The Nation Newspaper

Author: The Nation

  • UAE-Nigeria trade pact opens duty-freeaccess for exports, says Minister Oduwole

    UAE-Nigeria trade pact opens duty-freeaccess for exports, says Minister Oduwole

    Seven thousand   Nigerian products will be exempted from tariffs under the Comprehensive Economic Partnership Agreement (CEPA) between Nigeria and the United Arab Emirates (UAE).

    Under the pact, Nigerian businessmen/women can enter the UAE for up to 90 days within a year to explore trade and investment opportunities.   Company executives, managers and specialists can also relocate under renewable three-year intra-corporate transfer arrangements.

    Industry, Trade and Investment Minister Jumoke Oduwole gave the insights on the sidelines of the 2026 Abu Dhabi Sustainability Week.  

    Oduwole said in a statement yesterday that the agreement will not only deliver far-reaching benefits for Nigerian businesses, professionals and workers but also accelerate Nigeria’s economic diversification drive.

    She explained the CEPA, negotiated under the Renewed Hope Agenda of Bola Ahmed Tinubu,   prioritises quality investment inflows. and market access for Nigerian goods and services   .

    She listed fish and seafood, oil seeds, cereals, cotton, pharmaceuticals and chemicals as some of the products that will enjoy duty-free access under the pact.  

    Read Also: Nigeria, UAE seal deal on trade, agric, manufacturing

    According to the minister, tariffs on Nigerian machinery, vehicles, electrical equipment, apparel and furniture will also be phased out over the next three to five years, providing a competitive pathway for Nigerian manufacturers into one of the world’s most dynamic trading hubs.

    Oduwole also said that Nigerian businesses would also benefit from expanded commercial presence in the UAE, including the ability to establish corporate entities, branches and subsidiaries.

    On investment, the minister said the agreement addresses longstanding barriers to foreign direct investment by providing clarity and confidence for UAE investors seeking opportunities in Nigeria’s productive sectors.

    She explained that the pact would support Nigeria’s industrialisation agenda, enhance transport and logistics connectivity and create quality jobs for the country’s youthful population.

    Oduwole also outlined Nigeria’s commitments under the agreement, noting that the country will eliminate tariffs on about 6,000 products, with 60 per cent removed immediately and the rest phased out over five years.

    She said these imports are largely industrial inputs, capital goods and machinery required to strengthen Nigeria’s productive capacity.

    On services, Nigeria made commitments covering 99 specific services across 10 sectors, including business, communications, transport, finance, construction, health, environment, tourism and recreational services.

    Describing CEPA as a strategic instrument for economic transformation, the minister said the agreement incentivises Nigerian manufacturers to scale production for export and positions Nigeria as a gateway for investors targeting the African Continental Free Trade Area market of 1.4 billion people.

    She added that UAE institutional investors, including First Abu Dhabi Bank, have already shown unprecedented participation in Nigeria, particularly in infrastructure financing such as the Lagos–Calabar Coastal Road.

    Oduwole said the agreement signals accelerated deals in agriculture, real estate, digital banking, retail and infrastructure financing.

    The minister also noted that it aligns fully with Nigeria’s obligations under the World Trade Organisation, AfCFTA and ECOWAS.

    She assured that her ministry  would work with agencies like the Nigeria Customs Service, Nigerian Export Promotion Council, Nigerian Investment Promotion Commission and the Standards Organisation of Nigeria to ensure swift implementation of the agreement.

    The minister enjoined businesses to seize the new market access opportunities and expand confidently into the UAE and beyond.

  • 864,798 students get N161.97b loans for tuition, upkeep

    864,798 students get N161.97b loans for tuition, upkeep

    The Nigerian Education Loan Fund (NELFUND) has disbursed over N161.97 billion to tertiary institutions for tuition fees and upkeep for over 864,798 students.

    The agency recorded 1.36 million loan applications from eligible students on its portal.

    The Managing Director, Akintunde Sawyerr, who announced the figures, said the organisation was in the process of reconciling outstanding students’ upkeep payments amounting to N927.98 million, affecting 11,685 beneficiaries nationwide.

    According to him, the outstanding payments were uncovered following a routine reconciliation conducted at the end of the 2024/2025 academic session.

    He clarified that the delays were not the result of withheld funds or policy failures, but were caused by technical and operational challenges, including temporary network downtime, failed transactions, and difficulties validating some students’ bank account details.

