Category: Life – The Midweek Magazine

The Urhobos are one of the major ethnic groups in Delta State who live north of the Niger River of Delta and are grouped into autonomous villages and groups called clans, each with common ancestor. The Urhobo have two distinct sculptural traditions of nearly life-size wood figures, one representing spirit and the other actual or myth ancestors. To identify Urhobo figures as either spirits or ancestors can be difficult unless the context is known. However, written descriptions in photography of Urhobo figures suggest that this figure represents a spirit.

The Urhobo believes that singular and collective spiritual forces exist in nature: In water, trees, plants land or air. These spirits known as Edjo are pervasive and their powers encompass all of Urhobo life. A community may have several different kinds of Edjo, although one may recognise it as the spirit of the town. Wood carvings are the physical manifestation of these spirits.

A single shrine building  may comprise of a dozen of carved Edjo figures presided over by elaborate hierarchy of titled priests/princess, the spiritual leaders of Edjo cult. This figure such as this might be described as the “wife” of a large male Edjo figure. Sometime a wife is shown nursing a child. This figure depicts one standing and facing frontally with arms held rigidly at its sides. The feet are slightly apart and planted firmly on  the base. The face displays vertical keloids on the swelling forehead, the nose is angular, and the jaw jutting and displays an open mouth with two rows of bared teeth. The chest swells and two well formed triangular – shaped breasts are positioned to emphasise the symmetry of the body. Like figures from Eastern Nigeria, this one has a herniated navel a sign of beauty. Stomach, chest and shoulders are decorated with diamond shaped scarification. The figure is depicted wearing elaborate hat or coiffure.

This large figure represents ancestor, a founding person in the community whose power and fame has elevated him/her to the status of Edjo (Spirit). Edjo are regularly offered sacrifices to appease them and the Edjo r’ Ovwodo (spirit of the town) has annual festivals in its honour.

The carved necklace and bracelets are probably meant to represent ivory, as sign of wealth and high status. The white chalk (Orhe) that appears on the eyelid may be a sign of purity.

• Mrs. Odu is of National Museum, Abuja

 

A non-governmental organisation (NGO), Christ Against Drug Abuse Ministry (CADAM), has held an event to mark the World Drug Day, EVELYN OSAGIE reports.

TO the Director-General, Nigerian Association of Chambers of Commerce, Industry, Mines and Agriculture (NACCIMA), Ambassador Ayoola Olukanni, the drug problem has become worrisome.

Quoting the Nigeria Bureau of Statistics (NBS), he said in the past year, nearly 15 per cent of the adult population (around 14.3 million people) reported a considerable level of use of psychotropic drug substances,”quoting the surveys led by the National Bureau of Statistics in cooperation with the UNODC.

Olukanni was the keynote speaker at the Christ Against Drug Abuse Ministry (CADAM) inaugural lecture in Lagos, which was part of its three-day activities marking the  World Drug Day.

Citing UNODC’s World Drug Day Report, he said: “With improved research, and more precise data from India and Nigeria, both among the 10 populous countries in the world, we see there are many more opioid users and people with drug use disorders than previously estimated globally.

“Some 35 million up from the previous estimate of 30.5 million suffer from drug abuse and require treatment services. The death toll is also higher; 585,000 people died in 2017. Prevention and treatment continue to fall short of need in many parts of the world,” he stated.

Drug abuse in Nigeria, according to him, is caused by many factors, such as greed of peddlers, disobedience of laws, proliferation of the market by individuals who sell medicines, porous borders, diversion of legitimate exports to illicit use, weakness in inspections, weak penalties for the sellers and traffickers, among others.

The ambassador listed old and new frontiers of drug and substance abuse. He called for proactive engagement and cooperation of government and well-meaning Nigerians to curb the trend.

Olukanni said: “We have a huge drug crisis on our hands. The new frontiers of medical and recreational marijuana and the $32billion market opportunity being dangled before us may appear far off in the United States, but believe me they are at our doors steps. We must be alert to the efforts to extend the frontiers of legal Cannabis and be ready to combat it.  But to be able to do so, we must have an understanding of the dimension of what is to come and promote the need for us to prepare to combat it at all levels.

