic argument advanced by the APC leadership. Tinubu’s reforms—currency unification, subsidy removal, and fiscal restructuring—were defended as difficult but necessary corrections to decades of distortion.

    While acknowledging short-term pain, party leaders insisted that the stabilisation of the naira, improvements in security, revival of infrastructure, and initiatives such as the student loan scheme represent foundations for long-term growth. Denying Tinubu a second term, they argued, would interrupt reforms whose benefits are only beginning to crystallise.

    The Enugu communiqué, with its emphatic language and collective resolve, was designed to send a message beyond the Southeast. It declared that the region is ready to negotiate its place in Nigeria from within the mainstream, not from the sidelines. By pledging to mobilise “massive bloc votes” for Tinubu in 2027, Southeast APC leaders signalled a willingness to back words with numbers—the ultimate currency in Nigerian politics.

    Ultimately, the significance of the Enugu meeting lies in its realism. It acknowledges past errors without self-flagellation, recognises present opportunities without illusion, and outlines a future anchored on strategic alignment. Rather than dismissing popular sentiment, the APC’s challenge is to channel it—convincing voters that proximity to power, not perpetual opposition, offers the Southeast its best chance at equity.

    In endorsing Tinubu, the Southeast APC leadership has chosen the path of engagement over estrangement. Whether this gamble pays off will depend on execution, trust-building, and tangible outcomes. But one thing is clear: the region has signalled that it no longer wants to be a spectator in Nigeria’s power game. In 2027, the Southeast intends to be counted—not merely as a moral voice, but as a strategic player in the national equation.

  • Ogboni initiation: window to Yoruba heritage

    Ogboni initiation: window to Yoruba heritage

    By Opaleye Olakitan

    The Yoruba are one of the major ethnic groups in West Africa, predominantly found in southwestern Nigeria. Known for their rich traditions, structured political systems, and strong moral values, the Yoruba have preserved their heritage through institutions such as kingship, councils of elders, and traditional societies. Among these, the Ogboni Society holds a respected position.

    The Ogboni Society is traditionally regarded as a custodian of truth, justice, and communal harmony. Central to its belief system is Ile (the earth), seen as sacred and as the ultimate witness to human actions. Contrary to popular misconceptions, Ogboni is not built on secrecy alone, but on moral responsibility and service to the community.

    Initiation into the Ogboni Society marks an individual’s readiness to shoulder communal duties. Membership is typically extended to elders and respected individuals known for integrity and good character. Before initiation, candidates are instructed in key values such as honesty, discipline, respect for elders, and commitment to peace.

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    While the deeper rituals remain sacred, initiation symbolically emphasizes the initiate’s bond with the earth and the pursuit of balance and justice. This is often represented by the Edan Ogboni, a pair of brass figures symbolizing unity, truth, and accountability.

    Importance of the Ogboni Society includes preserves Yoruba moral values and traditions, upholds justice and truth in society, promotes peace and social stability, and protects the sanctity of land and ancestral laws.

    Roles of the Ogboni Society includes advising traditional rulers on governance, settling disputes and mediating conflicts, enforcing customary laws and ethical conduct and safeguarding community interests.

    Ultimately, Ogboni initiation is less about mystery and more about service. It reflects core Yoruba ideals where leadership is defined by wisdom, fairness, and responsibility to the land and the people.

    • Opaleye is Asst. Chief Museum Education Officer (ACMEO), Education Unnit, National Museum, Lagos.

  • NFVCB: how growth and diversity drive Nollywood

    NFVCB: how growth and diversity drive Nollywood

    • Board classifies 1,185 films, pushes for name change

    national  Film and Video Censors Board (NFVCB) has said sustained growth and diversity drive the Nigeria film industry to higher success.  This is just as the board approved and classified 1,185 films between January and December 2025, underscoring an upsurge of activity in the sector.

    According to the annual classification report, the films approved during the year spanned a wide range of genres and languages, reflecting both the vibrancy of local film production and the continued submission of foreign-language content for classification in Nigeria. By comparison, the Board classified 1,088 films in 2024, indicating a consistently high level of industry engagement.

    English-language films accounted for the highest number of approvals throughout the year, reaffirming their dominance in Nigeria’s film production landscape. Yoruba and Igbo films followed, while Hausa and other indigenous Nigerian language films appeared less frequently. The report, however, noted a broader representation of indigenous languages—such as Nupe, Berom, and Gbagyi—particularly in September 2025, highlighting Nigeria’s cultural diversity. Foreign-language films, including those in Hindi, French, and Japanese, were also classified during the year.

