Author: The Nation

  • Idowu emerges first female NICA president

    Idowu emerges first female NICA president

    DR. Mrs Markie Idowu has made history as the first female President and Chairman of the Governing Council of the National Institute of Credit Administration (NICA), chartered, Nigeria’s frontline statutory body of eminent credit management professionals and credit industry stakeholders.

    Dr. (Mrs) Idowu, an eminent Fellow of the Institute, previously served as Vice-President/Vice-Chairman of NICA for two terms.

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    She is currently leading eight other distinguished members of the Governing Council, namely: Professor Chris Onalo, FICA, Registrar/CEO of the Institute, Engr. Prof. Amieyeofori Valentine Felix, FICA, Vice-President/Vice-Chairman of the institute, Dr. Thomas Imokhai, FICA, Mrs. Eunice Oghomwen Sampson, FICA, Dr. Mrs. Wosilat Adebayo, FICA, Engr. Owoyemi Alaba, FICA, Alhaji Sada Ladan-Baki.

    Dr. (Mrs.) Markie Idowu is a highly respected banking, technology, and credit management professional with over 36 years of experience across banking, fintech, and corporate governance. She has held senior executive roles at CMB, GTBank, Fidelity Bank, and Polaris Bank, where she drove growth in IT, operations, retail, commercial, and corporate banking.

  • CAP conducts NABTEB-certified assessments for Painters Academy trainees

    CAP conducts NABTEB-certified assessments for Painters Academy trainees

    As part of its commitment to elevating technical competencies and creating pathways to economic empowerment, Chemical and Allied Products (CAP) PLC, Nigeria’s leading paints and coatings manufacturer, has successfully conducted its first NABTEB-certified assessments for trainees of the CAP Painters Academy.

    The milestone assessments, delivered in partnership with the National Business and Technical Examinations Board (NABTEB), evaluated 31 trainees across both theory and practical components of the Painting and Decoration module, marking a significant step forward in delivering nationally recognised, industry-aligned training to Nigerian painters.

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    The collaboration between CAP PLC and NABTEB was formalised in September 2025 to professionalise Nigeria’s decorative paints sector by combining CAP’s industry expertise with NABTEB’s nationally recognised certification framework. This partnership will ensure trainees acquire world-class techniques alongside credentials that enhance employability, professional credibility, and entrepreneurial potential.

    Speaking on the significance of the milestone, Bolarin Okunowo, Managing Director at CAP PLC, stated: “This milestone marks an important evolution for the CAP Painters Academy. By integrating nationally recognised testing and certification, we are strengthening the pipeline of qualified painters and supporting young people with skills that open doors to real economic opportunities.

  • Why SEC designated Voya investment fraudulent

    Why SEC designated Voya investment fraudulent

    Fresh facts have emerged as to why the Securities and Exchange Commission (SEC) warned the investing public against Voya Investment Management (VIM).

    Independent checks by our correspondent revealed the latest update on Voya Investment (VIM) in Nigeria is a major warning from the Commission, issued January 7, 2026, stating that Voya Investment Management (VIM) is an illegal, unregistered platform operating a fraudulent scheme, despite claims of being licensed by the SEC.

    The SEC advises the public to avoid transacting with them as they are not authorized in Nigeria, display a fake certificate, and pose a high risk of fraud, warning investors to verify firms through official SEC channels.

    According to the SEC warning, VIM is not registered or licensed to conduct investment activities in Nigeria and the platform’s claims of SEC licensing and supervision, including a fake identity verification certificate, are fraudulent.

    In a notice issued on Wednesday, the commission said the firm, which operates through its website, investments.voya.com’s claims of being licensed or supervised by the SEC are false and misleading.

     “The operators of this platform claim to offer investment services in Nigerian stocks and other financial instruments purportedly under the supervision of the Commission,” the commission said.

    “Voya Investment Management is also parading a certificate of identity verification purportedly issued by the Commission.

    “The Commission hereby informs the public that Voya Investment Management (VIM) is NOT REGISTERED or licensed by the Commission to carry out any activity in the Nigerian capital market.

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    “The certificate being paraded by Voya Investment Management was neither issued nor endorsed by the SEC, Nigeria as the Commission does not issue certificates of identity verification.

     “Furthermore, claims by VIM that it is supervised, licensed, or approved by the Commission to undertake operations in the capital market are false, misleading and fraudulent.”