“We must wake up to it and start thinking of the strategic options to combat the trend. We may not be able to prevent total penetration, but we can at least ensure they don’t destroy our society and social fabric in our desire to key into this huge legal trade…It was also reported that drug abuse was observed among age 25- 39.

‘’This is indeed a call for re-orientation and paradigm shift in our approach to Drug phenomenon in Nigeria. We, therefore, recommend greater involvement and commitment on the part of government in order to forestall the scourge of illicit drugs in the country.”

For CADAM’s Director-General, Dr. Dokun Adedeji, “Drug abuse in not an incurable condition, so there is hope of recovery for such victims. That is why today, addiction is considered a public health issue. Fighting the scourge requires cooperation of all.” But if you think men are the only victims, think again. According to Adedeji, one in four people who abuse drugs are women.”

He said: “Drug abuse has become a serious societal health problem that to mark the World International Day against drug abuse and illicit trafficking, June 26, the United Nations in its theme for this year’s World Drug day, ‘Health for justice, Justice for health’ has beckoned on stakeholders in heath, justice and society to work together to find a sustainable solution.”

 

A tour

For this reason, he said, the organisation marked the day with various activities. The celebrations  began with a tour of its rehabilitation facility at Epe, Lagos, where it took reporters to for a first-hand view of its 28-year-long programmes/projects.

The centre, known as the Enoch & Folu Adeboye Rehabilitation Centre, has as Matron the wife of the General Overseer of The Redeemed Christian Church of God (RCCG), Pastor Folu Adeboye. It houses about 120 residents in its rehabilitation programme, it was learnt.

According to Adedeji, it seeks to mend and empower its beneficiaries with skills, such as ICT, photography and video production, fashion designing, Ankara accessories and bead making, soap making and cosmetics, leather works, laundry and barbing.

They organisation called for “the non-criminalisation of drug dependent persons in line with the United Nations policy of treating them as victims who need help from the society rather than criminals to be punished”.

“The non-stigmatisation of drug victims, especially those who have been rehabilitated would go a long way to promote faster recovery. This can be achieved, particularly with the help of the media. Non-stigmatisation is what we constantly urge the public at CADAM. We are on a great mission, which is to identify, prevent and combat the multiple causes and effect of drug abuse through the development of effective programmes and services that will make individuals, families and society free from the scourge of drug abuse and addiction.

“We believe these would ultimately improve their social health. The organisation was established to provide preventive care, rehabilitation and after care in a bid to make individuals, families and communities free from the scourge of drug abuse and addiction. We know we cannot do this alone, so Christ remains our cornerstone and the Church of God, the Redeemed Christian Church of God has been our origin and support through the years since it was established in 1987.

‘’Pastor Folu Adeboye has been very supportive. She built this facility in Araga, Epe. Thanks to her; hundreds are yearly being rehabilitated and empowered,” Adedeji said.

 

A walk

The tour was followed by a walk. Tagged: “Awareness walk”, it had in attendance advocates, including Nollywood actor John Okafor. With placards in hand, they began their campaign from Ndubuisi Kanu Park, Alausa and ended it at Ikeja bus stop.

According to CADAM Director of Programmes and Orientation, Funke Salako, the rally was “meant to create awareness about the menace of drug abuse and its impact on our society”.

 

A talk

The celebration ended with the inaugural lecture by NACCIMA DG at Alausa. It had as theme “Our crisis of drug and substance abuse: Strategic options to confront the new frontiers.

Dr. Ify Ukaegbu, represented the Senior Special Assistant to the President on Sustainable Development Goals, Princess Adejoke Orelope-Adefulure; and the Assistant Director, Lagos State Ministry of Youth and Social Development, Taiwo Fibisola.

This year’s International Museum Day has come and gone with museums all over the world marking the day in one form or the other. The National Museum, Abeokuta under the curatorship of Mr. Gabriel Okoh celebrated the day with schools’ debate, drama, cultural dances and a lecture delivered by Sir Martins Akanbiemu, the Resident Curator of Olusegun Obasanjo Presidential Library, Abeokuta while the Olusegun Obasanjo Presidential Library museum on its part marked the day with a talk on the Artistic Traditions of Nigeria also delivered by its Resident Curator as well as cultural dances.