    In terms of audience classification, the data reveal a strong concentration of 15 and 18 ratings across all months, indicating that most films approved in 2025 were targeted at mature audiences. Family-friendly classifications such as G, PG, and 12A were comparatively fewer, suggesting limited production of children’s and general-audience content during the year.

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    Monthly analysis showed that May 2025 recorded the highest number of film approvals, with 173 titles classified. Overall trends for the year indicate: a consistent dominance of English-language films in monthly approvals; a clear majority of films classified under mature ratings (15 and 18); growing, though still limited, inclusion of indigenous Nigerian languages beyond the major ones.

    Commenting on the report, the Board reiterated its commitment to encouraging greater diversity in film production, particularly increased investment in family-friendly content and wider use of Nigeria’s indigenous languages. This aligns with the Executive Director’s ongoing emphasis on promoting cultural representation and inclusivity within the nation’s film industry. The Board had in a bid to encourage more indigenous language films reduced the classification fees of indigenous language films outside of Igbo, Youruba and Hausa.

    The Board affirmed that the 2025 classification figures demonstrate sustained momentum in Nigeria’s film sector and reaffirm the NFVCB’s role in ensuring responsible content classification while supporting industry growth.

    Speaking at an interactive session with Arts Writers in Lagos, the Executive Director of National Film and Video Censors Board (NFVCB) ,Dr. Shaibu Husseini, lamented that despite the production capacity of the industry, a culture of bypassing the regulator is starving the sector of its accurate data needed to attract massive global investment. He identified lack of institutional registration as an obstacle to Nollywood’s growth.

    “The law says that once a film is produced in this country, or imported to be distributed, it must be classified and registered by the NFVCB. But with technology that allows you to distribute your film with your phone from your home, a lot of people don’t bother to send those films to us.”  He noted that this setback creates a false narrative in the international market regarding the industry’s scale.

    “Investors want to know numbers, but we can’t give them accurate numbers. We are reporting about 2,800 films annually, but it is not true. We make more than that. I dare say we make close to 800 films a month in this country. I know a single lady who produces four films in a month. If we don’t have an index of these films, we cannot have a truly recognised industry.” To him, there will be vigorous enforcement this year in order to combat the menace.

    “This year, we are going to spend time implementing that aspect of our law that makes it mandatory for you to send your film to us for classification and registration. We are supposed to keep a register of films.”

    In sync with global best practices, Husseini has initiated a name change for the board to National Film and Video Classification Board, which according to him, is being attended to by the National Assembly.

    Seeking the support and cooperation of the Arts Writers, the ED stressed that the public needs to be educated, particularly on films that attract undue controversies such as Ini Edo’s A Very Dirty Christmas.

     “People need to understand that these things are fiction. Regarding the Christmas film title, it was a metaphor; the film had absolutely nothing to do with the Nativity of Christ. However, the law provides that where there is a public outcry, we can review. We reached an understanding with the filmmakers that the film will be retitled before moving to any other platform.

    “A single line can finish a whole film. We watch for those things— not to ban, but to restrict and ensure we don’t use the medium of film to generalise or cause division,” he added.

  • Artist seeks justice after attack

    Artist seeks justice after attack

    To most artists, holding an art exhibition is akin to taking delivery of a new born baby. It is not only a bundle of joy, but also a fulfillment of a dream and an unhindered expression of inner minds. But, for Nigerian visual artist, Mr. Oguntimehin Adeyemi Ariyo, his experiences shortly after the close of his recent 8-day solo exhibition, Muted Loud were devoid of that joy and fulfillment. He lost two paintings to attackers, while five works were destroyed.

    He survived a targeted attack on Friday January 9, by 9pm while returning from venue of the exhibition, Tosho Art Gallery, Lekki Phase 1, Lagos. The incident, according to him,  occurred on the long bridge on Lagos–Ibadan Expressway, where his artworks were damaged and some stolen, while the artist narrowly escaped being killed.

    Narrating his oredal, the artist said the attack took place while he was returning with the unsold artworks after the close of the exhibition.. “The assailants reportedly focused on destroying and carting away artworks, suggesting a deliberate attempt to silence or intimidate the artist rather than a random act of violence,” he said.

    Continuing, Ariyo said: “This attack was not just on me as an individual, but on my voice as an artist. My works speak for the silenced, and it appears some group of people wanted those voices erased.”