    The SEC said complaints received regarding VIM’s activities indicate that the company is operating an illegal investment scheme capable of defrauding unsuspecting members of the public, particularly through misleading claims of regulatory approval.

    “Accordingly, the public is advised to refrain from dealing with Voya Investment Management (VIM), as any person who engages with the entity or its representatives does so at his/her own risk,” the commission reiterated.

    The SEC also urged investors to verify the registration status of companies on its portal via www.sec.gov.ng/cmos before investing, warning that engaging with unregistered entities exposes investors to significant financial risks, including fraud and potential loss of funds.

    Besides, SEC believes VIM exhibits characteristics of illegal schemes designed to defraud investors, with any engagement being at the investor’s own risk.

    However, separately, the publicly traded Voya Financial (VOYA) stock has seen positive movement recently, with analysts noting potential upside and market reallocation towards value stocks, according to Nasdaq and Trading.

  • 2026 outlook: key sectors to drive economy by ex-NBS boss

    2026 outlook: key sectors to drive economy by ex-NBS boss

    ERSTWHILE Statistician-General of the Federation, Yemi Kale, has listed the five sectors that would drive Nigeria’s economic growth in 2026.

    The list includes Information and Communication Technology ICT and digital services, construction and infrastructure, energy and refining, particularly downstream activities; agro-processing, and services.

    The former Director-General of the National Bureau of Statistics (NBS) made the projections on Tuesday at Firstbank’s 2026 Nigeria economic outlook themed: ‘The Great Recalibration: Mastering Resilience in an Era of Asynchronous Growth’.

    Kale, who is the current Group Chief Economist and Managing Director of Research and Trade Intelligence at AfreximBank projected that ICT and digital services would be the fastest-growing, driven by fintech, e-commerce, broadband expansion, and maturing tech ecosystems.

    He said construction and infrastructure will benefit from public investment and rising private participation, while energy and refining — especially in the post-Dangote refinery environment — will reduce fuel imports and create petrochemical linkages.

    Agro-processing, Kale said, would gain from the African Continental Free Trade Area (AfCFTA) integration, improved logistics and emerging processing clusters in rice, cassava, cocoa, and dairy.

    He said moderating inflation would upport recovery in services such as retail, transport, tourism, real estate, and professional services.

    The economist said the sectors would shape a more stable and diversified growth path in 2026, helping Nigeria shift from volatility towards sustained and broad-based growth.

    Kale, however, warned that Nigeria must strengthen its value chains and invest in technology to build resilience.

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    He said although Nigeria records growth across multiple sectors, too few deliver meaningful productivity or global competitiveness.

    He noted that policy discussions around diversification often miss the point by focusing on revenue expansion or tax base widening rather than fixing the structural constraints to productive growth.

    “We are structurally diversified, but not productively diversified. In other words, we produce a lot, but too little of it is complex value-added or tradable, and this is where our policy often misses the point,” Kale said.

    “When policymakers talk of diversification, it is really frequently interpreted by policymakers as expanding revenue sources or widening the tax base, rather than addressing the true constraints to productive growth, such as poor infrastructure, unreliable power, weak logistics, issues with skills gaps, limited credit access for SMEs.

    “To build real resilience, Nigeria must move from extractive dependence to productive competitiveness, which it hasn’t done yet, and to do this by strengthening value chains, supporting industrial clusters, and investing in human capital, technology, and infrastructure.”

  • N100trn market cap at resumed trading excites operators

    N100trn market cap at resumed trading excites operators

    •As stocks extend rally with N36.62trn gain

    Indications are that the nation’s equities market opened the year on a positive note as the market capitalisation hit the N100trillion mark.

    The NGX All-Share Index (ASI) rose by 0.57 percent to 156,492.40 or 879.40 points, the first trading day in January 2026 while market capitalisation rose to N99.9trillion.

    Nigeria stocks began 2026 on a positive note in holiday-thinned trade as investors braced for a year set to test investors’ reactions to Nigeria’s new tax laws which became effective on January 1.

     “The Nigerian equities market delivered strong performance in 2025, outperforming other local asset classes, driven by improved macroeconomic conditions, stronger earnings, higher dividends, and increased foreign participation.

     “We remain constructive on equities in 2026, supported by ongoing reforms, improved investor confidence, and favourable yield dynamics. In the fixed income market, easing inflation and a more dovish policy stance supported receding treasury yields. Our outlook is anchored on the dynamics of fiscal borrowings and liquidity movement,” Meristem research analysts said.