Every year since 1977, the International Council of Museums (ICOM) has organised the International Museum Day (IMD) which represents a unique moment for the international museum community.  ICOM is the umbrella organisation for museums and museum professionals with a global scope, committed to the promotion and protection of the natural and cultural heritage of mankind; past, present and future, tangible and intangible. ICOM’s commitment to culture and knowledge is reinforced by the 31 International Committees dedicated to a whole range of museum specialities, who conduct advanced research in their respective fields for the benefit of the museum community. The organisation is also involved in fighting illicit trafficking; assisting museums in emergency situation and more.

The organisation through its Advisory Council chooses the theme for the museum day celebration while coordinating the event every year. The event highlights a specific theme that changes every year that is at the heart of the international museum community’s preoccupation. IMD provides opportunity for museum professionals to meet with the public and alert them as to the challenges that museum face. Indeed, in tandem with the definition of a museum as provided by ICOM as ‘a non-profit, permanent institution in the service of society and its development, open to the public which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, studying and entertainment’, IMD serves as a platform to raise public awareness of the role museums play in the development of society today on an international level. All around the world, more and more museums participate in the International Museum Day.

The Olusegun Obasanjo Presidential Library, Abeokuta for example participated for the first time in 2017 with the theme Museums and Contested Histories: Saying the Unspeakable in Museums. Against the backdrop of the theme, the Olusegun Obasanjo Presidential Library museum organised a symposium and an exhibition on a rarely discussed matter because of the psychological and emotional feelings it engenders; and that is the Nigerian Civil war.  The theme of the exhibition and symposium was the The Nigerian Civil war: Looking Backwards, Moving Forward. The theme highlighted the consequences of war in graphic details and concluded that it is better to ja-jaw than to war-war. Last year, more than 37,000 museums participated in the event in about 158 countries and territories.

Why international museum day?

The idea behind the International Museum Day is to create awareness of the importance of museums particularly among the developing countries where cultural matters is not in their scale of priorities as struggling as many of them are with socio – economic and political issues that “museums are an important means of cultural exchange, enrichment of cultures and development of mutual understanding, cooperation and peace among people”. It is a day to remind governments in these countries to pay more attention to their cultural institutions by way of empowerment to enable them carry out their statutory responsibilities. The status and standing of many countries today is to a large extent measured by the attention they pay to their cultural facilities. International tourism and the widespread economic gains it brings now represent a major reason for investment in our cultural facilities.

International Museum Day 2019 focuses on the new roles of museums as active actors in their communities. The theme for this year’s celebration is Museums as Cultural Hubs: The future of tradition. The role of museums in society is changing. Museums are reinventing themselves in their quest for becoming more interactive, audience focused, community oriented, flexible, adaptable and mobile. They have become cultural hubs functioning as platforms where creativity combines with knowledge and where visitors can also co-create, shape and interact. While preserving their primary missions of collecting, conservation, research, communication and exhibition, museums have transformed their practices to remain closer to the communities they serve. Today, they look for innovative ways to tackle contemporary issues and conflicts. By acting locally, museums can also advocate and mitigate global problems serving to meet the challenges of today’s society proactively. As institutions at the heart of society, museums have the power to establish dialogue between cultures, to build bridges for a peaceful world and to define a sustainable future.

As museums increasingly grow into their roles as cultural hubs, they are also finding new ways to honour their collections, their histories and legacies, creating traditions that will have new meaning for future generations as relevance for an increasingly diverse audience at a global level. This transformation, which will have profound impact on museum theory and practices, also forces us to rethink the value of museum as to question the ethical boundaries that define the very nature of our work as museum professionals. At once, a focal point for the community and an integral part of a global network, museums offer a platform for translating local communities’ needs and views into a global context.

In the light of the above, can we in all sincerity say that the Nigerian museum service is conforming with the above laudable museum divergent roles? The answer, of course, is NO. The professional disposition of the Nigerian museum service has been a sore point since the exit of the first indigenous Director of the Federal Department of Antiquities and Director- General of the National Commission for Museums and Monuments, late Prof. Ekpo Eyo. The museum service enjoyed moments of glory under the leadership of Eyo who did a lot in the areas of infrastructure, personnel training, research and publication, security, documentation, preservation, conservation, communication, educational services, exhibition etc. Eyo midwifed several museums including the Unity Museum pilot project in Enugu and Ibadan, when after the civil war, the Federal government resolved to establish a museum of unity in every state capital of the federation as a matter of expediency aimed at serving as a cultural vehicle for the actualization of the much elusive national unity. A visit to any of the existing museums in the country during his tenure left complimentary remarks on the lips of museum visitors; Nigerians and foreigners alike.