    READ ALSO; Arewa, this has to stop

    Muted Loud, which ran between December 12 and 19, is an exhibition of 35 drawings and paintings that confronts themes of religious intolerance, human suffering, and freedom of expression in Nigeria. The show has attracted attention for its bold visual narratives and advocacy-driven content.

    He recalled that at the exhibition opening, some people in the gallery were not pleased with the works because of the religious undertone.

    “Even when I was being attacked, they expressed their disslike verbally too,” he added.

    Following the attack, the artist reported the incident at the nearest police station in Warewa, Ogun State, where a complaint was lodged and investigations were expected to commence.

    The incident has sparked renewed concerns among artists, culture practitioners and human-rights community about the safety of artists in Nigeria, particularly those whose works address sensitive social and religious issues. Advocates are calling for a thorough investigation, recovery of the stolen artworks, and stronger protections for creative expression.

    As the case unfolds, the attack on Ariyo stands as a troubling reminder of the risks faced by artists who challenge silence and injustice through their works. 

    Among Ariyo’s works that perhaps drew the ire of the attackers include Beneath the Cross, The fellowship series, The Jihadist stories, Scent of a woman, The cross wept, The Just shall leave by fate, The conformist 1&2, The clergy, the pains, we can’t say it all, What they did, Submission, In his presence, The last disciple, Serenity, and We will never give up.

    The  2000 graduate of printing from Auchi Polytechnic and CEO Greener Expressions Ventures, described his exhibition as a paradox—strength expressed through restraint, whispers that roar louder than screams. The solo show investigates the tension between silence and voice, belief and doubt, reverence and rebellion.

    “Through a series of paintings and mixed-media works, I reflect on my personal journey with religion, the myths that shaped my upbringing, and the unspoken struggles of faith and identity.“Religion and belief often demand silence, obedience, and conformity, yet within that silence lies a loudness questions, resistance, and truths that cannot be erased. My work captures that paradox: images that are visually muted in tone yet loud in meaning. The pieces borrow symbols from myth, ritual, and sacred traditions, reshaping them into a language of both critique and remembrance,” he said in a brochure to the exhibition.

    To the gallery proprietor, Ahmed Nurudeen Omotosho, the show is more than an exhibition, as it is an invitation. He said through bold symbolism, layered textures, and emotionally charged compositions, Ariyo asks viewers to confront their assumptions while rediscovering the humanity that binds us together across lines of faith.

    According to him, each piece functions as a visual dialogue honest, courageous, and necessary. “This body of work arrives at a critical moment in Nigeria’s cultural conversation. As tensions rise around issues of religious freedom and coexistence, Ariyo’s artistic voice urges us toward empathy. His belief that art can speak where words fail is powerfully evident throughout this exhibition. The works do not impose answers; they open doors—to reflection, healing, and collective responsibility,” he added.

  • Cultural significance of motif-carved doors

    Cultural significance of motif-carved doors

    By Aderemi Michael

    In many Yoruba communities, art is not separated from daily life; it is woven into architecture, ritual and identity. In Okeigbo, Ondo State, one of the most striking expressions of this tradition is the motif-carved wooden door panel — an object that functions not only as an entrance, but also as a cultural text, a spiritual symbol and a marker of social identity. Found in palaces, shrines and ancestral compounds, these doors go far beyond decoration. They communicate meaning, memory and authority, silently narrating the worldview of the people who created and used them.

    Okeigbo is a historic Yoruba town located in present-day Ondo State. Oral traditions trace its origins to early migration waves from Ile-Ife and surrounding Yoruba settlements, with its growth shaped by kingship, warfare, trade and craftsmanship. Over time, Okeigbo developed strong communal institutions and a rich heritage of oral history, festivals and artistic traditions, particularly in wood-carving and architectural expression. Its cultural landscape reflects a blend of ancestral lineage, chieftaincy structures and religious practices that continue to define social life today. It is within this historical environment that the tradition of motif-carved door panels evolved and flourished.

    A craft rooted in identity and knowledge

    The carving of door panels in Okeigbo is rooted in the skill and insight of indigenous wood-carvers who combined artistry with cultural interpretation. The carver was more than a craftsman; he was a custodian of symbolic knowledge, translating beliefs, social values and collective memory into visual form. The choice of wood, the arrangement of motifs and the rhythm of carving were deliberate, especially when the door was intended for a sacred or prestigious space. In many instances, the process itself carried ritual awareness, underscoring the spiritual importance of the finished work.