    The rally capped the year 2025 in which improving macroeconomic conditions and sustained market reforms combined to drive valuations, liquidity and investor participation.

    Trading on Nigerian Exchange Limited (NGX), closed on December 31, 2025 with Nigeria’s capital market ranking among the strongest-performing globally.

     “We remain optimistic about the opportunities ahead and committed to positioning Nigeria’s capital market as a key driver of economic growth and wealth creation,” Temi Popoola, CEO, NGX Group said, adding that the Group aims to strengthen its role as Africa’s preferred exchange hub.”

    Looking ahead, NGX Group says it will prioritise deeper collaboration with regulators, issuers, market operators and policymakers, while continuing to invest in technology to sustain momentum and broaden market access.

    By the end of the year, the NGX All-Share Index had risen 51.19 percent  to 155,613 points, up from 102,926 at the start of 2025. Total equity market capitalisation expanded by more than N36.6trillion,  while market capitalisation rose to N99.38trillion, one of the largest absolute increases recorded across global equity markets during the year.

    Nigeria’s performance compared favourably with major developed and emerging markets, where equity index returns generally remained below 25 percent.

    The MSCI All Country World Index posted gains of about 20 percent, underscoring the scale of Nigeria’s outperformance and the renewed attention it attracted from global investors.

    The 2025 rally reflected a confluence of macroeconomic stabilisation and deliberate capital market reforms. Nigeria’s economy recorded growth of 3.13 percent , 4.23 percent and 3.98 percent in the first three quarters of 2025, while headline inflation slowed sharply to 14.45 percent in November, from 34.60 percent a year earlier. The naira also strengthened modestly, closing the year at N1,448.03 to the dollar, compared with N1,538 at the beginning of the year.

    Market expansion was broad-based. As at December 31, 2025, equity market capitalisation stood at N99.38trillion ($68.74bn), while the fixed income market reached N51.48trillion ($35.61billion). Exchange-traded funds recorded particularly strong growth, with market capitalisation rising to N45.55billion, reflecting increasing product adoption and investor sophistication.

    Trading activity also strengthened. Year-to-date equities turnover rose to N5.96trillion, while average daily value traded increased to N23.76billion, supported by price appreciation, solid corporate earnings, banking sector recapitalisation, new listings and ongoing improvements to market structure.

    Meanwhile, President Bola Tinubu has praised corporate Nigeria, citizens, and other stakeholders in the capital market for surpassing the N100 trillion milestone on the Nigerian Exchange Group (NGX).

    The President urged Nigerians to deepen their investments in the local economy, assuring that 2026 will yield even greater returns as his administration’s economic reforms continue to deliver stronger outcomes.

    “This performance ranks among the highest in the world. Year-to-date returns have significantly outpaced the S&P 500, the FTSE 100, and even many of our emerging-market peers in the BRICS+ group.

    “Nigeria is no longer a frontier market to be ignored—it is now a compelling destination where value is being discovered. As the stock market reflects the entire economy, its stellar performance is a significant indicator of the country’s economic health and the confidence investors have in our economy

    “We are not celebrating the superlative stock market performance in isolation. We are also celebrating the microeconomic effects of our reforms. After the initial headwinds that followed our reforms, we are finally seeing a bend in the inflation curve. Crucial monetary tightening and the removal of distortionary ‘Ways and Means’ financing have restored stability to the Naira. Furthermore, investments in the agriculture sector have contributed to a consistent decline in inflation over the past eight months. From a 24-month high of 34.8% in December 2024, inflation decelerated to 14.45% as of November 2025, with projections indicating it will reach 12% in 2026.

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    “Under our administration, Nigeria is exporting more and importing less of what we can produce locally. Non-oil exports surged by 48% by the third quarter of 2025, totalling N9.2 trillion. Exports to Africa alone rose by 97% to N4.9 trillion.

    “Nigeria’s foreign reserves have crossed the $45 billion mark, giving the Central Bank the firepower to maintain stability. The Naira has stabilised, moving away from the volatility that once fuelled speculation. The Central Bank of Nigeria, in its latest outlook, projects foreign reserves will cross the $50 billion threshold in the first quarter of 2026.

    “We are also seeing an expansion of the rail networks, the completion of major arterial roads and the revitalisation of our ports. With the transformative Lagos-Calabar and Sokoto-Badagry superhighways, the nation’s infrastructure is growing.