The popularity which the museum brought to the country outside the shores of this land through its celebrated travelling exhibition titled ‘Treasures of Ancient Nigeria: Legacy of Two Thousand Years’ as a mark of cultural diplomacy during Eyo’s tenure is still unparalleled. The exhibition was shown in eight American cities of Atlanta, Detroit, Los Angeles, New York, San Francisco, Philadelphia, Washington D.C and Calgary for  two and a half years. In Europe, it was shown in Norway, Sweden, United Kingdom, West Germany, France, Switzerland, Italy, Bulgaria, Yugoslavia, German Democratic Republic and Soviet Union for nearly three years before returning to Lagos in 1986 where it was exhibited for the enjoyment and entertainment of the public. The expose silenced Caucasian critics who used the epithets of   ‘primitive’ and ‘tribal’ to describe African art. It helped to debunk certain misconceptions about African art and succeeded in putting Africa, nay, Nigeria, on the cultural map of the world. There is no gainsaying that Eyo’s tenure marks a watershed and a veritable Eldorado in the annals of the Nigerian museum service.

Today the story is not only different but a sad one. The museum service is in a sordid state. It is now over three decades since the exit of Eyo (1986) and the museum service is now a shadow of its former self, to say the least. No thanks to the successive bunch of rapacious and looting gang of job hunters, opportunists and adventurers at the helm of affairs at a point in time, for this unmitigated disaster. The situation is not even better now as the museum service has become a rudderless ship parading blind persons on the driver’s seat since the exit of the unimpressive substantive Director General in 2017. Retired but not tired experienced and seasoned professionals abound who could be appointed as Director General to reverse the downward plunge of this once enviable cultural outfit. Even the primary missions of the museum which include collecting, conservation, research, communication and exhibition have been compromised by successive administration after Eyo. The employment of personnel such as ethnographers, archaeologists, conservators, education officers, technicians etc has been compromised. It is not only scandalous as the immediate past Director of Museums, Mr. Peter Odey regrettably pointed out in his paper delivered on the occasion of the International Museum Day celebration in Abuja that the National Commission for Museums and Monuments has no permanent accommodation with a befitting museum after many years of relocation to Abuja; whereas it was allocated a land in a choice area for that purpose in the Central Business District of Abuja. It is equally unwholesome, embarrassing and disgraceful to the image of Nigeria that after many years of existence the nation’s capital city has no museum. All major capital cities in the world have befitting museums that tells the stories of their countries and to show case the richness of their cultural property. The reason for this set back is twofold namely, putting round pegs in square holes and due to inept leadership lacking initiative coupled with its money guzzling appetite. Eyo did not have as much as the succeeding Directors General had before he made an impact on the museum scene; the vestiges of which have been allowed to fall into decadence. These, to my mind, as someone who has seen it all in the museum service during the days of Eyo are mind – boggling issues begging for answers which are not forthcoming.  There is no gainsaying that things have really gone awry in the Nigerian museum service under the National Commission for Museums and Monuments; a situation that calls for urgent professional intervention. Unfortunately, the supervisory ministry and the Board of Directors have not helped matters either as they have turned a blind eye to the happenings in the largest parastatal in the culture sector and refusing to do the needful for reasons best known to them despite the hue and cry of some lonely voices in the wilderness represented by union officials who are threatened with either transfer to the organisation’s ‘Siberia’ or with sack. This is the scenario playing out at the National Commission for Museums and Monuments as we speak. There is no doubt that the Nigerian museum service is ‘sick’ and heading for total collapse and except something is done fast, I see the collapse as imminent, sooner than later. A stitch in time saves nine.

 

 

With conversations centering on the resuscitation of the lost and almost forgotten African socio-cultural art forms, art historian Princess Theresa Iyase-Odozi is making waves with recollecting Edo historical wealth through her research travelling solo exhibition, BeninIconography.com. Art experts and journalists gathered at the Thought Pyramid Art Centre, Ikoyi, Lagos to assess her works, EVELYN OSAGIE reports.