    According to him, the reconciliation process will involve direct engagement with affected students, a defined grace period for updating or submitting alternative bank account details, and multi-layer validation involving the fund’s IT, client support, audit and finance teams.

    Read Also: BOI, NCGC to unlock N10b loans for women entrepreneurs

    The NELFUND boss added that payments will be made promptly once verification was completed.

    Sawyerr said: “Our team carried out a routine reconciliation of student upkeep payments. This process revealed that 11,685 students currently have outstanding upkeep payments totalling N927.98 million.

    “Let me be very clear, these are not cases of withheld funds or policy failure. Rather, they are the result of technical and operational issues, including temporary network downtime, failed transactions, and instances where bank account details could not be validated at the time of processing.

    “In line with the President’s directive on accountability and efficiency in public service, Management has approved a one-time, focused reconciliation process to resolve all outstanding cases.

    “This includes direct engagement with affected students and a defined grace period for updating or providing alternative bank account details.”

    Sawyerr noted that since the launch of the NELFUND Student Loan Portal, the response from Nigerian students has been significant and encouraging.

    He said that as of Tuesday, a total of 1,361,011 applications have been received while 864,798 students have so far benefited from the loan scheme, with total disbursement standing at N161.97 billion.

    He explained that N89.94 billion was paid directly to 263 tertiary institutions for tuition and institutional fees, and N72.03 billion was paid directly to students as upkeep allowances.

    Sawyerr said: “These figures are not just statistics. They represent real lives impacted, real barriers removed, and real opportunities created.”

    He added that the student loan scheme reflected President Tinubu’s firm belief that no Nigerian child should be denied education because of financial limitations.

    Sawyerr assured students and their families that NELFUND remains committed to fairness and efficiency, noting that the fund’s systems are designed not only to disburse funds, but also to protect public resources and ensure accuracy.

    He added that the N20,000 monthly upkeep allowance had helped ease financial pressure on students and reduce dropout rates across tertiary institutions.

    Sawyerr said that NELFUND plans to expand its sensitisation efforts beyond campuses to parents, guardians, traditional rulers and community leaders, in order to deepen trust and awareness of the scheme at the grassroots level.

    He said: “This year, our focus will expand to another very important group within the NELFUND ecosystem: parents, guardians, and traditional institutions.

    “We will be engaging traditional rulers, community leaders, parents, and faith-based institutions, taking the message of NELFUND to churches, mosques, motor parks, and community spaces across the country.”

    “This is about taking NELFUND to the grassroots, ensuring that families understand the scheme, trust the process, and are empowered to support their children in accessing higher education.”

    NELFUND Executive Director, Operations, Mustapha Iyal, said a total of 325 institutions have been onboarded for the 2025/2026 academic session, which commenced in November last year, with eligible students of about 3,730,331.

    He added that 283,275 loan applications have been verified for the 2025/2026 academic session, while N12.5 billion has been disbursed as institutional charges to 117,640 beneficiaries.

    Iyal added that upkeep payments for these students will commence this January.

    He explained that upkeep is paid per session, not for the entire 12 months, and urged students to apply for each session to receive the allowance.

  • N1.8tr set aside to pay Fed contractors

    N1.8tr set aside to pay Fed contractors

    An amount of N1.8 trillion has been set aside to settle outstanding payments owed to contractors for Federal Government capital projects.

    This is contained in the 2026 Appropriation Bill pending before the National Assembly.

    Specifically, a total of N100 billion has been earmarked for payments to indigenous contractors, as part of efforts to stabilise the construction sector and restore confidence among local firms.

    The payments would cover projects executed under the 2024 fiscal year.

    Highlights of the 2026 Appropriation Bill submitted to the National Assembly showed that the government is prioritising funding for contractors and construction projects, with substantial provisions for settlement of prior debts and payment of new and ongoing contracts.

    The 2026 budget proposal makes significant provisions for rail infrastructure. The Federal Government has proposed an allocation of N102.3 billion as counterpart funding for the Lagos Green Line rail project. To be funded under the Ministry of Transportation, the allocation is dedicated to phase one of the Lagos Green Line Metro Rail project.

    Read Also: Tinubu directs payment of N1.5tr debt to local contractors

    The 68-kilometre rail line is designed to run from the Lekki Free Zone to Marina, connecting key commercial and residential hubs in Lagos, including Victoria Island, Lekki and Ajah.