    “Nation-building is a process, not a destination. Hard work, sacrifices, and the focus of its citizens build a nation. The N100 trillion market capitalisation is a signal to the world that the Nigerian economy is robust and productive.

    “As your leader, I pledge to continue working unrelentingly to build an egalitarian, transparent, and high-growth economy that will be further catalysed by the historic tax and fiscal reforms that came into full implementation from January 1,” President Tinubu stated.

  • SNAPSONG 274

    SNAPSONG 274

    Not for me the centurion

    who hundreds worship

    and a hundred thousand obey

    whose word is sword

    to which uncountable necks surrender,

    godlet of unmanning dread*

    A loud, unruly Emperor

    Is trending in the storm

    His crown is made of mud

    His scepter a fiery whip 

    His army boots and pounds

    Our earth in its softest spots

    His submarines disembowel the oceans

    Dying dolphins collide with wailing whales

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    Strike and slaughter,

     Boast and bomb

    Raiding distant lands for their precious treasures

    Transport their kings as cargo in crippling chains

    Might is right

    When the wrong are strong

    When Justice changes its name

    To just-as-it-is

    When penpoint bows to gunpoint

    And those who know so little

    Now ply the globe as leaders of thought

    While the Emperor reads the book, upside down

     It is a long, long time now  

    Since cruelty found a place in

    Our Bill of Rights. But if night

    Precipitates its darkest hour

    Can Dawn be far behind?     

    From “Grass in the Meadow”, Village Voices, p. 62, 1984

  • When wandering Book of Everything berths

    When wandering Book of Everything berths

    Title: The Book of Everything

    Author:  Maik Nwosu

    Publishers:  Crossroads, New York

    Year of Publication: 2025

    Reviewer: Edozie Udeze

    It is the title of the book that first sets your curiosity on fire.  This is The Book of Everything.  And indeed it is the book of everything and told very systematically and profoundly by a gifted and brilliant story-teller in the person of Maik Nwosu.  It is the story of a Western trained medical doctor who disappeared from his home for forty-four years, four months and four days.  Then he reappeared in far away South Africa.  No one knew where he disappeared to.  No one was able to trace or locate his corpse or trace the route he followed to his new destination.  Was he dead? Who aided his disappearance? What was his motive?.

    It was a mystery that is yet to be unraveled.  His name is Ileka or Ile Ka, a symbolic name in his native Igbo dialect, where names are given according to circumstances or position of the family or the people themselves.  Born into a family that is meant to produce priests for the local deity, Ileka, Ile Ka, opted to be a medical doctor, a choice he made to be able also to help people and effect changes in the society.

    But even as a medical doctor the pull to resort to those native norms and approach to the things of the world still had an upper hand in his life.  The gods never let him be.  The deity had a strong pull on him.  Now told by his grandson called Ile, the story harps on this mystery.  As the narrator, Ile, a Professor of English and a Nigerian – American scholar, takes readers through the labyrinths of different countries, locations and so on, where this story took place.  It is a story that traverses South Africa, India, Ethiopia, Nigeria, America, England, Bangladesh and more, where this mysterious man called Ile Ka touched lives in some ways.

    Dr Ile Ka had a prosperous medical practice at Fegge, where he used his privileged position to help a lot of people.  This was after he came back from England where he studied medicine.  Beyond what he decided to offer to people almost free of charge, he also established a centre called King Lazarus.  This served more or less like an NGO through which he offered several and unsolicited assistance to people.

    He did this for a while, as people began to flock in to seek for his help.  But soon enough something snapped in him.  At the sudden loss of his lovely wife, Ile Ka became a sad and confused man.  His work no longer intrigued or interested him.  He wanted to explore the world.  Now after he had bought himself a new atlas, his wandering spirit was reawaken.  From that moment, his bearing changed. His attitude to the hospital, to King Lazarus, to his family also changed.  The narrator puts it clearly in a conversation with his wife Ella.  On page 98, a conversation with the narrator Ile with his wife Ella repeating an earlier dialogue with Uncle Ibe states clearly how this mysterious grandfather chose to disappear from his people into an unknown world.

    “A man walked on the moon” he said with limitless amazement.  “A man walked on the moon”.  “A man walked on the moon”, he repeated.  “We all feared he was going mad.  He was dazed by the news that we were unsure what he wanted to do next.  Father wasn’t the sort of person who did nothing”.  Ibe told his nephew, Ile, the narrator.