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    Symbols that speak

    The motifs on these doors are rich with layered meanings. Common forms include animals, human figures, crowns, drums, weapons, masks and geometric patterns — each communicating aspects of authority, spirituality or identity.

    Elephant motifs evoke strength, dignity and leadership.

    Crocodile and reptile figures convey resilience, vigilance and spiritual consciousness.

    Interlocking and geometric designs suggest unity, continuity and the cycles of existence.

    Human figures may depict lineage heads, ancestors, warriors or ritual custodians.

    To elders and cultural interpreters, these carvings function as a visual archive — preserving knowledge that predates writing and formal documentation. The door becomes a silent text that records memory, reinforces values and reflects the cosmology of the community.

    Uses and social functions

    Motif-carved doors in Okeigbo perform multiple roles beyond aesthetics. In palaces and chieftaincy houses, they signify prestige, power and social status, distinguishing important spaces from ordinary dwellings. In ancestral compounds, the doors mark symbolic thresholds between the living and the departed, reinforcing kinship bonds and collective memory. In shrines and sacred spaces, the carved panel represents protection and reverence, announcing the spiritual significance of the space within.

    The door also acts as a cultural identity marker. Long before a visitor steps into a compound, the motifs already introduce the household — its history, beliefs and social standing. In this sense, the door becomes an extension of oral tradition, communicating silently yet powerfully.

    Cultural representation in a changing world

    These doors reflect the Yoruba understanding that beauty, spirituality and social order are interconnected. They demonstrate that architecture can embody culture, and that everyday objects can carry historical, philosophical and symbolic meaning. However, modernization and urban building practices now threaten many of these heritage pieces. Some panels have been removed or sold as art objects, while others deteriorate through neglect and environmental exposure. When these doors are displaced from their original contexts, the stories and meanings they embody risk being lost.

    Preservation and continuity

    There is an urgent need for documentation, community sensitization and collaborative heritage preservation. Museums, cultural agencies and local custodians can work together to record surviving panels, support conservation efforts and encourage younger artisans to sustain the carving tradition — whether through restoration, apprenticeships or contemporary adaptations. Preserving these doors is not only about protecting wood; it is about safeguarding memory, identity and cultural knowledge. They remind present and future generations that indigenous creativity is both intellectual and spiritual, grounded in a worldview that values symbolism, continuity and community.

    Motif-carved doors in Okeigbo stand as silent storytellers. They show that culture is transmitted not only through speech or writing, but also through objects that guard our spaces and reflect our beliefs. To value and preserve them is to honour the ingenuity of the craftsmen who produced them and the heritage of the people who lived behind them. Beyond decoration, these doors embody history, spirituality and identity — and they deserve recognition as vital elements of Nigeria’s cultural legacy.

    • Aderemi Michael is Assistant Chief Museum Education Officer, National Museum, Onikan, Lagos.

  • NTDA, FAAN to revive tourism information desks at airports

    NTDA, FAAN to revive tourism information desks at airports

    The management of Nigerian Tourism Development Authority (NTDA) and the Federal Airports Authority of Nigeria (FAAN), have begun plans to revive dedicated tourism information desks at major airports across the country.

    Director-General (NTDA), Dr. Olayiwola Awakan who recently paid a courtesy visit to the Managing Director/Chief Executive of FAAN, Mrs. Olubunmi Kuku, at FAAN headquarters, Lagos said airports represent the first and most critical point of contact for international visitors, making them essential gateways to Nigeria’s tourism experience.

    “Tourism is about movement,” he said, “and FAAN plays a huge role in that because for anyone coming into the country, airports are their first point of contact.”

    Describing Nigeria as ‘sitting on a gold mine’ of tourism opportunities in every region; from cultural heritage and natural landscapes to eco-tourism and adventure destinations, he  called for a powerful combination of compelling storytelling, reliable data, and seamless travel experiences to reposition the nation as a world-class destination.

    READ ALSO; Arewa, this has to stop

    At the core of the discussion was Dr. Awakan’s strong appeal for the return of tourism information desks at airports, which would offer arriving passengers immediate access to tour guides, maps, attraction highlights, and local travel options.

    According to him, the international airports across the country will be considered for the revival of the desk, adding that a committee has been set up to work out the modalities for its reactivation. He disclosed that take off time will be end of second quarter of the year.