    The budget also provided N68.5 billion for consultancy services related to the Lekki–Ijebu Ode–Ore–Kajola railway and the coastal rail corridor linking Badagry, Apapa and Tin Can Island ports. This allocation was intended to support project preparation and advisory services for the proposed rail lines.

    Further allocations included N29.04 billion for ongoing and planned railway modernisation projects across the country. The funding covers the completion of the Abuja–Kaduna railway, additional works on the Lagos–Ibadan rail line and the rehabilitation of the Itakpe–Ajaokuta rail corridor. It also provides for the construction of 12 station buildings and track-laying works at auxiliary rail facilities in Agbor.

    According to proposal, the same allocation will fund the design, manufacture and installation of rolling stock, as well as the supply of spare parts and maintenance equipment.

    The budget proposal also included provision for signalling and telecommunications systems on the Itakpe–Ajaokuta–Warri rail line and the deployment of acoustic sensing security surveillance systems along the Abuja–Kaduna corridor.

    Besides, the 2026 budget proposal further made room for feasibility studies on new standard-gauge rail lines and the engagement of transaction advisers for the concession of the Abuja–Baro–Itakpe, Aladja–Warri Port and Kano–Maradi rail projects.

    Beyond transportation, the capital budget placed emphasis on road construction, power, agriculture, housing, education, health, water resources and defence, reflecting government’s broader strategy to stimulate economic growth, expand infrastructure and strengthen social services.

    Analysts said the substantial provision for contractors’ debts could help to calm frayed nerves in the sector, which had seen many protests by contractors due to non-payment for jobs done.

    Estimates as at June 2025 indicated that the federal government owes local contractors between N200 billion and N400 billion. These unpaid debts were largely attributed to delayed budget releases, cash flow challenges, and procurement bottlenecks.

     National President, All Indigenous Contractors Association of Nigeria, Jackson Ifeanyi, had described the delay in payment of contractors as “grave injustice.”

    “We, the indigenous contractors under the auspices of the All Indigenous Contractors Association of Nigeria, wish to draw the attention of the Nigerian public, the international community, and all relevant stakeholders to the unfair and unbearable conditions our members are being subjected to by the Federal Government of Nigeria,” Ifeanyi had said at a press conference.

    He explained that many indigenous contractors financed projects with borrowed funds based on assurances of timely payment.

    “Unfortunately, the government has failed to honour these contractual agreements but commissioned these projects to look good in the eyes of the public without paying the indigenous contractors who made them possible,” Ifeanyi said.

    He warned that contractors could no longer absorb the economic strain caused by the delays, insisting that continued non-payment would trigger sustained protests.

    He said: “This is grave injustice. This government continues to lure contractors into projects it has no intention of funding while prioritising projects that serve the personal interests of certain officials”.

    In December 2025, the contractors blocked the main entrance of the ministry, restricting vehicular movement and forcing staff and visitors to struggle to access the building. That action set the tone for a continued push for payment of outstanding contract fees. This action forced the Minister of Finance and Coordinating Minister of the Economy Mr. Wale Edun to meet with the protesting contractors.

    The contractors insisted that they were owed for projects completed in 2024 and said the funds should be sourced from revenue already generated by the Federal Inland Revenue Service (FIRS). They argued that many of their members were facing severe financial strain due to the non-payment, and that the continued delay has become unbearable.

    The federal government kept to its words and paid some contractors, a development that doused tensions days before the Christmas holidays. The exact amount that was paid to the contractors has not been disclosed but the contractors admitted that some of their members had been paid while others were waiting to get paid.

    The proposed settlement comes against the backdrop of mounting pressure from contractors and warnings that unresolved liabilities could disrupt public infrastructure delivery with possible political implications ahead of the 2027 general elections.

  • Abductors of Edo hotel guests slash ransom to N40m

    Abductors of Edo hotel guests slash ransom to N40m

    Abductors of eight guests of a hotel in Ibillo, Akoko-Edo Local Government Area, in Edo State, have reduced their ransom demand from N100 million to N40 million.

    The kidnappers were allegedly dressed in military camouflages to gain access into the facility where they took away the hotel owner and seven lodgers.

    Read Also: Kidnappers of hotel lodgers in Edo reduce ransom to N40m

    The monarch of the town, Okpahi of Imoga Kingdom, Oba Patrick Abudu, confirmed the reduction, which according to him, was communicated to them Monday night.

    “We are worried over the safety of our people as it has been five days since they were kidnapped”, Oba Abudu said.