    It is through this dialogue and more that the reason for his disappearance could be made a bit clearer.  It goes on: “What did he do?”.  “That’s the thing.  He didn’t do anything.  He did buy a new atlas though, a bigger atlas than the one he used to decide to go to London…”  And so a man walked on the moon in 1969 and in 1974, Dr Ile Ka left home in Nigeria in search of more knowledge, more mysteries and more discoveries about the earth and its people.

    But what triggered The Book of Everything was a call Ile got from Willem Kirk of Kirk and Klaus in Stellenbosch, South Africa.  Suddenly Willem’s call to Ile was to refer to his grandfather’s will.  A man that died forty-four years previously and was declared dead and buried in his homestead in the village cannot be said to be alive again.  “I am calling from Stellenbosch, South Africa on behalf of your grandfather, Mr. Ile Ka.  I’ve been trying to reach you for some time now.  It’s extremely important that you call me back at this number as soon as possible”.  And so Ile became edgy all of a sudden.

    So with this strange call, Ile, the narrator suddenly became agitated, apprehensive and curious all at the same time.  Now, how do you resolve the issue of someone who died before you were born, a grandfather that did not even know you.  And you never met him either.  Set in parts, Ile used the dynamism, brilliance and lyricism of a visionary story-teller to lead people into the depth of this strange medical doctor who chose to be a wanderer for the sake of humanity.  It all shows the overwhelming influence of that spirit of their native deity, the ancestors, that imbued strangeness in all members of the clan.

    In part one, the narrator situates his own place as a Nigerian-American student, trying to acquire degrees  in English.  His encounters with other people and the rigours and fun involved in being a foreign student, the lifestyles of most Nigerians in Houston, Texas, all woven together to produce a close-knit story that gives the book its peculiar aura.

    No doubt, Nwosu is a sound journalist, a story-teller born into it, who won awards as a writer before veering into the academia.  In part one, Ile met his wife Ella, also a Nigerian born in America who was studying for a doctoral degree in music.  Together the two and their friends form the nucleus of what made this part amazing enough to set the ball rolling for their sudden return to Nigeria.

    In part two, the novelist takes readers through the journey of Ella and Ile back to Nigeria to unravel more clearly the story behind grandfather Ile Ka who was both a priest and a medical doctor.  Ile recalled his friendship with Nathan and other naughty things they did together back in school.  He headed home to the village to meet Uncle Ibe and Aunt Rosette to resolve this issue to help him in his sojourn to South Africa.  It is here that the family tore through the history and person of Ile Ka, the Monk, the priest, the medical doctor, the King Lazarus founder and above all, a born wanderer of the world.

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    With hindsight, typical of a brilliant raconteur, Nwosu said “But I think father was born a wanderer and the beatings he received from his father could not still his wandering spirit”.  This was Uncle Ibe stating the nature of his father and why he eventually eloped into a new life, a new world and a new adventure.  A rainmaker also, Dr Ile Ka carried this over to his next world where he perfected it to save lives and restore hope.

    Having learnt the many odysseys of his grandfather hence, the narrator equally raised some sensitive issues about the incursion of modern wave Christianity into the village.  The clash between the native people who were opposed to Christianity and firebrand pastors, gives the story a dynamism suitable for readers.  Now set to go to South Africa to unravel the mystery, the book says on page 22, “my visit to Nigeria had been quite revealing.  I hoped I would find more answers in South Africa”. And so the scene, the attention of The Book of Everything now moved to South Africa.

    In part three, Ile was able to pierce a few things together to meet his grandfather through the many relics, artefacts and visual materials he left behind.  He was able to meet more through the people his grandfather encountered, people he impacted on their lives.  And truly Dr Ile Ka moved to different places on the surface of the earth. He was in Ethiopia.  He moved to India.  He equally visited Bangladesh.  He then chose to settle for four years in South Africa where he died.  But Ile was not able to unravel the name Ann Pottinger, one woman that also appeared in his life in a frenzy.

    In South Africa, Dr Ile Ka was known as a Monk, a kind man, a priest, a humanist.  Among other people he worked with, he was known as Aileek.  So many different character behaviour that truly entrusted in the novel the ubiquitous title – The Book of Everything.  This part is where the novelist made all the suspense clearer in order to resolve the mysteries.  Part four is where he returned back to Houston after a brief stopover in Lagos from South Africa.  Even though he learnt more new things about some Nigerians in Houston who have refused to return home, his encounter with Osita in particular was quite remarkable.

