Author: The Nation

  • NBA, police clash over tinted glass permit

    NBA, police clash over tinted glass permit

    The Nigeria Police Force (NPF)  yesterday told the Nigeria Bar Association (NBA) that no court order restrained the police from enforcing the Tinted Glass Permit policy.

    Force Public Relations Officer (FPRO) Benjamin Hundeyin, a Chief Superintendent of Police (CSP), said this in Abuja while addressing reporters on NBA’s threat to institute a contempt suit against Inspector General of Police (IGP) Kayode Egbetokun.

    The NBA had issued the threat following the reintroduction of the tinted glass permit enforcement on Monday, after its suspension in October.

    The Force PRO said the court order, being widely cited, merely directed that the status quo be maintained at the time it was issued, when enforcement of the policy was already in effect.

    “We would like to put this on record. At no point did any court restrain the Nigeria Police Force from enforcing the tinted glass permit policy,” Hundeyin said.

    The FPRO explained that the injunction did not grant the request seeking a halt to enforcement.

    “What we have is people misinterpreting the last court document that was issued. That injunction spoke about maintaining the status quo. I don’t want to go into technicalities.

    “At the time that order was given, enforcement was ongoing, and the court said the status quo should be maintained. In fact, the court stated specifically that the request by the lawyer who approached the court, seeking that the enforcement be stopped, would not be granted at that point. The document is out there. So, the status quo meant that enforcement, which was already ongoing, should continue,” he said.

    Hundeyin explained that the subsequent suspension of the policy was not based on any court directive but resulted from consultations between the IGP and the NBA.

    Read Also: Tunji-Ojo: Nigeria’s future depends on unity, national renewal

    “However, we later had a meeting with the NBA, where the IGP decided to take the path of care, listening and concern, and consequently directed that the tinted glass permit policy be suspended. That suspension was not based on any court order.

    “It was based on the Nigeria Police Force being responsible and responsive to the yearnings of the people, and responsive to the appeal by the NBA,” Hundeyin added.

    The NPF spokesperson stressed that no timeline was attached to the suspension, adding that the Force had anticipated that the court case would be concluded within the period.

    “When we announced that suspension, there was no time frame attached to it. At no point did we say it would last until a specific time.

    “We simply suspended it at that point. In fact, we hoped that the court case would have reached a logical conclusion within that period. If you recall that statement, we said the policy was suspended to give Nigerians room to regularise their documentation and to await the outcome of the court case,” he said.

    Beaming light on the decision to reinstate enforcement, Hundeyin said the prolonged legal process had created a security vacuum that criminals were exploiting.

    “The case has dragged on, and during that period, criminal elements have confidently used tinted vehicles to perpetrate crimes,” he said, citing an incident in Benin City, Edo State, about two weeks ago.

    “Just two weeks ago in Edo State, the police attempted to stop a Lexus SUV with fully tinted windows. The occupants refused to stop, and a pursuit ensued.

    “When the vehicle was eventually stopped, it veered to a corner. As the police approached, the occupants opened fire on the officers. One officer died instantly — an inspector of police. They were able to do this easily because the vehicle was fully tinted. From the outside, you could not see that they were armed. This and many other cases underscore the issue. The mandate of the police is to protect life and property. We will not fold our arms and watch things degenerate,” he said.

    Hundeyin also spoke on the NBA’s contempt threat, saying the police would respond through its Legal Directorate once formally served.

    “We are yet to be served with any court papers. We will not act based on what you have just told us. Once any papers are served, we have a Legal Directorate.

    “Once the papers arrive, we will respond accordingly. For now, it is hearsay, and I will not speak on hearsay,” he said.

    Addressing concerns over revenue from the tinted glass permit process, Hundeyin stated that the current system differs significantly from the old manual process, as it is fully digital and hosted on a secure government platform.

    “This system is a departure from the old tinted permit system, which was manual and paper-based. This time, the process is entirely online through a secure website,” he said.

    Hundeyin added that the fees charged are used to maintain the database, security infrastructure, and advanced technology required to safeguard sensitive personal information.

    “To operate a website or database that stores confidential information, such as phone numbers, NINs, home addresses, and dates of birth, you need additional layers of security. These do not come free or cheap,” Hundeyin said.

    The FPRO said the system allows Nigerians in the diaspora to submit biometric data remotely, including photographs, facial scans, and fingerprints, stressing that such technology requires continuous investment.

    “Security certificates, such as SSL and firewalls, require yearly renewal. Some may be one-off payments, but many require annual renewal.

    “We are protecting Nigerians’ information with these advanced systems, and these systems require ongoing maintenance. That is what the fees are for—to run and sustain the database. It is not a money-making venture or a revenue-generating drive. It is about ensuring safety and security for Nigerians,” he said.

    Hundeyin dismissed claims that the policy or its payment process was unlawful, stating that all necessary approvals were secured before implementation.

    He said: “You can see that the website is a government website — posap.gov.ng. If anything were illegal, it would not carry a .gov.ng extension. The Federal Government itself created the website. All aspects of the system—the process, from beginning to end—were ratified by the government before it was launched.”

  • First Lady’s RHI splashes N1.9b on 9,500 elderly persons

    First Lady’s RHI splashes N1.9b on 9,500 elderly persons

    • Elders’ Support Scheme’s third edition targets 250 beneficiaries per state

    The First Lady, Senator Oluremi Tinubu, yesterday kicked off the third edition of the Renewed Hope Initiative Elderly Support Scheme (RHIESS) across the country.

    Mrs. Tinubu, who was represented by the wives of the state governors, who are also the state coordinators of the RHI, announced that N1.9 billion would be disbursed to 9,500 vulnerable elderly citizens across the country under the scheme.

    The First Lady said the scheme would provide N200,000 each to 250 elderly persons aged 65 and above in every state of the federation and the Federal Capital Territory (FCT).

    The beneficiaries are drawn from the Defence and Police Officers’ Wives Association (DEPOWA). Mrs. Tinubu said each state, the FCT, and DEPOWA would get N50 million, as approved by the Governing Board of the RHI.