  • Court awards $25,000 damages to Falana against Meta

    Court awards $25,000 damages to Falana against Meta

    The Lagos High Court at TBS has awarded $25,000 in damages in favour of Mr. Femi Falana (SAN) in his $5 million lawsuit against Meta Platforms Inc., the US-based technology company owned by Mark Zuckerberg, over the alleged invasion of his privacy.

    Justice Olalekan Oresanya held that a global technology company such as Meta, which hosts pages for commercial benefit, owes a duty of care to persons affected by content disseminated on its platform.

    Falana, through his lawyer, Mr. Olumide Babalola, accused Meta of publishing motion images and voice captions titled “AfriCare Health Centre” on its platform, suggesting that he suffered from a disease known as prostatitis.

    He argued that the publication constituted an invasion of his privacy as guaranteed under Section 37 of the Constitution of the Federal Republic of Nigeria, 1999 (as amended).

    Falana said the false video about his health status had tarnished his image and reputation built over the years.

    Read Also: AGF Fagbemi, Supreme Court Justice, Falana, others seek more funding for criminal justice sector

    He also contended that the publication, which he described as false, offensive and disturbing, painted him in a false light and caused him mental and emotional distress.

    In its judgment, the court, according to Channels Television, rejected the argument that digital platforms can rely solely on “hosting” or “intermediary” defences where the platform monetises content and the harm arising from misinformation is reasonably foreseeable.

    Falana’s lawyer said the decision reinforces a standard of platform accountability under Nigerian law, aligning with emerging global jurisprudence.

    The court further held that “the fact that the applicant is a public figure does not rob him of his right to privacy.” It found that the publication of false medical information intruded into the claimant’s private life, regardless of his public standing.

    Babalola said the finding settles an important misconception in Nigerian legal practice and affirms that health data enjoys heightened protection, even for public figures.

    The court also held that Meta determines the means and purposes of processing content, monetises pages, and controls distribution algorithms, thereby acting as a joint data controller with page owners. Consequently, Meta was held vicariously liable for the offensive video.

    Babalola said: “This is a major development under the NDPA and weakens the ‘mere platform’ defence traditionally relied upon by Big Tech.”

    The court further ruled that Meta breached Section 24 of the NDPA by processing personal data that was inaccurate, harmful, lacked a lawful basis and was unfair to the learned Senior Advocate. The false health information was held to amount to unlawful processing per se.

    It emphasised that where the risk of inaccuracy is foreseeable, particularly in relation to sensitive personal data, a platform owes a heightened duty to ensure accuracy and integrity.

    The court held that Meta failed to deploy adequate safeguards to prevent or mitigate the harm.

    As a global technology company with vast resources, Meta was expected to implement effective content-review mechanisms, rapid takedown processes and safeguards proportionate to the risks posed by misinformation. Its failure to do so, the court held, amounted to regulatory non-compliance.

  • Glitches: EFCC returns N802.4m to First Bank

    Glitches: EFCC returns N802.4m to First Bank

    The Economic and Financial Crimes Commission (EFCC) has handed over  N802,420,000, which it recovered  of  N1.3billion, to the First Bank Nigeria Plc.

    The cash was intercepted from a customer by the Benin Zonal Directorate of the commission following glitches in the bank.

    The customer and his relationship, who took advantage of the errors, have been  charged to court.

     According to a statement by the Head of Media and Publicity of the EFCC, Mr. Dele Oyewale, the money was retrieved from a suspect, Ojo Eghosa Kingsley, who took unlawful possession of over N1.3 billion belonging to the bank.

     The statement said: “The bank,  in its petition to the EFCC,  had alleged that system glitches led it to erroneously credit the account of Kingsley, a customer of the bank with the said amount.

    “The commission in its investigation discovered that the suspect,  upon the receipt of the money,  transferred a good measure of it to the bank accounts of his mother, Itohan Ojo and that of his sister, Edith Okoro Osaretin, and committed part of the money to the completion of his building project and the funding of a new flamboyant lifestyle.

    “With the recovery of the money from the identified bank accounts, the EFCC handed it over in drafts to First Bank.”

     The Acting Director, Benin Zonal Directorate of the EFCC,  Deputy Commander of the EFCC,  DCE Sa’ad Hanafi Sa’ad, while handing over the money,  said the EFCC will continue to discharge its mandate effectively in the overall interests of the society.