They came seeking a rebirth of imagery and symbolism in prehistoric Benin Iconography. The art experts, journalists, collectors and enthusiasts came from far and near. The melting point was the press preview and art discourse on Princess Theresa Oghogho Iyase-Odozi ‘s travelling historical solo royal art exhibition, christened BeninIconography.com.

Leading the pack of knowledge seekers to the Thought Pyramid Art Centre, Ikoyi, Lagos, venue of the event, were renowned artist, Prof Bruce Onobrakpeya, and foremost art collector, Omooba Yemisi Shyllon.

With the theme: Renaissance of imagery and symbolism in Benin iconography – Iyase-Odozi’s art appropriations in focus, the event opened a new vista of conversations on the significance and contemporary, beginning with a press preview that featured art journalists from leading media houses.

It brought to the fore the efforts of the artist, Iyase-Odozi, who had put in three years of research into an art expedition, which would culminate in a travel exhibition, tagged: Princess Theresa Iyaze-Odozi royal travel Art Project.The project entitled: Uhunmwun Vbe and the Master of the Circled Cross in Benin Kingdom will hold  in October to mark the birthday of the Oba of Benin.

“There is no better time than now to resuscitate the lost and almost forgotten Africa’s socio-cultural art forms, such as its iconographies. And for us to preserve such history and to document those things, there is need for a revamping, because since the 1897 rape of cultural hegemony of  Benin, a number of cultural activities died, and so, this is the appropriate time to continue with the revitalisation of the histories.

“Of note is Princess’s attempt at taking into consideration the practice of theory and practice of theory. What Princess had done in this proposed edition is to look into cultural items of the Benin empire, and draw out histories and translate such history as what it meant at that time and to continue  being relevant in the present day in order to continue more researches into images and interpret them into the context that they are driven,” observed Dr. Kunle Filani of Federal College of Education (Technical)  Yaba, a panelist at the discourse.

He called for the implementation of the cultural and education policies  to foster continuity of research and historical art project, such as Iyase-Odozi’s, adding that the cultural policy of 1988 demands review. He said: “Implementation is also a major problem. Leadership is indeed very significant in ensuring proper review and implementation of both the cultural and education policies. Bring in people who are in the line of, exposed and experienced in culture; and who are willing to build legacies, you will discover that things will change. Innovations in the Nigerian art sector are purely the ideas of artists, art scholars and students, and private initiatives. It is not so in  foreign country.”

For Dr Mike Omoighe of the Yaba College of Technology (YABATECH) School of Art, Design and Printing, this was a forgotten tradition that could be linked to “the fact that the king made it domiciled only in the palace. Even, when we are having these festivals, everything is confined to the palace. We have the University of Benin very close by in Ekewan Road. At the very best, you just see them using the motifs without any communicating contents or any intention to convey a particular message. They  use them as adornments. This is where this call today becomes very instructive for us. To once more consciously communicate using these signs and symbols to convey specific messages, and with time, people will get used to start reading and knowing them with what they actually stand for.

“This art project is indeed a very great innovative. It is more or less the things that you’d expect institutions to embark on. And that Princess is kick-starting it, really is the best for Nigeria cultural platform. Benin iconography is the way of the people of the Benin Kingdom, and the ways they present their ideas in pictures, images, politics, religion, politics, music, dance and cultural living,” he said.

For Onobrakpeya, who is celebrated for his adaptations of Africa’s iconographies into his art works, “there is this lamentation that Africa, South of Sahara has no written words/literature. Digging into the iconography in our arts has unveiled a lot of things that will bring knowledge of our past back together. With these iconographies, we are able to trace the roots around Africa. With symbols across Egypt, Togo and other places down to Urhoboland, which will tell a lot about us as time goes on.

“Iyase-Odozi has gone to the grassroots to dig up something that will now be an inspiration to people who love the great art. Art is not just drawing or making pictures, it is using ideas and digging the knowledge stored in the communities out, and bring the past out again. Let’s leave the school and the government out of this, leave the sponsors out of it and use the initiative you have to turn our cultural practices into acceptable something. Let’s teach young people the value of our items, so they can use them and promote them.”