    “The total sum to be disbursed is N1,900,000,000, as approved by the Governing Board of the Renewed Hope Initiative. This scheme is to support 250 vulnerable elderly citizens aged 65 and above in all the 36 states of the federation, the FCT and veterans from DEPOWA,” she said

    The First Lafy explained that the programme, introduced in 2023, has become an annual intervention aimed at recognising the contributions of senior citizens to national development and providing social protection for those in need.

    “Since the inception of this administration in 2023, the Renewed Hope Initiative has made it a tradition to celebrate our senior citizens every December, in recognition of their invaluable contributions to nation-building,” she stated.

    Speaking on this year’s theme of the scheme: Finding Joy in Old Age, Mrs. Tinubu urged senior citizens to remain active and engaged.

    Read Also: Tunji-Ojo: Nigeria’s future depends on unity, national renewal

    The First Lady appealed to communities and governments to prioritise the welfare of the elderly.

    “They have walked difficult paths so that the younger generations may have smoother roads to travel. It is, therefore, our moral duty to ensure that they live their twilight years in comfort, good health and dignity,” she said.

    Mrs. Tinubu stressed that elderly Nigerians need to “stay healthy and active” so that they can continue to contribute to society through community and charitable engagements.

    The First Lady praised the state coordinators of the Renewed Hope Initiative for their support and wished beneficiaries a peaceful festive season.

    “May 2026 bring renewed hope and greater accomplishments for us all and our beloved nation,” she added.

    In Akure, the Ondo State capital, one of the beneficiaries, Mrs. Elizabeth Ayodele, said the scheme has lifted a heavy financial burden from their shoulders.

    She said it has renewed their hope in life, showing that their years of contribution to society were being recognised and valued.

    The beneficiaries collectively hailed Mrs. Tinubu and her RHI for prioritising the welfare of senior citizens and ensuring that no segment of society is left behind.

    In Anambra State, the state coordinator and the governor’s wife, Dr. Nonye Soludo, urged the beneficiaries to use the money well.

    Mrs. Soludo, who is also the Founder of the Healthy Living Initiative, urged the elderly to eat well, stay hydrated, take regular walks, rest adequately and spend quality time with loved ones.

    In Nasarawa State, the governor’s wife, Hajiya Silifat Sule, expressed gratitude to the First Lady for her love and care for everybody, especially the vulnerable groups in the country.

    Hajiya Sule spoke through the Executive Secretary of the State Scholarship Board, Hajiya Sa’Adatu Yahaya, said the elderly were carefully selected from the 13 local government areas of the state.

    She urged them to use the money to add value to their lives and care for their families.

    In Ebonyi State, the governor’s wife, Mrs. Mary-Maudline Nwifuru, addressed the beneficiaries at the Banquet Hall of the old Government House in Abakaliki, the state capital.

    She thanked Sebator Tinbu for her humanitarian gesture and advised the beneficiaries to use the money for its intended purpose.

  • Okpebholo presents N940b Appropriation Bill to Edo Assembly

    Okpebholo presents N940b Appropriation Bill to Edo Assembly

    • Oborevwori, Idris sign Delta’s N1.729tr, Kebbi’s N642.9b 2026 budgets into law
    • From Osagie Otabor, Benin, Simon Utebor, Asaba and Ahmed Baba Ahmed, Birnin Kebbi

    Edo State Governor Monday Okpebholo has presented a budget proposal of N939,850,000,000 for the 2026 fiscal year to the House of Assembly for scrutiny and passage.

    The 2026 proposed budget is N335 billion higher than that of the outgoing year, which is N606 billion.

    Governor Okpebholo, who tagged the Appropriation Bill as  “Budget of Hope and Growth”, said it sought to consolidate on the gains recorded during his first year in office, expand reach, and restore hope of Edo people in governance.

    The governor said the proposed budget would speak to the needs of Edo people as well as focus on security, infrastructure, agriculture, education, job creation and healthcare.

    The 2026 capital expenditure, according to the governor, is N637 billion, representing 68 per cent, while the recurrent expenditure is N302 billion, representing 32 per cent.

    He said the state planned to fund the budget from N160 billion to be obtained from Internally Generated Revenue (IGR), N480 billion from FAAC allocations, N153 billion from   Capital receipts and grants, while N146 billion would be obtained from Public-Private Partnerships (PPP).

    Breaking down the proposed budget on sectoral allocations, the economic sector got N614.2 billion, the social sector got N148.9 billion, the administrative sector got N157.7 billion, while the justice sector got N19 billion.

    Okpebholo said: “Edo State will continue to prioritise capital projects such as roads, schools, hospitals, water, housing, and economic projects. Our people want real development they can see and feel.

    “We will not impose unnecessary financial pressure on citizens. Instead, we will strengthen systems and block leakages.

    “The vision of the 2026 Budget of Hope and Growth is simple; it is to bring about prosperity and a united Edo State where every citizen has hope and every community feels the impact of governance.”

    Receiving the Appropriation Bill, Speaker Blessing Agbebaku assured the governor that it would be given speedy passage.

    Read Also: Tunji-Ojo: Nigeria’s future depends on unity, national renewal

    Also, Delta State Governor Sheriff Oborevwori yesterday signed the state’s 2026 Appropriation Bill of N1.729 trillion tagged: “Budget of Accelerating the MORE Agenda,” alongside three other key Bills passed by the House of Assembly into law.

    Kebbi State Governor Nasir Idris also signed the N642.9 billion Appropriation Bill for the 2026 fiscal year into law.

    The assents set the stage for accelerated development, enhanced security and strengthened social welfare across the states.

    The other three Bills the Delta State governor assented to are: the Delta State Social Investment Programme Law, the Delta State Colleges of Education Law, 2025, and the Delta State Anti-Terrorism and Anti-Cultism (Amendment) Law, 2025.

    Oborevwori described the 2026 budget as “not just a budget of figures, but a budget of vision, action and expected deliverables for the next twelve months”.

    The governor assured Delta residents that the state would hit the ground running in 2026 to accelerate development across key sectors.

    The N1,729,881,208,779 budget represents an increase of over 70 per cent compared to that of 2025.