    Read Also: Adeyanju backs EFCC, faults opposition over reaction to Malami’s case

     Sa’ad added: “The EFCC Establishment Act empowers us to trace and recover proceeds of crime and restitute the victim. In this case,  First Bank was the victim and that is exactly what we have done.

    “We will continue to discharge our duties to ensure that fraudsters do not benefit from fraud and that economic and financial crimes are nipped in the bud.”

    In his response, Olalere Sunday Ajayi, Business Manager, First Bank, Benin, who received the drafts on behalf of the bank,  commended the EFCC for the swiftness and the professionalism it brought to bear in the handling of the matter and expressed the bank’s gratitude to the Commission.

    He described the EFCC as one of the most effective and reliable institutions.

    Kingsley and all other suspects in the matter have been charged to court for stealing by the EFCC.

  • AFRIMA in glitz, glamour

    AFRIMA in glitz, glamour

    After a memorable festivity that ended 2025 across Africa, the African music industry started the year 2026 with the Africa Music Awards, AFRIMA. The ninth edition of the AFRIMA was held in Lagos, and activities were held between Wednesday, January 7, and Sunday, January 11, Entertainment Editor, Gbenga Bada reports.

    This year’s AFRIMA attracted no fewer than 1,216 artists, delegates and members of the production team to Lagos for the duration of five days. The five day-long event, had a plethora of music activities that kicked off with the Welcome Soiree for nominees and invited guests. The soiree was hosted by the British Deputy High Commissioner, Jonny Baxter, at his residence in Lagos. The event formally signaled the commencement of AFRIMA Week, setting the tone for a series of activities leading up to the awards ceremony.

    In attendance were dignitaries from the British High Commission, Lagos State Commissioner for Tourism, Arts and Culture, Mrs Toke Benson-Awoyinka, AFRIMA president, Mike Dada and several others.

    Following the Welcome Soiree, the train moved to the AFRIMA Africa Music Business Summit (AMBS), which was held on Thursday, January 8, at the Eko Convention Centre, Lagos.

    With the theme Connect, Build, Own: Monetising Africa’s Music Revolution, the summit brought together industry leaders, artistes, policymakers, diplomats and global stakeholders to discuss ownership, investment, distribution, copyright and the future of African music on the global stage.

    At the Music Business Summit, the conversations went beyond performances and popularity, with discussants identifying policy reform, technology adoption and stronger collaboration as major pillars needed to deepen the growth of Africa’s music industry.

    The President of AFRIMA, Mike Dada, stated that the African music industry must now pay more attention to the business side if it wants to grow sustainably saying, “African music is not only about the songs and vibes but about building the business aspect of the industry.”

    Dada went further to add that the Africa Music Business Summit was created to bridge the gap between creatives and decision-makers.

    In his words, “Africa Business Summit is designed to expose African artists to business leaders within the sector on the continent.”

    The Music Business Summit also had a representative of the African Union Commission, the Head of Culture Division, Ms. Angela Martins, who described music and the creative economy as key drivers of development, unity and job creation across Africa.

    Read Also: Olisa Adibua, Juma Jux, Stonebwoy, ID Cabasa, others lead conversations at Africa Music Business Summit ahead of 9th AFRIMA

    Attendees at the Music Business Summit include CEO of Universal Music South Africa and Sub-Saharan Africa, Sipho Dlamini; Morocco’s Karima Damir of Universal Music, Francis Doku, Mustapha Ettouil, Georg Heritlitz, Olisa Adibua, Bizzle Oshikoya. Others are Kofi Olomide, ID Cabassa; Innoss B, Juma Jux, Stonebwoy, and Didi B, among others.

    The AFRIMA Music Village was next and it happened on Friday, January 9. For the ninth edition of the continental music and culture awards, The AFRIMA Music Village lit up Ikeja City Mall to deliver an unforgettable celebration of African music and culture that drew a massive crowd of enthusiastic music fans.

    The event, which kicked off at about 6:30PM, stretched late into the early hours of Saturday as fans gathered to experience an energetic blend of sounds from across the continent. Performances were led by legendary Afrobeat star, Femi Kuti.

    From Wande Coal to Diamond Platnumz, Yemi Alade, Stonebwoy, Innos’B, Kcee, 9ice, Obesere, Jeriq, Skales, Moliy, Mavo, and Ayuba, the African stars took turns to thrill a cheering crowd and give an unforgettable night of excitement.

    Saturday, January 10, was devoid of official activities as guests and musicians took the time to relax ahead of the big day on Sunday, January 11, while officials kept working round the clock to achieve a successful event.