    But the story ended with a heartbreak for Ile.  He was shocked to meet Joel, his trusted friend and his lovely wife, Ella in his matrimonial home, making love.  It is story of plenty of heartaches, trusts, and mistrusts, love and hate, confusion, anger, frustration, ambition.  Yet it is the story of how a good story-teller goes deeper into the ambiance of life to teach, to instruct and to unravel.  Life itself, after all, is a mystery, too complicated for the feeble mind.

  • A City Submerged debuts

    A City Submerged debuts

    A climate change focused play, “A City Submerged”, by prolific writer, Dr Ebidenyefa Nikade, is scheduled for release shortly, The African Culture Club Writers’ Series, Woji, Port Harcourt, has said.

    The group made this known in an emailed statement yesterday made available to The Nation.

    “A City Submerged” is a climate-change flood tale that chronicles the lives of people displaced into an Internally Displaced Persons (IDP) camp after rising waters swallow the riverine community of Oporoba.

    Through the voices of Mama Priya, University-Owei, Benji, and Perezie, the play exposes how environmental disasters evolve into profound political and moral crises, laying bare the state of neglect, bureaucratic cruelty, and the collective survival of the people.

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    Set against the backdrop of recurring devastating floods, the play follows families who have lost their homes, loved ones, and livelihoods, yet are expected to adjust solemnly to their new realities without question, without redress, and without accountability. Within the camp, hunger lives side by side with fear, memory, and the anxious hope for the waters to recede. Survival becomes both a burden and an act of resistance.

    “A City Submerged” interrogates displacement as a natural consequence of climate change as well as a human tragedy worsened by indifference, political inertia, and silence. It is a testimony of endurance, a lament for abandoned citizens, and a call to confront the cost of ignoring those affected by such natural disasters and their attendant issues.

  • Revisiting Christ’s final hours at Golgotha

    Revisiting Christ’s final hours at Golgotha

    Title: The Last Words of the Saviour on the Cross

    Author:          Olusola Adeyegbe

    Publisher: Cowrie Mindworks Limited

    Reviewer:      Raymond Mordi

    Pagination:    82

    Olusola Adeyegbe’s The Last Words of the Saviour on the Cross enters today’s often polarised religious landscape with the quiet assurance of a thinker who has wrestled deeply with faith, doctrine, and the fundamental question at the heart of Christianity: Why was the purpose of Christ’s coming?

    Drawing inspiration from the work, In the Light of Truth: The Grail Message by Abdruschin, Adeyegbe offers neither a theological polemic nor a sentimental devotional. Instead, he presents a reflective and provocatively gentle meditation that encourages readers to reconsider long‑held assumptions about the crucifixion, redemption, and the true mission of Jesus of Nazareth.

    The result is a work that both challenges and enriches—one that may unsettle traditionalists yet offer refreshing clarity to readers seeking a coherent, spiritually grounded understanding of Christ’s message.

    Across its nine chapters, the book advances a striking but straightforward claim: Christ’s mission is centred not on His death but on His teaching: His revelation of the Divine Truth. Christ’s crucifixion, Adeyegbe argues, represents humanity’s tragic rejection of that Truth, not a divinely mandated path to redemption.

    This framing aligns with the Grail Message’s distinction between the Cross of Suffering—the instrument of execution at Golgotha—and the Cross of Redemption, the radiant, equal‑armed Cross symbolising the Eternal Truth.

    Redemption, in this view, does not come from Christ absorbing human guilt or fulfilling a metaphysical transaction. Instead, it arises only when individuals awaken to the Truth He brought and live in obedience to it.

    This interpretation of the mission of the Son of God distances the book from Anselm’s satisfaction theory, the Reformers’ penal substitution, and the patristic “ransom” motifs—traditions the author explores as historically shaped constructs rather than divine revelation.

    Yet Adeyegbe’s critique of these doctrines is without hostility. With calm precision, he traces their evolution. He invites readers to consider whether, over the centuries, theology has drifted from the simplicity of Christ’s call to repentance, obedience, and spiritual renewal.

    One of the book’s strengths is Adeyegbe’s contemplative use of the Scripture. Instead of argument-driven citations, he treats biblical passages as reflective windows that invite inward thought. Throughout the chapters and the extensive Appendix, he builds a steady, cumulative case:

    If Christ’s death were divinely required, why is Judas’ betrayal portrayed as sin rather than obedience? Why would Pilate’s wife receive a warning in a dream? Why would Jesus label His executioners as acting in ignorance? Why would the Commandment “Thou shalt not kill” remain unbroken and uncompromised?