    The governor said the estimate, though ambitious, is achievable, with 70 per cent dedicated to capital expenditure and 30 per cent to recurrent spending, thus underscoring his administration’s commitment to infrastructure-led growth and sustainable development.

    He recalled that in 2025, the state intensified investments in infrastructure, security, fiscal discipline and revenue growth, leading to improved internally generated revenue (IGR) without imposing additional burdens on citizens.

    Also, the Kebbi State Appropriation Bill had been adopted by the House of Assembly and handed to the governor by  Speaker Usman Muhammad‑Zuru at Government House in Birnin Kebbi for assent.

    Signing the budget into law, Governor Idris hailed the Speaker and other law,akers for the swift passage of the budget.

    “I am the happiest person because this government truly belongs to the people of the state.

    “Whatever we do is done in the best interest of the people. We are working harmoniously with the State House of Assembly to move the state forward and take it to greater heights, in line with our people‑oriented governance,” he said.

    The governor emphasised the need to increase the internally generated revenue (IGR), stressing that federal allocations alone would not suffice.

    “People should understand that the budget is not money already in hand; rather, it is a projection of expected revenue, either from IGR or federal allocations,” he explained.

    Idris described the legislature as a true representative of the people, adding that it had carefully considered and ratified several executive‑initiated Bills.

  • Senate okays Oke, Are, Dalhatu for appointment as ambassadors

    Senate okays Oke, Are, Dalhatu for appointment as ambassadors

    • Chukwu confirmed as Abia REC, others

    The Senate yesterday approved three ambassadorial nominees —Ayodele Oke (Oyo), Colonel Kayode Are (retd.) (Ogun) and Amin Dalhatu (Jigawa) – for appointment as non-career envoys.

    The resolution of the Senate followed its consideration of the report of the Senate Committee on Foreign Affairs presented by its chairman, Abubakar Sani Bello, during plenary.

    Oke, a former Director-General of the National Intelligence Agency (NIA) and ex-Nigerian Ambassador to the Commonwealth Secretariat in London; Are, a former Director-General of the Department of State Services (DSS); and Dalhatu, Nigeria’s immediate past Ambassador to South Korea, were unanimously endorsed by lawmakers when Senate President Godswill Akpabio put their nomination to a voice vote.

    In his comment, Akpabio urged the ambassadors-designate to bring to bear their wealth of experience in their new roles.

    Read Also: Tunji-Ojo: Nigeria’s future depends on unity, national renewal

    Also yesterday, the Senate confirmed the nomination of Dr. Chukwuemeka J. Chukwu for appointment as the Resident Electoral Commissioner (REC) representing Abia State in the Independent National Electoral Commission (INEC).

    The resolution of the Red Chamber followed its consideration of the report of the Senate Committee on Electoral Matters during plenary.

    The report was presented by the Chairman of the Committee, Simon Lalong.

    Also, the Senate confirmed the reappointment of Aisha Mahmud Kanti Bello as a National Commissioner of the National Electricity Regulatory Commission (NERC) as well as endorsed the nomination of Dr. Animashaun Fouad Olayinka for appointment as Commissioner in NERC.

  • Ex-CJN Tanko Muhammad dies at 71

    Ex-CJN Tanko Muhammad dies at 71

    • Tinubu, Supreme Court, NJC, others mourn

    A former Chief Justice of Nigeria (CJN), Justice Ibrahim Tanko Muhammad, has died.

    He reportedly died in the early hours of yesterday in Saudi Arabia at the age of 71.

    The management of the Supreme Court and leadership of the National Judicial Council (NJC) have commiserated with the family of the deceased.

    Both organisations’ positions are contained in two separate statements.

    A statement by the Director of Information and Public Relations at the Supreme Court, Dr. Festus Akande, said: “The Supreme Court of Nigeria announces with profound sorrow the passing of Hon. Justice Ibrahim Muhammad Tanko, the 17th Chief Justice of Nigeria, who died in the early hours of today, Tuesday, December 16, 2025, at the age of 71 years.

    “Justice Tanko’s tenure as Chief Justice of Nigeria from 2019 to 2022 was marked by an unwavering commitment to the rule of law, judicial independence, and the fair administration of justice.

    “His keen intellect and compassionate demeanour earned him the respect of judges, lawyers, and citizens alike, as his contributions have indelibly shaped Nigeria’s legal landscape.

    “The court pays tribute to his remarkable contributions, which include: strengthening the appellate system and procedural efficiency, advocating for the professional development of judges and judicial staff, and fostering a culture of transparency and accountability within the judiciary.

    “We extend our heartfelt condolences to his family, the judiciary, and the Nigerian public. We pray that his legacy of integrity, humility, and dedication continues to inspire all who serve the nation’s justice system.

    May his soul rest in peace.”

    In a statement yesterday, NJC’s Secretary, Ahmed Saleh, said: “The Chief Justice of Nigeria and Chairman of the National Judicial Council, Justice Kudirat Motonmori Olatokunbo Kekere-Ekun, GCON, commiserates with the family of the retired Hon. Justice Ibrahim Tanko Muhammad, GCON, who passed on today at 71 years.

    “His Lordship (Justice Kekere-Ekun) expressed deep condolences to the family and the people of Bauchi State over the death of the former Chief Justice of Nigeria and Chairman of the National Judicial Council.

    “Although death is a painful reality, we are nevertheless consoled by the fact that His Lordship left a legacy of hard work, honesty and dedication to work.

    “The late Hon. Justice Ibrahim Tanko Muhammad, GCON, who would have been 72 years by December 31, 2025, was a devout Muslim, a respected Jurist, who was courageous with exemplified highest ideals of the Bench.

    “He served as the Justice of the Supreme Court of Nigeria from 2006 to 2022 and as the Chief Justice of Nigeria from 2019 until his resignation in June 2022 on grounds of ill-health.

    “Hon Justice Tanko began his career in 1982, after he was called to the bar in 1981, the same year he graduated from the Nigerian Law School. In 1989, he was appointed as Chief Magistrate of the High Court of the Federal Capital Territory, a position he held until 1991, when he became a Judge at the Bauchi State Sharia Court of Appeal.

    “He served in that capacity for two years before he was appointed to the Bench of the Court of Appeal in 1993.