     On Sunday, January 11, the Eko Convention Centre, situated inside the Eko Hotels and Suites, was busy with beehives of activities that heralded the 9th Gala night and awards ceremony of the continental music and culture ceremony.

    The glamour and the glitz of the ceremony became the order of the day as the Red Carpet kicked off at 3:30 pm till 6:30 pm when guests entered the hall for the commencement of the ceremony that kicked off at exactly 7pm.

    Nigeria’s FalzTheBahdGuy and French-Senegalese actress and media personality, Liliane Maroune welcomed attendees and guests as hosts of the 9th edition of the awards. Falz emerged the second Nigerian, after music legend 2Baba, who co-hosted the prestigious ceremony at the inaugural edition in 2014.

    Despite some production glitches and errors during the five-hour long ceremony, attendees were treated to a night of African royalty with the hosts looking glamorous in their different outfits throughout the night.

    Nigerian music stars Burna Boy, Rema, Yemi Alade, Shallipopi and Phyno emerged among the biggest winners of the night. Rema, who attended the event in company of his associates, stood out clinching three major awards -Best Male Artiste in Western Africa, Artiste of the Year, and Best African Artiste, Duo or Group in African RnB/Soul for Calm Down.

    Burna Boy, who was absent at the ceremony, clinched the Album of the Year award for his No Sign of Weakness’ album, while Yemi Alade’s You Are from Iyanu: The Animated Series won Best Soundtrack in a Movie, Series or Documentary.

    Other Nigerian winners include fast-rising act, Shallipopi, who not only performed at the event but also won Song of the Year with his 2025 monster hit ‘Laho’ and Best African Collaboration alongside Burna Boy for the remix of ‘Laho.’ Phyno won Best African Artiste in African Hip-Hop, while rising star Chella clinched African Fans’ Favourite with his hit single, ‘My Darling.’

    Other winners on the night included Tanzania’s Jux, Cindy Le Coeur of the Democratic Republic of Congo, Wendy Shay from Ghana, and DJ Moh Green from Algeria.

  • When conceptual portraiture tells visual narrative

    When conceptual portraiture tells visual narrative

    In photography, the creative space often throws up new styles and talents. For the emerging hands, the practice is both tasking and interesting despite the influence of technology. But, in pursuance of a successful career, Birmingham-based fine-art and portrait photographer Rahimat Onize Shaibu chooses to anchor her works around symbolism, cultural storytelling and emotionally driven composition.

    Originally from Nigeria, she creates images that explore identity, inner worlds, and the quiet strength found in personal reflection. Her practice spans conceptual portraiture, self-portraiture and constructed imagery, often incorporating handcrafted props, flowers, fabric and traditional elements to build visually expressive narratives. Thematically, Rahimat’s body of works is defined by its intentional use of colour, minimalist sets, and the poetic way she transforms simple materials into symbolic meaning.

    She has exhibited internationally, photographed major cultural events, and contributed to creative communities through both commercial and personal projects. With a deep interest in storytelling, womanhood, and visual symbolism, Rahimat continues to develop a collection of works that is intimate, imaginative, and rooted in both personal and cultural identity.

    With her masterful use of lighting, she has a remarkable eye for colour and composition, often integrating elements into her backdrops rather than opting for blank studio settings.

    In the mode of the late Malik Sidibe, one of Africa’s iconic photographers from Maili, known as “the Eye of Bamako”, Rahimat is one visual artist with lots of talents. Like Sidibe, she sees the future of the world in faces, while capturing them in striking poses against colourful backdrops. From her current portraits, it is much likely that Rahimat is equally drawn to faces considering each piece a world unto itself.

    Indeed, her current collection remains a seminal pack of fine art and documentary photography, capable of influencing and provoking debate among enthusiasts. Her striking portrait such as In My Own Arm exudes a sensitive, natural feel, thanks to her candid approach, use of dynamic light positioning, and the trust she built with her subjects, in this case, herself. She uses In My Own Arms to explore self-connection and the comfort found in holding one’s own presence. Her choice of colours in the background, sits well with the white shirt and black tie, thus throwing up the twin image. The colourful head tie is also in sync with the background. Whereas in The Sun Within, Rahimat uses bold colour blocking and simple gestures to express warmth, identity and the quiet power people carry inside of them.