It was with a mind of sparking off such academic and art discourse/study on Benin Iconography and its relevance to modern art and fashion sector that the artist embarked on the artistic expedition which would culminate in a travel exhibition, tagged: Princess Theresa Iyaze-Odozi Travel Art Project, entitled: Uhunmwun Vbe And The Master of The Circled Cross In Benin Kingdom.

According to Iyase-Odozi, who was supervised by Dr. J. Ajewole, she had been fascinated by these iconographies for and even sought to find the link between the batik tradition in Osogbo and Benin, while working closely and travelling with renowned batik designer and painter Nike Davis-Okundaye.

She said: “This project seeks to revive the waning batik clothing culture in Benin and thereby impart some aspects of Benin culture to the younger generation through empowerment programmes. Through this exposition/exhibition, a general awareness and publicity for the  appropriations over 500 years old, of rich Benin iconographies found on ancient artefacts has been created.

“We would be moving to Benin in October to commemorate the Oba’s birthday. The exhibition and discourse are to provoke further studies and research on the Benin iconography in art practice. We have 45 works but only four are shown here. For the art installation, we have 15-feet wide of a mixed media painting of the Oba with the ivory tusks.”

Samples of her paintings and other art accessories hung on the gallery’s hall. While a visual artist and a lecturer at the Department of Creative Arts, University of Lagos (UNILAG), where Princess is a Ph.D student, Bolaji Ogunwo compered the event, The Nation Newspaper Assistant Editor (Art s) Mr Ozolua Kally Uhakheme, moderated the discourse session that also featured Kehinde Adepegba of the Department of Art and Technical Studies, Lagos State Polytechnic, Ikorodu.

Uhakheme wondered if “scholars have ever interrogated why Benin with its rich culture that is akin to that of the Yorubas is less known in textile design? Whereas the Yorubas thrive in that sector with distinct iconographies as demonstrated in adire markets at Osogbo and Itoku in Abeokuta, same cannot be said of Benin.

“Again, have we read about the “Master of Circled Cross of the ancient Benin Kingdom” in Barbara Plankensteiner’s Benin King and Ritual (2007)? The 535 page-book is worthy of reading.”

While Adepegba decried the impact of religious sentiments to art appreciation, Shyllon urged the discourse be taken to the public glare, especially schools of all levels.

Art promoter, Sandra Mbanefo Obiago, urged: “Stop complaining or capitalising on the negative sides of the country. The challenge for scholars and the academia is to convert these art knowledge and works into the internet for easy access because, the youths of nowadays are essentially online generation. The investment by private sectors will make art works attractive to people and even the government may then see sense in what the artists are doing, an example is Nollywood.”

The BeninIconography.com project team includes Mr Uhakheme, Mr Odozi, Mr Ogunwo, Mr Olojo-Kosoko Kolawole, Evelyn Osagie, Mariam Okundalaye and Chinedu Okoye.

 

The founder of the Priceless Precious Art Foundation, Precious Nnnena Enyinwa has urged Nigerians to promote dialogue through visual art. According to her, art has the power to heal and unite people.

She made the submission at a three-day free training workshop organised by Priceless Precious Art Foundation in collaboration with Tots and Teensy Creative Art Centre for less-privileged childre.

Tagged: Art as a healing to special children, the event empowered children with special needs. It was held at the Rose Rehabilitation Center, Sabo-Oniba, Ojo, Lagos.

According to the Enyinwa, the event was held “primarily to empower, inspire, re-orientate and heal the kids spiritually, socially, emotionally and physically”.

It started with face painting, which was carried out by volunteers — Goodwill Uchenna Enyinwa and Victory Obinma Ikechukwu.

The workshop engaged the children in painting techniques and printing methods. The kids were actively involved in the exercise.

During the exercise, a boy named Chinoso was particularly very active despite his mobility impairment. In fact, he was more active than many in the painting exercise.

However, it was quite challenging for him at first but eventually he was able to execute his print using the back of his hand to do so. There were other activities such as mural painting, tie and dye session with the kids, production of various designs such as marbling method, spiral, circling, pleating methods, folding and many more.

On the final day, a colourful mural painting was launched at the rehabilitation center is to help improve the children’s self-esteem and restore normal functions to their lives. Ultimately, the exercise assisted the children express themselves visually and the resulting artwork helped them to understand their emotional conflicts and also develop their social skills.