    “On behalf of the entire Judiciary, The Honourable, The Chief Justice of Nigeria and Chairman, National Judicial Council, Hon. Justice Kudirat Motonmori Olatokunbo Kekere-Ekun, GCON, condole with His Excellency, President Bola Ahmed Tinubu, GCFR, the people and Government of Bauchi State, the immediate family of the late former CJN, the Nigerian Judiciary and the entire Legal Community,

    “I pray Almighty Allah to grant His Lordship and the rest members of his family, the fortitude to bear the irreparable loss. Amen!”

    Read Also: Tunji-Ojo: Nigeria’s future depends on unity, national renewal

    Also, President Bola Ahmed Tinubu has expressed deep sorrow over the death of Justice Ibrahim Tanko Muhammad.

    Th President described him as an eminent jurist whose life was devoted to the cause of justice and the strengthening of Nigeria’s judiciary.

    The late Justice Muhammad served as Chief Justice of Nigeria between 2019 and 2022.

    In a statement by his Special Adviser on Information and Strategy, Mr. Bayo Onanuga, President Tinubu said the late jurist’s distinguished career on the Bench, which culminated in his appointment as CJN, was defined by integrity, courage and an unwavering commitment to the rule of law.

    The President described Justice Tanko as a disciplined administrator and dedicated public servant, noting that he devoted the greater part of his life to upholding justice and safeguarding the independence of the judiciary.

    According to the President, the former CJN made invaluable contributions to the development of Nigeria’s legal system, adding that his influence would endure, particularly among the many judges and legal practitioners he mentored during his years of service.

    The President extended his heartfelt condolences to the family of the deceased, the Supreme Court of Nigeria, the Bar and the Bench, as well as the government and people of Bauchi State over the loss.

    He also prayed for Almighty Allah to grant the late Justice Tanko eternal rest and comfort all those he left behind.

    Also, Bauchi State Governor Bala Mohammed expressed deep sorrow over the death of Justice Ibrahim Tanko Muhammad.

    In a statement by his Media Aide, Mukhtar Gidado, the governor described the late jurist as a man of integrity whose life was defined by discipline, dedication to duty, and unwavering commitment to the rule of law.

    Governor Mohammed said Justice Tanko Muhammad rose through the ranks of the judiciary with diligence and distinction, serving as a Judge of the High Court, Justice of the Court of Appeal, Justice of the Supreme Court, and later as Chief Justice of Nigeria from 2019 to 2022.

    He noted that the former CJN was widely respected for his legal acumen and significant contributions to the development of Nigeria’s judicial system, adding that his conferment with the national honour of Grand Commander of the Order of the Niger (GCON) reflected his impactful service to the nation.

    Also, the Emir of Ilorin, Alhaji Ibrahim Sulu-Gambari, described the late Justice Muhammad as an incorruptible jurist.

    In a condolence message in Ilorin by his Press Secretary, Dr. Abdulazeez Arowona, the Emir said the deceased served the nation diligently before his voluntary resignation as the 18th CJN and retirement from the judicial service.

    “The late Justice Tanko worked with me at the Court of Appeal, Lagos Division, before my enthronement as the 11th Emir of Ilorin in 1995.

    “I had since then held him in very high esteem, due to his commitment to work and love for our dear nation,” Sulu-Gambari said.

    The emir noted that the deceased was a dedicated jurist who tried his best by being upright at work and a mentor to many young lawyers and judges.

  • Torrent of tributes for journalism icon Dan Agbese

    Torrent of tributes for journalism icon Dan Agbese

    • By Glorious Idowu

    Tributes, memories and quiet reflection marked the celebration of the life of renowned journalist and columnist, Chief Dan Agbese, on Monday, December 15 in Lagos.

    The event, held at Whitestone Event Place, Oregun, Ikeja, brought together journalists, public officials, writers and admirers of the late media icon, fondly called Oga Dan by colleagues and protégés.

    The opening remarks were delivered by a former Ogun State governor, Chief Olusegun Osoba, himself a veteran journalist, who described Agbese as a man of good character worthy of emulation.

    Osoba said his longtime friend was a man of carefully articulated words, but one who deliberately chose simplicity.

    He noted that Agbese could use many words if he wanted, but preferred few, believing that meaning did not have to shout.

    Tributes followed from across the media and public space, each echoing a familiar theme of character before acclaim and substance before noise.

    What stood out most was his capacity to remain productive and enterprising even in his later years. Despite his age, he sustained regular newspaper columns, including in The Daily Trust, and continued to mentor younger journalists.

    His energetic leadership of the Northern Media Forum, a body of leading media owners and practitioners which he chaired, further showed his unwavering commitment to strengthening the media and ensuring its role in societal development.

    One of the most moving tributes came from Ray Ekpu, Agbese’s colleague and co-founder of Newswatch magazine.

    Read Also: Tunji-Ojo: Nigeria’s future depends on unity, national renewal

    Sir Ekpu described Agbese as a man who had every reason to be proud, yet never wore his achievements loudly. He said those who knew him understood how deeply he loved journalism and how fully he committed himself to the profession, while expecting the same seriousness from others. Despite his numerous qualifications and accomplishments, Ekpu noted that Agbese chose to be known simply as a father, a grandfather, a mentor and a teacher.

    Many speakers agreed that this restraint defined both his journalism and his life. Many even laughed, remembering his funny moments and how easy he made life seem with his humor and love

    Agbese’s career spanned over five decades, during which he helped shape modern Nigerian journalism.. From his early days at the New Nigerian to his years at Newswatch and later columns in The Guardian and Daily Trust, his writing followed a clear pattern of short sentences, clarity of thought and moral discipline.

    Colleagues recalled that his reports and columns were never hurried, trusting facts, readers and silence when silence was enough.

    The gathering ended in reflection rather than just applause.

    Chief Dan Agbese died on November 17, 2025, at the age of 81.