    Why would Christ lament that His word had “no place” in His opponents?

    Taken together, these scenes reinforce a consistent theme: the crucifixion was law‑breaking, not law‑fulfilling; rejection, not redemption; human blindness, not divine necessity.

    The power of the book lies not in dramatic rhetoric but in its meditative pace, inviting readers into a quiet, contemplative engagement with theology.

    Chapter Nine, arguably the book’s most compelling section, distils Christ’s mission into seven themes: rejection, ignored warnings, the conflict between divine law and human sin, obedience to Truth, repentance, cleansing through the Word, and the symbolism of ‘washed robes’. This focus sharpens understanding of the central message and invites deeper reflection.

    Here, Adeyegbe becomes pastoral. He does not dictate doctrine; he invites reflection. For readers familiar with the Grail Message, the focus on personal responsibility and spiritual volition will feel familiar. For newcomers, this chapter may serve as a surprising, fresh doorway into the teachings of Christ.

    The 15 reflections of Appendix 1 feel like a companion volume embedded within the main section of the book. Each reflection revisits a familiar scriptural scene—Herod’s rage, Judas’ betrayal, Pilate’s hesitation, the transfiguration, the prodigal son—and draws a moral or spiritual insight consistent with the book’s central argument: salvation begins with awakening, grows through obedience, and manifests in transformed conduct.

    This Appendix alone could function as a devotional guide for readers seeking depth without dogmatic rigidity.

    Beneath the biblical analysis lies a subtle but powerful critique of traditional doctrines. Adeyegbe echoes themes of the Grail Message in warning against an intellect disconnected from spiritual intuition. Lucifer’s influence, he suggests, manifests not in dramatic rebellion but in humanity’s quiet elevation of the intellect above the spirit, prompting readers to reconsider long-held beliefs.

    Elevating the intellect above the spirit feels remarkably relevant in an age marked by both scepticism and longing. The call to reawaken intuition—and reject the “sloth of avoiding true spiritual responsibility”—is timely and resonant.

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    Stylistically, the prose bridges theological reflection and spiritual literature. Warm, steady, and contemplative, Adeyegbe’s voice is both grounded and mystical. Study questions at the end widen the book’s usefulness, making it suitable for personal retreats, small groups, or church circles willing to entertain fresh perspectives.

    Adeyegbe’s background as a lawyer, teacher, and long‑time student of the Grail Message enriches the work with intellectual rigour and spiritual sincerity. His earlier writings—Make Your Work a Prayer, The R.E.A.L. Shift, Living Your Best Life, and Thinkalittle Premium—demonstrate a consistent commitment to inner transformation.

    In an African context, the book’s willingness to question inherited doctrines while maintaining deep reverence for Christ encourages readers to explore faith with courage and nuance.

    Many readers steeped in traditional theology may struggle with the book’s departure from familiar doctrinal frameworks. Yet even those who disagree will likely appreciate the sincerity, clarity, and contemplative depth of Adeyegbe’s approach.

    The Last Words of the Saviour on the Cross is a courageous and contemplative contribution to contemporary spiritual discourse. It challenges assumptions without undermining faith and reframes the crucifixion not as a cosmic transaction but as a mirror held up to the human soul.

    It is a book for thinkers, seekers, and any reader longing to encounter Christ’s mission through a fresh yet reverent lens.

    In the end, Adeyegbe’s message is simple and stirring: salvation depends on personal choice: living according to the Truth, embracing love, and aligning with God’s Will.

    A timely, thoughtful, and transformative work.

  • Itan bounces back on stage

    Itan bounces back on stage

    On stage on 26th December, Itan, the story, written and produced by Ayo Jaiyesimi of the Thespian Family Theatre, made the audience relax in an atmosphere full of total theatre entertainment.  Full of musical renditions, dances and dramas, with stories to spice it, Itan, an award-winning stage drama thrilled to no end.  Edozie Udeze reports on the reason the play is still relevant after ten years on stage and more.  The show happened at Muson Centre, Lagos.

    Itan is not just a story.  It is not only a story, any story at all.  It is a total theatre, a compendium of what a stage drama, musical and entertainment is all about.  Itan is scripted to take the world, lovers of theatre, a whole gamut of theatre buffs, indeed all thespians down memory lane.  Written by Ayo Jaiyesimi, an accountant turned theatre buff, the story went on stage throughout the Yuletide season.  It took place at the Muson Centre, Onikan, Lagos where the crowd was eager, keen and mammoth.