    “The international airports will be considered. We have set up a committee to look into the structure, and we hope to commence hopefully by end of second quarter,” he said.

    Among Nigeria’s international airports are Murtala Muhammed International Airport, Lagos; Mallam Aminu Kano International Airport, Kano; Port Harcourt International Airport; Akanu Ibiam International Airport Enugu; and Nnamdi Azikiwe International Airport, Abuja. 

    Mrs. Kuku welcomed the renewed partnership, describing aviation and tourism as ‘naturally interconnected’ and commending Dr. Awakan for his consistent support and friendship over the years.

    She affirmed FAAN’s full readiness to collaborate closely with NTDA to enhance passenger experience, upgrade airport infrastructure, and drive growth in both domestic and international tourism arrivals.

    At the end of the meeting, the two leaders established a joint committee to coordinate data sharing and oversee ongoing collaborative initiatives between the two agencies.

    The renewed focus on airport-based tourism support is expected to create a more welcoming first impression for visitors and help showcase Nigeria’s rich diversity right from the moment of arrival.

    Recall that these dedicated Tourism Information Desks were operational in major airports across the country during the tenure of Mrs. Sally Mbanefo as Director General of NTDC then, which formed part of the critical sub-unit of marketing and promotion department of the corporation. The reviving of the desk is not only a right step in right direction, but also a strategic boost to Nigeria’s tourism development 

  • The sacred staff of indigenous medicine

    The sacred staff of indigenous medicine

    By Adetutu Adebimpe

    Among the Yoruba people of southwestern Nigeria, few ritual objects carry as much spiritual weight as the Opa Osanyin the sacred staff of Osanyin, the orisa (deity) of herbal knowledge, medicine, and healing. More than a carved artifact, the Opa Osanyin represents the deep relationship between nature, spirituality, and indigenous science in Yoruba cosmology.

    Traditionally forged from iron, the Opa Osanyin is easily identified by its central vertical shaft crowned with a ring of birds, usually eight, sometimes sixteen, arranged in a circular form. These birds symbolize spiritual forces, vigilance, and the invisible powers believed to guard medicinal knowledge from misuse. Iron, sacred to Ogun, signifies durability and spiritual authority, reinforcing Osanyin’s control over the forest and its healing resources.

    Osanyin occupies a unique position among the Yoruba orisa. Unlike other deities with elaborate shrines and public festivals, Osanyin is revered quietly, often in forest groves or sacred spaces. He is regarded as the ultimate custodian of ewe (herbs), possessing knowledge that balances life, health, and destiny. Herbalists, traditional healers, and priests invoke Osanyin before preparing potent medicines, believing that without his consent, herbs lose their power.

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    The Opa Osanyin serves both symbolic and functional purposes. It is planted at shrines or carried during rituals to invoke protection, spiritual balance, and healing. In some traditions, it is also used to mark sacred medicinal spaces, warning against desecration or unauthorized access. Its presence affirms legitimacy, authority, and spiritual discipline.

    Beyond religion, the Opa Osanyin highlights the sophistication of Yoruba indigenous knowledge systems. It reflects centuries of environmental observation, botanical expertise, and ethical restraint in the use of natural resources. In an era of renewed interest in traditional medicine and cultural heritage, the Opa Osanyin stands as a powerful reminder that African knowledge systems are deeply rooted, symbolic, and scientifically informed.

    Preserving and understanding objects like the Opa Osanyin is essential not only as cultural heritage but as living evidence of Africa’s intellectual and spiritual history.

    • Adetutu is Principal Asst. Museum Education Officer 1 (PAMEO 1) Education Dept. National Museum Lagos

  • Young author’s enviable feat in book publishing

    Young author’s enviable feat in book publishing

    In a remarkable feat that has sent shockwaves through the indie author community, Anuoluwapo Ogunmoroti has successfully launched three books in one year, In the name of love her debut novel, Diary of a dainty butterfly her poetry book and Escape.- this is a remarkable achievement. This talented Nigerian author has defied odds and shattered expectations, proving that hard work and dedication know no bounds.

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    With each launch, Ogunmoroti’s popularity has soared, garnering her loyal following and critical acclaim. Her unique voice and perspective have resonated with readers, making her books instant bestsellers.

    The author’s achievement is a testament to the power of innovation and perseverance in the ever-evolving publishing landscape. As Ogunmoroti continues to push boundaries, one thing is clear – she’s a force to be reckoned with in the world of indie publishing.