  • Renewing hope in Nasarawa

    Renewing hope in Nasarawa

    Across Nasarawa State, transformative empowerment initiatives are quietly reshaping lives. From vocational training and start-up support for youth to healthcare outreach for vulnerable communities, these programmes provide practical skills, critical resources, and mentorship—restoring agency, improving livelihoods, and ensuring that hope and opportunity reach those who need them most, reports LINUS OOTA

    Nasarawa State, the clearest evidence of leadership in recent months has not been found in campaign slogans or grandstanding declarations, but in quieter, more intimate moments: a woman regaining her sight after years of blurred vision; a young man completing vocational training with tools he can finally call his own; a pregnant mother returning home from a clinic reassured rather than fearful. In these spaces—often overlooked in policy debates—empowerment has acquired a human face.

    For Abubakar Muhammed Adamu, former Inspector General of Police, and his wife, Hajiya Rukaiya Adamu, empowerment has been approached not as benevolence, but as responsibility. Their interventions across the state have focused on restoring capacity—health, skills, and economic agency—rather than dispensing fleeting relief. The underlying philosophy is straightforward: people thrive when barriers are removed, not when dignity is replaced with dependency.

    The interventions unfolding across the state do not announce themselves as grand solutions. They are, instead, deliberately practical—anchored in health, education, skills, and small but catalytic economic support. Their logic is simple: empowerment must meet people where they are, address immediate constraints, and leave behind something durable. In Nasarawa’s towns and interior settlements, this approach has translated into programmes that restore sight, stabilise chronic illnesses, equip young people with employable skills, and provide women with modest capital that unlocks enterprise.

    Healthcare has been the most visible entry point. The M.A. Adamu MediCare for Renewed Hope initiative has moved through all thirteen local government areas, not as a ceremonial outreach but as a functional medical intervention. Speaking during one of the outreach programmes, Adamu framed the intervention plainly. “This is about ensuring that no one is left behind simply because they live far from a hospital or cannot afford basic treatment,” he said. “A healthy population is the foundation of productivity, unity, and development.”

    For many beneficiaries, it has been the first sustained encounter with structured healthcare in years. Consultations, diagnostic screenings, essential drugs, minor surgeries, maternal support, and health education have been provided at no cost. The emphasis has not been on numbers for their own sake, but on conditions that quietly erode productivity and quality of life—eye ailments, diabetes, hepatitis, pregnancy-related complications. For many, the procedure marked the first time in years they could see clearly without pain or fear. “I had resigned myself to darkness,” said a beneficiary in Akwanga who underwent cataract surgery. “Today, I can see my grandchildren again. I can work again. That is not a small thing.”

    In the remote corners of Nasarawa State, where access to healthcare had long been a distant hope, transformative interventions began to change lives. For elderly residents whose cataracts had gradually narrowed the world to shadows, skilled surgeries restored not only sight but independence, enabling them to move freely, care for themselves, and re-engage with their families. Traders and artisans grappling with diabetes—once forced to manage their condition with irregular medication or none at all—found renewed stability through screenings, consistent drug provision, and health education. Pregnant women, often navigating childbirth with minimal support, were provided delivery kits and antenatal care, reducing the risks associated with pregnancy and giving families the reassurance of safer births. These were not symbolic gestures; they were deliberate, life-altering interventions that returned people to their routines, their farms, their shops, and their communities with restored dignity and capacity.

    Chronic illnesses such as hepatitis and diabetes, which previously went unmanaged due to prohibitive costs or long distances to clinics, were met with structured screening and ongoing medication support. Health education sessions reinforced prevention strategies, ensuring that care extended beyond the visit of the medical team. “This wasn’t rushed or cosmetic,” noted a clinician in Lafia. “There was structure, follow-up, and coordination with local leaders. That is why it worked.”

    What set this outreach apart was not just its scale but its meticulous organisation. Mobile clinics reached communities isolated by poor roads or challenging terrain, while health professionals collaborated with local leaders to identify the most vulnerable. Every intervention was accompanied by follow-up guidance and practical health education, reinforcing prevention alongside treatment. Community leaders and frontline workers repeatedly emphasised that this approach reduced duplication, maximised resources, and ensured that support reached households typically overlooked by formal healthcare planning. In every village and ward touched, the programme restored more than health—it restored hope.

    Beyond healthcare, youth empowerment has become a central pillar of the interventions across Nasarawa State. With a significant proportion of the population youthful, energetic, yet often underemployed, programmes targeting this demographic have sought to transform potential into tangible livelihoods. Rather than offering abstract motivation, the initiatives have focused on practical vocational training, start-up support, and mentorship tailored to local economies, ensuring that skills gained translate into real income-generating opportunities.

    Read Also: Tunji-Ojo: Nigeria’s future depends on unity, national renewal

    Beneficiaries have learned trades and services aligned with local demand, from tailoring and carpentry to ICT and agribusiness. Accompanying these skills are modest grants, essential tools, and mentorship—resources designed not to impress, but to enable sustainable action. “One training changed how I see myself,” said a young beneficiary in Keffi. “I’m no longer waiting for help. I’m working, earning, and planning for my future.”

    The interventions have also fostered psychological transformation. By combining skills acquisition with immediate, practical application, young people move from uncertainty and dependency to confidence and agency. Mentors guide them through the realities of informal economies, helping them navigate challenges and build resilience. The strategy reflects a commitment to long-term impact rather than short-lived spectacle. Small, well-calibrated grants and practical tools create pathways for self-reliance, while consistent mentorship strengthens both skill and confidence. Across Nasarawa, this approach is quietly reshaping lives: young people are now able to envision futures in which effort, talent, and initiative can translate directly into meaningful livelihoods and active participation in community development.

    Women’s empowerment has followed a similarly grounded logic. In Nasarawa, as in much of Nigeria, women often shoulder economic responsibility while facing systemic barriers to credit, healthcare and political voice. The initiatives associated with Hajiya Rukaiya Adamu have deliberately intersected these pressures. Food and cash support have been provided not as isolated relief, but as stabilising interventions that allow households to breathe and plan. “Our mission is holistic,” she explained during an outreach in Toto. “Good health, education, and economic empowerment go together. When women are supported, entire households become stronger.”