    Full of the stories of old, young, ancient and modern, the playwright was deliberate and intentional in the way she wrote the story.  On stage, Itan displayed the meeting together of the life styles of the old where also the young have refused to fit in.  It is an epitome of the crises of a society where moral decadence has swept and permeated through the cadres of the commonality of the people.

    But it is a story where the young in a way to show that their parents are no longer valuable and relevant decide to tow their own way.  On stage, Jaiyesimi invented the approach that is peculiar.  Her style gives room for total entertainment to become the medium to convey the importance of the message embedded in Itan.  And so, it has become a resounding story.

    She uses music, old and new.  She uses dance, ancient and modern to hold the audience spellbound.  She invents drama.  Her approach is what thespians call total theatre.  For many years Itan has been a delight to theatre lovers.  For in it, you sit for over two hours to savour the total beauty of stage musicals where the artistes display the highest level of dexterity on stage.  But with the deep assortments of costumes, designed exclusively to give vent to acting, the playwright has been able to bring her Thespian Family Theatre outfit into an unforgettable reckoning.

    On the 26th of December, the Boxing Day, the hall was packed to the full for the 3pm show.  Up on stage was one of the most fantastic and magnificent stage designs in modern times.  Built with the infusion of village setting in-between, the different dissections and revolving scenes became one of the sharpest selling points of the show.  The different designs rotated between now and then with reminisces.

    The main stage was done in different layers, designed within the background of a local scene from where story –tellers and observers and narrators could have their leeway. Easily so, the stage formation looked like where stones and rocks inhabit, where villagers usually go to watch the moon and the stars converge at night.

    The black background of the stage in rocky formation and layout gave Nissi George the coveted advantage  to act as a sage in the play.  He was the judge, the seer, the narrator, the arbiter.  He was the ubiquitous old man who held the old and the young in the jocular to allow peace reign.

    Itan was brought back this season to mark its 10 years anniversary.  A rare gift, it has won several awards as one of the most researched, stage mesmerizing musicals of all times.  Jaiyesimi insists that the play will never lose its grip or importance to the people.  Its relevance is for all time to come.  It is a reminder of what we were yesterday and what others have turned out to be today.  It is a mix, or a remix, that may not ebb or fizzle out.  Yet it is a mix that has given stage theatre something to talk about.  Itan therefore sounds iconoclastic.

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    In it, tradition has become inevitable.  The youths cannot stop experimenting.  That is what Nissi George tried to abridge or reconcile on stage.  The usage of Boy Alinco, who also showed the extremism of the young, the polluted generation, so-called, shows that theatre is life.  It is an epitome of the zeal to live, to use stage to replicate realities in all facets of social life.  Itan is a replication of life’s many faces and phases.  Nissi George is an enigma, no doubt.  He interprets roles with precision.  His voice projection is resounding and resonates with authority.  Jaiyesimi has the tendency to pick the best to give her script its wonderful impressions on stage.

    Boy Alinco is quintessential. He was able to stand between the two gaps to bring nearer home the whole essence of Itan.  Indeed with the classical dance patterns of the male and female actors on stage, the hall remained calm, only clapping intermittently to show appreciation.  In using songs to tell the story, the impact became instantaneous.  The songs travelled far into the past to unearth the old.  Some of the songs also dwelt in the present refusing to leave the present generation alone.   With the languages in English and Yoruba interspersed with idioms and proverbs, Itan once more reminded the audience about the problem of allowing moral decadence to take over the earth.  And this was why the village stage designs was alluring while the city has all the trappings of deceit, evil over good.  Yet, the two must come to a meeting point to avert disasters.

    When Laraba left home to the city where she entered into the hands of a street boy, it became apparent that the story would not end well.  Laraba lost her mother at birth.  Single-handedly raised by her father, she saw him as too old to instruct her.  Her man in the city however abandoned her with the baby boy.  The boy became a street boy as well.  Then the grandfather went in search of the grandson, the son of Laraba.  The sequences then produced the beautiful scenes that generated into Ian, the story.  They are scenes to teach wonderful lessons to all.  It is a therapy, indeed, the stage musical show is therapeutic.  But lasting for over two hours could make it overstretched and boring.  At a point the story fluctuated, became repetitive.  It became stuck for want of further suspense.