    Read Also: Beyond the single narrative: The reality of Benue killings

    Arguably, Rahimat is an emerging portrait photographer capable of shaping the creative space and possibly become another American Annie Leibovitz of our time. Her striking works stem a brooding intensity, masterfully sculpting subjects with light and form, whilst her use of austere backdrops, reminiscent of Irving Penn’s, creates additional impact, further directing focus squarely on the subjects. Her approaches will no doubt, help influence a generation of photographers that will experiment with new styles and perspectives.

    However, these works represent different directions within her creative practice, each exploring a unique visual idea.

    “I’m drawn to portraiture that uses symbolism, colour, and constructed elements to express emotion, identity, and the inner world,” she affirmed. With Silent Triangle she examines restraint and protection, using floral symbols to represent a personal refusal to absorb or spread negativity. Each of the three images captures different stages of her mood and state of mind. 

    But with Blessed Rain she draws from themes of blessing, inheritance, and divine favour, a visual representation of being covered, guided, and poured into from above, using handcrafted elements to express spiritual abundance. The colour hue is within the blue sky scape that reflects the natural rainfall situation.  

    “Though these works stand independently, together they highlight the breadth of my visual language and my ongoing interest in creating portraits that speak inwardly as much as outwardly,” she said.

  • A carnival positioning Plateau as cultural powerhouse

    A carnival positioning Plateau as cultural powerhouse

    The recently concluded annual Plateau Cultural Carnival 2025 has evolved into a defining milestone in Nigeria’s cultural landscape, while firmly positioning Plateau State as a rising national and continental hub for cultural tourism, creative excellence, and social integration. Held between December 12 and 14th 2025, across major streets of Jos, the carnival commenced with a vibrant street parade, transforming the city of Jos into a moving canvas of colour, rhythm, and shared celebration. The atmosphere was electric as residents and visitors alike participated in the “See Plateau Tour,” pausing daily routines to engage with culture as a unifying force. In moments like this, it became evident that culture remains the glue that holds communities together.

    Convened by Debrah Jalmet, a committed cultural advocate driven by heritage preservation, youth empowerment, and social cohesion, the three-day carnival transcended festivity to become a living expression of identity, unity, and collective purpose. Through music, dance, fashion, art, cuisine, and storytelling, Plateau State confidently projected its cultural richness to the nation and the global community. As widely acknowledged, culture widens both the mind and the spirit, a truth vividly reflected throughout the carnival.

    It also featured a concert that drew massive crowds, reinforcing the carnival’s role not just as entertainment, but as a catalyst for civic pride, social bonding, and local economic activity.

    On the second day of the carnival, more than 22 cultural troupes representing all 17 Local Government Areas of Plateau State delivered powerful performances reflecting centuries of heritage, resilience, and identity. Each presentation affirmed a shared understanding that the culture of a people is the true expression of their soul.

    Read Also: Troops rescue six kidnap victims in Kaduna, retired Colonel in Plateau

    A defining highlight of the day was the Walk of Unity, where beauty queens, artists, cultural ambassadors, and renowned creatives walked side by side in a visible demonstration of peace, inclusion, and shared destiny. The procession stretched from Sectorial Junction to the Jos Museum, culminating in a dynamic convergence that transformed the museum grounds into a living cultural village. Traditional cuisine exhibitions, art installations, and live cultural showcases turned the space into an immersive experience—clearly demonstrating that culture has the power to transform places into destinations.

    The carnival was boosted by the presence of distinguished Nollywood actors and creative industry veterans, including Kalu Egbui Ikeagwu, Ekpenyong Bassey-Inyang, Sani Muazu, Fred Amata, Gloria Young, Prince Daniel Aboki, Chuck Chyke, and Daniel Ikechukwu Obiora. Their participation underscored the carnival’s growing stature as a credible cultural platform that attracts Nigeria’s creative elite.

    Their engagement also reinforced a globally recognised reality: tourism thrives where cultural exchange and mutual understanding are actively promoted, a role the Plateau Cultural Carnival continues to play with increasing impact.

    The carnival reached its climax with a glamorous grand finale combining the award night and cultural beauty pageant. Winners emerged as ambassadors of elegance, intelligence, and cultural pride. Outstanding students from the Secondary School Cultural Competition were rewarded with laptops and financial grants—demonstrating the carnival’s deep commitment to education, youth empowerment, and future leadership.