    In Toto Local Government Area, for instance, over a thousand vulnerable women across all electoral wards received direct support through a distribution process designed to reach even remote settlements. The approach was deliberately decentralised, moving from house to house to avoid the common pitfalls of crowd-based distributions that exclude the most isolated. For many recipients, the assistance bridged immediate gaps—food security, school needs, medical bills—while preserving dignity by avoiding public spectacle.

    Beyond material support, there has been a consistent emphasis on inclusion and consultation. Hajiya Rukaiya Adamu’s engagements across the state have focused on listening rather than mobilising, creating spaces where women articulate priorities around health, livelihoods, and participation. In a context where women’s political engagement is often reduced to mobilisation roles, this consultative posture has been widely noted as a departure. It reframes empowerment not as benevolence, but as partnership.

    Education, too, has featured quietly but persistently. Scholarships supporting young people across different parts of the state have enabled continuity for students who might otherwise have dropped out due to financial pressure. The beneficiaries are not presented as symbols, but as individuals navigating real constraints—transport costs, tuition gaps, and family obligations. By sustaining educational trajectories, the intervention addresses a long-term driver of vulnerability rather than its symptoms.

    What unites these varied initiatives is a consistent avoidance of patronage language. Beneficiaries are not framed as passive recipients of kindness, but as citizens whose productivity and wellbeing matter. The programmes do not ask for allegiance; they focus on outcomes. Health is restored so people can work. Skills are provided so livelihoods can grow.

    Small capital is injected so businesses can stabilise. In each case, the measure of success is what continues after the intervention moves on.

    The geographic spread of these programmes has also mattered. From Karu to Keffi, Lafia to Akwanga, Nasarawa Eggon to Wamba, the interventions have reached communities with distinct economic profiles. Urban traders, rural farmers, artisans, and informal workers have encountered programmes adapted to their contexts rather than imposed uniformly. This sensitivity has reinforced local ownership and reduced the perception of external imposition.

    Community responses reflect this nuance. Traditional rulers and local leaders have consistently emphasised the timing and relevance of the interventions. Health workers have pointed to reduced pressure on overstretched facilities during outreach periods. Beneficiaries speak less about gratitude and more about relief—the relief of seeing clearly again, of managing an illness without fear, of restarting a stalled business. These are the quiet indicators of empowerment that statistics alone cannot capture. Importantly, the initiatives have unfolded without displacing the role of government. They are framed as complementary, not substitutive. By filling gaps and demonstrating workable models, they point toward what effective service delivery can look like when resources, organisation, and intent align. This posture has reduced friction and encouraged collaboration with local structures rather than competition.

    Ultimately, empowerment is measured by what people can do after assistance is given. In Nasarawa, thousands can now see, work, trade, learn, and plan with greater assurance than before. That outcome, modest in its presentation but profound in its effect, is what gives these initiatives their credibility. They suggest that when empowerment is approached with respect, precision, and empathy, it ceases to be patronising and becomes transformative.

  • Positioning Abuja as major cultural capital

    Positioning Abuja as major cultural capital

    For five days, the Federal Capital Territory, Abuja was literally immersed in the creative energies of Nigerian artists at the recently concluded Abuja Art Fair. Venue was the 12-year-old Exhibition Pavilion, Area 10, Abuja. Organised by the Thought Pyramid Art Centre, the maiden Abuja Art Fair with the theme Art in the Heart of Nigeria, was solely sponsored by The Osahon Okunbo Foundation and it evolved into a meeting point where stories took shape, identity found voice, and culture gathered momentum, Assistant Editor (Arts) OZOLUA UHAKHEME reports

    From the onset, the mission of the organisers of the inaugural Abuja Art Fair was unambiguous. It was a deliberate intervention—an unequivocal declaration that Abuja is ready to claim its rightful place as a major cultural capital. This led to the establishment of an inclusive, purpose-built, nationally representative platform that democratises access to artistic expression and nurtures a truly pan-Nigerian creative ecosystem.

    Expectedly, the ambience of the Exhibition Pavilion, which hosted the fair between December 3rd and 7th, provided the needed space and setting for the celebration and promotion of creative talents of the ‘modern masters, generational masters, and contemporary’ artists.  

    It is also to place art at the core of Nigeria’s identity, civic discourse, and collective aspirations, particularly in a diverse and dynamic society like Nigeria, ‘art is far more than an aesthetic embellishment—it is a vital force capable of sustaining, challenging, and reshaping the consciousness of its people.’

    Curator of the fair, Olorogun Jeff Ajueshi said that the fair was born from years of planning, dreaming, and praying —a vision to create an alternative platform where artists can meet, engage, and build meaningful relationships with collectors, enthusiasts, and the wider public. “Today, we celebrate not only the success of the fair, but also our indomitable spirit that carried us through,’ he stated. Ajueshi stressed that the Abuja Art Fair 2025 positions itself as a vital point of convergence—where traditional, modern, and contemporary artistic practices meet, interact and evolve.

    “Its mission is expansive and urgent: to collect, study, conserve, and exhibit works that articulate the complexity, resilience, and ingenuity of the Nigerian people, both within the country and across the global diaspora. The artworks presented here have been thoughtfully curated to provoke inquiry and spark dialogue. They confront the defining issues of our time—environmental wide sustainability, civic responsibility, technological transformation, humanitarian agency, and the indispensable place role of women in shaping Nigeria’s future.

    “It is especially meaningful that these conversations take place in Abuja, the heart of our democracy, where art can most powerfully interrogate, illuminate, and inspire,” he noted.

    The initiative, according to Ajueshi, was to make a bold assertion that Nigeria’s capital deserved a world-class cultural institution capable of nurturing creativity and sustaining artistic scholarship. “Abuja became the canvas upon which my vision for a transformed Nigerian art ecosystem took shape, matured, and ultimately flourished with the establishment of our purpose built Centre…

    “The Abuja Art Fair represents the natural evolution of that work: a shift from developing singular spaces of excellence to establishing an annual, continentally significant cultural institution. More than an event, the Fair represents a long-term commitment to sustaining cultural discourse, inspiring innovation, and shaping the trajectory of African art for generations to come,” he added.