  • VAT on banking services: Setting the record straight

    VAT on banking services: Setting the record straight

    By Arabinrin Aderonke 

    In recent days, Nigerians have been inundated with reports suggesting that the Federal Government has introduced Value Added Tax (VAT) on banking services such as electronic transfers, fees and commissions. Understandably, this has triggered anxiety among citizens already grappling with economic pressures. However, the truth is far less dramatic than the headlines suggest.

    Contrary to widespread claims, VAT on banking services is not new. It was not introduced by the Nigeria Tax Act, 2025, and it does not represent an additional financial burden on bank customers.

    For decades, Nigeria’s VAT framework has applied to fees, commissions and charges for services rendered by banks and other financial institutions. What has changed is not the law, but enforcement.

    The Nigeria Revenue Service (NRS) has been compelled to clarify this point following a wave of misinformation that blurred the line between service charges and actual funds transferred. VAT is not, and has never been, charged on the amount of money a customer transfers or withdraws. Rather, it applies strictly to the service fee imposed by the bank. 

    This distinction is critical.

    When you make a bank transfer, whether ₦10,000 or ₦1 million, the amount sent to the recipient is not reduced by VAT. The full amount is applied as your principal. VAT is charged only on the bank’s service fee for processing the transaction, not on the money being transferred.

    For example, on a ₦100,000 transfer, the bank may charge a ₦50 service fee, on which 7.5% VAT equals ₦3.75, in addition to a flat ₦50 stamp duty. Similarly, for USSD transactions, VAT applies only to the session fee. This shows that VAT is strictly a tax on service charges, not on customers’ funds.

    Interest earned on savings accounts and fixed deposits also remains exempt, as it does not constitute a supply of goods or services under the law.

    Equally important is what VAT does not cover. Basic food items, essential goods, medical and pharmaceutical products, as well as educational services, remain firmly exempt under the Nigeria Tax Act, 2025. These protections were deliberately preserved to shield ordinary Nigerians from unnecessary hardship.

    So, why the sudden public concern?

    The answer lies in improved compliance and enforcement. Financial institutions are being reminded of their obligation to remit VAT already charged and collected. This renewed focus has created the false impression of a new tax, when in reality, it is the implementation of an existing one.

    Tax reforms often attract controversy, especially in times of economic strain. Yet clarity must prevail over confusion. Spreading inaccurate information undermines public trust and distracts from the real conversation Nigeria must have about transparency, accountability and effective tax administration.

    The Nigeria Revenue Service has made it clear that the Nigeria Tax Act, 2025, does not introduce any new VAT burden on ordinary citizens, particularly in sensitive areas such as savings, food, healthcare and education.

    As Nigerians, we deserve honest explanations — not alarmist headlines. In a democracy, scrutiny is healthy, but it must be anchored on facts.

    The task before us is not to fear taxation, but to demand that taxes already in place are administered fairly, communicated clearly, and used responsibly for national development. That is the conversation worth having.

    – Arabinrin Aderonke Atoyebi is the Technical Assistant on Broadcast Media to the Executive Chairman of the Nigeria Revenue Service

  • Bayero University appoints WOFAN founder as chairperson CDA sectoral/industry advisory board

    Bayero University appoints WOFAN founder as chairperson CDA sectoral/industry advisory board

    The Centre for Drylands Agriculture (CDA), Bayero University, Kano (BUK), has appointed Hajia (Dr.) Salamatu Garba, Founder and Executive Board Chair of WOFAN Group, as the Chairperson of its Sectoral/Industry Advisory Board.

    The appointment, which is for an initial three-year term, recognises Dr. Garba’s outstanding leadership and extensive expertise in agricultural development, particularly her long-standing commitment to improving the livelihoods of women and youth. 

    She is widely known for her passion and persistence in promoting the transformation of subsistence farming into agripreneurship among young women and youths in Nigeria and beyond.

    Dr. Garba has devoted decades to empowering women and young people across dryland communities, contributing significantly to sustainable agricultural development at both national and international levels. 

    Her wealth of experience and visionary leadership are expected to strengthen collaboration between academia and industry, drive innovation, and advance sustainable agricultural practices within dryland ecosystems.

    The appointment is seen as a strategic move by the CDA to deepen industry engagement and enhance the practical impact of its research and capacity-building initiatives.

    WOFAN Group has congratulated Dr. Garba on the appointment, expressing confidence that her tenure will be impactful and contribute meaningfully to the advancement of dryland agriculture and inclusive agribusiness development.