    By celebrating young talent and recognising individuals who have contributed significantly to Plateau State’s growth and development, the carnival reinforced a lasting principle: societies that invest in culture are investing in their future. By every measure—attendance, organisation, cultural depth, and public reception—the Plateau Cultural Carnival 2025 was a resounding success. It honoured the past, empowered the present, and inspired the future.

    With over 50 ethnic identities and increasing community ownership, the carnival is strategically positioned to evolve into one of Africa’s premier cultural festivals within the next five years, attracting international tourists, scholars, creatives, investors, and global media. In doing so, it reinforces a powerful truth—that unity grows stronger when diversity is celebrated, not erased.

    As the Plateau Cultural Carnival continues to expand, it presents partners with a unique opportunity to align with a fast-rising cultural brand that delivers impact across live experiences, digital platforms, and national and international media. Beyond visibility, the carnival serves as a meaningful vehicle for corporate social responsibility, supporting cultural preservation, youth empowerment, tourism development, and community cohesion.

  • Africa’s creative economy gets on global stage

    Africa’s creative economy gets on global stage

    Afrovision X 2026, a landmark global festival produced by Grandieu Inc., celebrating African and Caribbean creativity, will hold between June 1 and June 30, across Toronto, Brampton, and Mississauga, Canada. The month-long festival will culminate in a prestigious Afrovision X Awards Gala, recognising individuals, institutions, brands, and organisations supporting and advancing the fast-growing global creative sector. As international preparations intensify, Nigeria officially commences its activation phase this month, led by Nigerian partners Inspiro Productions.

    Afrovision X 2026 is a multi-disciplinary cultural and economic platform spanning fashion, film, music, theatre, visual arts, culture, and creative exchange, designed to position Africa’s creative economy prominently on the global stage. The festival will convene creatives, designers, musicians, filmmakers, artists, cultural institutions, governments, investors, brands, and diaspora communities from across Africa, the Caribbean, and the world. As a recognised powerhouse of global African creativity, Nigeria is expected to play a central and leading role, with the festival coinciding with the global World Cup period, further amplifying international visibility.

    The Nigerian activation will focus on strategic mobilisation and partnerships ahead of the Canada showcase, including stakeholder engagements with government and private sector institutions, sponsorship and partnership drives, creative community mobilisation across multiple disciplines, a Lagos-based international press conference, and the release of official participation guidelines for creatives, designers, filmmakers, musicians, performers, and exhibitors.

    Speaking on the vision behind the festival, Lead Convener of Afrovision X 2026 David Bebiem stated that the initiative is committed to showcasing African and Caribbean creativity at world-class levels, adding that Nigeria is not just participating but leading, while also recognising the individuals and institutions shaping the sector’s growth. On local coordination, CEO Inspiro Productions, Ayoola Sadare described Afrovision X 2026 as a global marketplace for Nigerian creativity, noting that brands, creators, governments, and institutions are being mobilised to fully leverage the opportunity.

    The AFROVISION X 2026 programme opens on June 1, 2026, with a spectacular opening ceremony in one of the GTA cities, featuring a red-carpet “Journey Through Africa” immersive cultural showcase, live music and dance performances, capsule fashion previews, film trailers, curated art presentations, the premiere of the AFROVISION X Anthem, and a grand fireworks and light display.

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    Fashion Week follows from June 3 to 7, showcasing runway presentations by leading and emerging African and Caribbean designers, panel discussions on “African Fashion on the Global Stage,” and a style marketplace featuring global and local brands. The Film Festival, scheduled for June 9 to 14, will spotlight Nollywood, Caribbean, and diaspora film premieres, socially impactful documentaries, industry roundtables on distribution and co-production, and spotlight sessions with renowned directors and actors.

    From June 16 to 20, Arts, Theatre, and Performing Arts take centre stage with theatre productions by celebrated playwrights, cultural storytelling nights, dance theatre, industry panels on the future of African theatre, emerging performers showcases, visual art exhibitions, workshops, and community engagements. World Music Week, running from June 21 to 27 and aligned with World Music Day, will feature major Afrobeat, Reggae, Soca, and fusion concerts, a Night of Legends tribute honouring African and Caribbean pioneers, music industry masterclasses, intimate unplugged sessions, and a vibrant World Music Day parade through Toronto streets.

    The festival concludes on June 30, 2026, with the AFROVISION X Awards Gala, celebrating excellence across fashion, music, film, theatre, and the arts, while formally recognising patrons, sponsors, and supporters of the creative industry. The closing night will feature celebrity performances, sponsor recognition, fireworks, and a cultural after-party.