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    Sole sponsor of the fair, The Osahon Okunbo Foundation reassured that its mission is to widen that space—deepening access, championing talent, and strengthening the pathways that allow Nigerian creators to rise. It said that by backing the first edition of the Abuja Art Fair, ‘we help expand the visibility for artists in Abuja and across Nigeria, ensuring their work takes its place in both national and global conversations. Our partnership with Thought Pyramid Art Centre reflects a shared commitment to honouring the depth of Nigerian expression and enriching the cultural landscape of the capital. For TOOF, this collaboration affirms a simple belief: when artists are supported, culture expands — and possibilities multiply.’

    From the intricate wood carvings of grand masters to the stunning brush feels of young strokes that inch their ways to people’s hearts, the Abuja Art Fair stands as a testament to the incredible diversity of African culture. Little wonder the fair featured interactive exhibitions, workshops, and discussion sessions and mentoring sessions, while showcasing works by legendary artists such as Bruce Onobrakpeya, Ben Osawe, Twin Seven Seven, Jimoh Buraimoh, Rufus Ogundeke, Kolade Oshinowo, Amos Odion, Muraina Oyelami, Emmanuel Ekefrey, Adebisi Fabunmi and  Bisi Fakeye. No fewer than 42 masters that also featured included Sam Ovraiti, Alex Nwokolo, Adetola Wewe, Yomi Momoh, Ebong Ekwere, Ada Godspower, Gbenga Offo,  Oviri Alaric, Pius Emorokpor, and Juliet Ezenwa Maja-Pearce.

    Others were Abba Adams, Abdulfatai, Abdulsalman Musa, Ahmed Michael, Emmanuel Ageyeye, Etuk Unyime, Henry Iliya, Julius Oda, Mahmoud Nalado, Oluwatobi Ajibola, Oyewole Abubakar, Uyota Omadoye, Agboola Emmanuel and Blessing Miracle.  Among the Abuja artists were Akachukwu Emeka, Milicent, Sor Sen, Tom Sunday and Uche Uguru

    This huge collection of contemporary works-paintings, sculptures, installation by Nigerian artists (that adorned the spacious halls) had a symbolic meeting with some artefacts from the famous Benin bronze artists. The priceless pieces occupied prime place at the main hall of the pavilion. 

    The fair was not all about exposition of artworks. There were mentoring sessions where artists interacted and exposed to town and gown experiences shared by speakers such as Prof Jacob Jari of Ahmadu Bello University, Zaria, Imal Silva, Doreen Eloghosa Igbinoba, and Khadijah Adebayo, North Coordinator FEAN. They presented insightful talks on topics such as ‘Building your own community of influence, Who is a visual artist, History of Nigeria and everything in between, and Real estate and art, focus on Da Vinci cultural estate in Abuja.

    President Society of Nigerian Artists, Mr. Muhammad Sulaimon who was excited by the growth of art awareness within the city of Abuja, said the fair is not just about Nigerian or African art;   it is also a celebration of the rich global art heritage with its own unique souls.

    “From the bold, expressive paintings of Ovraiti to the intricate, symbolic sculptures of Ben Osawe, the art fair promises to be a true reflection of Africa’s vibrant cultural landscape. The Abuja Art fair also provides a platform for artists to engage with collectors, gallerists, and art enthusiasts, creating opportunities for collaboration, networking, and cultural exchange.

    “The Abuja Art Fair is a significant event that underscores Nigeria’s commitment to promoting cultural diversity, creativity and artistic expression. It is a celebration of the power of art that brings people together, to inspire, and to transform.

    “The Abuja Art Fair is a premier art event that showcases the best of Nigerian and African art. The fair aims to promote cultural diversity, creativity, and artistic expression, while providing a platform for artists to showcase their works and connect with collectors and art enthusiasts, making the city of Abuja, -Africa’s newest art hub,” Sulaimon said.

    Impressed by the turn out at the opening of the fair, Abuja based sculptor and Executive Director, African Art Fund, Mr Ifesinachi Nwanyanwu observed that the only thing to do differently to boost art activities in the federal capital territory is to continue to hold events such as the Abuja Art Fair, which is the first of its kind in Abuja. “Let’s hope we can keep the momentum,” he urged.

    To him, the task of energizing the space shouldn’t just be that of Thought Pyramid Art Centre alone, adding that there are other galleries that should key into this movement because the more the merrier. “Abuja cannot claim to be capital city when it cannot provide platforms such as this for creators to showcase their talents. Lagos remains the cultural city of Nigeria, but Abuja needs to develop its own energy field. For this fair to take off it takes the organisers lots of funds. In Nigeria, we are not in want of creatives or talents, so funding remains the missing link to develop our culture,” he noted.

    One of the volunteers who participated in the fair, Miss Kelechukwu Beatrice Nelson described the fair as a successful marriage of traditional, contemporary and modern art. “It is almost successful because the exhibition of traditional art works tilted majorly towards Benin art. Indeed, it was a colourful event and I look forward to another edition more spectacular than this one,” she said. 

  • Anisiebo expands creative space in visual storytelling

    Anisiebo expands creative space in visual storytelling

    Many young Nigerian visual artists are constantly expanding the creative space. They are also not only exploring the nation’s heritage but transforming some of its critical objects and symbols. One of such is Nigerian-born fine art photographer Mr Anthony Anisiebo, a visual artist with the heart of a transforming agent. Since leaving school, his practice explores heritage, symbolism, and spirituality through painting and photography. His works transform everyday objects and cultural symbols into textured oil paintings and fine art photographs that evoke memory, value, and identity.

    Among his recent paintings is King of Warri, an abstract oil painting that reimagines the regal presence of the Warri monarch. Through bold colours, layered textures, and fluid forms, the work transcends literal portraiture to capture the essence of authority, tradition, and cultural pride. It also captures the royalty of the coveted throne of the Olu of Warri (King of Warri), the custodian of the culture of the Warri Kingdom in Delta state.

    Anisiebo shows a sitting monarch with a crown on his head and a staff of office, which reflects the meeting between power, authority, and tradition, which characterises the stool of a first-class monarch and its occupant. The use of red colour interspersed with other warm colours depicts the domineering control of the traditional ruler in the affairs of the kingdom.  Historically, the origins of the Warri kingdom lie in the neighbouring Kingdom of Benin. In the late fifteenth century, Prince Ginuwa, a son of the Oba of Benin, left his home with a large retinue to establish a new kingdom. He travelled toward the Atlantic coastline, eventually settling near the Forcados River in 1480, according to reports. But, the artist didn’t fail to give due attention to the crown, which epitomises the totality of the monarch; the power, tradition and authority.

    Harvest in Colour, his fruit series, shows a four-compartment housing banana, orange, carrot and pineapple. All the fruits are ripe and ready for eating. The yellow colours in the four boxes reveal the mature state of the fruits, which is appealing. Also, the artwork is a revelation of the rich and diverse agricultural products that abound across the country, particularly fruits, despite the cry over food insecurity in the land. Symbolically, it shows there is hope to have a bumper harvest of food and fruits.  

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    Harvest in colour celebrates the richness of nature’s bounty, using vibrant hues and textured surfaces to evoke both vitality and depth. Each element is carefully chosen for its cultural symbolism. Pineapple for hospitality and endurance, oranges for energy and renewal, bananas for nourishment and continuity, and carrots for growth and vitality. Together, they represent abundance, resilience, and the cycles of life.

    The Coin Series (2022) is a photographic exploration of Nigeria’s currency, where coins are arranged to form words such as Naira, Coins, Money, and Kobo. The work transforms everyday currency into a medium of visual storytelling, highlighting its role as both a symbol of national identity and a marker of economic value.

    The artist uses the Coin series to revisit the evolution of Nigeria’s coins that were in Twenty Kobo (20k), Ten Kobo (10k), Five Kobo (5k), One Kobo (1K) and Half Kobo (1/2k), all having the same dimensions of 12 x 123 inches. Unfortunately, such coins are no longer in circulation due to high inflation rate. Notwithstanding, the Coin series is a veritable way of preserving the nation’s monetary policies and history, particularly for the younger generations. Beyond documenting, the series also highlights the beauty and aesthetics of the arrangement of the coins, their appeal and value.

    But the colour scheme of each differs slightly. These denominations were sequel to the decision by the government to change from the metric to decimal, and the name of the Nigerian currency was changed in January 1973. The major unit of currency, which used to be £1, ceased to exist, and the one naira, which was equivalent to ten shillings, became the major unit, while the minor unit was called the kobo, one hundred of which makes one naira. Coin series stands as an uncommon documentation of Nigeria’s currency that has evolved from the pre-independence era.

  • At Art Basel, Nike excites connoisseurs

    At Art Basel, Nike excites connoisseurs

    “I have to thank Ko Gallery for bringing me here. This is my first time here. This is a great achievement for all the artists in Nigeria. Thank you Ko Gallery for bringing me here. I love Nigeria and I want to come back here next year. So, if you are happy, you may be here with me.”

    That sums up the mood and feelings of one of Nigeria’s most successful female artists Chief Nike Davis-Okundaye while speaking on the sideline of the recently concluded Art Basel Miami Beach

    The 23rd edition of the fair, with the theme Second Nature held at the Miami Beach Convention Center, hosted the most vital artistic currents of the Americas and the globe. It featured about 283 galleries, including 48 first-time participants between December 5 and 7. 

    Gracing the walls of Ko Gallery’s Booth S5 at the fair were some of Nike’s old works dating back to the 60s, which included a selection of her richly patterned textile works from across her career. Nike, who offered some of Nigeria’s rich heritage through her paintings to the global audience, recalled that all of her works, which are meticulously hand-stitched bead mosaics and textiles, ‘come from my dreams.’ One striking example in Booth S5 is Flying Angel (1969), featuring a giant winged, horse-like creature protecting the artist (featured as a small figure on the left side of the angel) from the evils of the world. The works in the booth range from $35,000 to $120,000.

    Of the over 30 Art Fairs running concurrently at Art Basel Miami, Ko Gallery booth was among top 10 booths at the fair. 

    According to her daughter Seyi Awoyomi, who was at the fair, exhibiting at the fair was a rare opportunity, noting that her mother was excited and very grateful to witness the occasion and the gradual growth of her collection.

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    “For me, this is more than an art showcase: it’s a celebration of legacy, sisterhood, and the unstoppable spirit of creativity. Mama Nike Okundaye lights up Miami Beach Art Basel 2025 with a radiant solo exhibition at Ko Art Space (Booth S5): a tribute to her youth, featuring her iconic works from the late ‘60s and early ‘70s. Together with her dear friend and gallery owner, Kavita Cheleram, this collaboration is a testament to artistic camaraderie and cultural pride,” she said.

    She recalled that growing up she would observe her mother guiding collectors who visited her gallery to buy other artists works. “When collectors visit her gallery, she will direct them to other artists’ works and not her works. She is very selfless. That was the icing on the cake. Unfortunately, not many collectors realized she is an artist. She said it is difficult for artists to promote themselves, a kind of a battle many artists face. It was a beautiful experience to witness,” she noted.

    The fair brought together artists and works that explore the increasingly blurred boundaries between nature and artifice.

    The event was the centerpiece of Miami Art Week and featured hundreds of global galleries showing art from international artists. It also brought out celebrities, influencers, and collectors in droves for their extravagant parties featuring Rihanna, ASAP Rocky, Larsa Pippen, Alix Earle among others.

    Director, Art Basel Miami Beach, Bridget Finn, said of the fair: “Art Basel Miami Beach stands at the intersection of culture and the market — a platform where artistic vision and economic energy converge to define what comes next,”. “Each edition responds to the urgency and ambition of its moment while laying groundwork for the future. In 2025, we bring together exceptional galleries, artists, and patrons in an environment defined by rigor, exchange, and possibility.”

    As the premier fair of the Americas, Art Basel Miami Beach offers a panoramic view of the region’s artistic production within a global framework, underscoring the dialogue between North and South America and their shared histories of migration, innovation, and cultural cross-pollination — in conversation with Europe, Asia, Africa, and the Middle East. This year’s edition highlights Latinx, Indigenous, and diasporic practices and re-examines Modernism through a trans-hemispheric lens, from mid-century masters to contemporary voices remapping the canon.