It was not all about creation of artworks as the foundation also donated beverages, toiletries, clothes and other materials to the children. To bring some smiles to the faces of the children, Miss Enyinwa had some wonderful time with the children as she took to the floor for exciting dancing session with them.

Enyinwa, said: “As a non-profit, we are out to encourage Nigerians to promote dialogue through visual art. It has the power to empower and inspire children and youths, especially those with special needs. This is why our foundation focuses on those who are socially and economically deprived of mainstream services and support, such as street children, children living with disabilities and hard-to-reach rural population .”

After a successful second solo exhibition Motion and Emotion at Nike Art Gallery, Lekki, Lagos last year, a lecturer at the Department of Creative Arts, University of Lagos, Bolaji Ogunwo has returned to the exhibition hall with his third solo entitled More than meets the eye.

The exhibition, featuring his recent paintings, opened on June 20 at the International Institute for  Creative Development Centre (IICD), Maitama, Abuja; and it will run till July 10.

Worried by the increasing spate of Nigerians seeking asylum in foreign lands as a result of economic hardship, Ogunwo decided to produce paintings that address related issues of emigration, corruption, banditry, kidnapping and robbery among others.

According to him, like never before, some embassies are bombarded daily by Nigerians in a bid to obtain visas, not for vacation but obviously for permanent relocation due to the lingering challenges ranging from corruption and banditry to incessant killings that permeate the nation.

“Nothing seems to be working! Nevertheless, there is more than meets the eye. There are hidden treasures underneath that are yet to manifest. All we need to succeed as a nation are not without but within. Though they may not seem visible, if we dig deeper and stay positive, sooner than expected, our desires shall come to fruition. It is only a matter of time. Places don’t make people, people make places. Only a few people dare to go places, even if the odds are not in their favour. The worst is here but the best is yet to come, hence, I go nowhere but here,” he said in a statement.

Interestingly, apart from being a messenger and a patriot, the art lecturer is a strong believer in Nigeria’s future. Little wonder his faith in Nigeria project. His realistic abstract works mirror the conditions of the Nigerian state using vibrant and lively colours in putting the issues in focus. Among the paintings are Common Ground, Swift, Process, Celebration, Exodus, The More We Look and Red Letter Day that serve as literature for study.  However, the artist is not daunted as he hopes for a better tomorrow. This belief is captured in paintings such as Hope Rising, A new dawn, Abundance, Outstanding, Ecstasy, Research, Colour Code, Focus, Flashback and Exchange that communicate hope and optimism. Other works are Inner formation and Less is small,

Ogunwo who is currently a Ph.D research scholar in Delta state University Abraka, until now has participated in over 50 local and international art shows including an international solo show in Manchester, United Kingdom.

National Council for Art and Culture (NCAC) Director-General Otunba Segun Runsewe has won the Africa Travel Quarterly magazine (ATQ) award of Culture and Tourism Man of the Year.

In a letter of notification, the magazine dedicated exclusively to Africa travel narratives, said Runsewe was chosen because of his dedicated service and promotion of inter-Africa cultural understanding, the use of the culture platform to drive tourism in West Africa.

He is the first recipient of ATQ’s premium Balafon award. Runsewe was hailed for changing the narrative of Nigerian culture economy by instituting skills acquisition platforms on arts and crafts to empower the rural poor and create financial window for the creative community through partnership with the Bank of Industry (BoI).

According to ATQ, Runsewe’s exceptional strategic drive using International Arts and Crafts expo (INAC) to build bridges of understanding and accelerate growth of African tourism, stood him above other efforts across the continent.

In a letter of acceptance, Runsewe appreciated the organisers, stakeholders and journalists across the continent for finding his little contribution on culture and tourism worthy of continental recognition.

According to Runsewe, the Balafon award is a call to duty, dedication and collective sacrifice as governments all over the world faced by economic challenges, looks up to Culture and Tourism economy to make needed changes.

According to him, “We shall by this award redouble efforts to break the yoke of poverty, reposition culture and tourism as the mainstay of Nigerian economy,” adding that a new drum beat on culture has just begun to fully engage the birth of  Nigerian and African tourism.

Multi-talented Alex Osho has been able to combine the qualities of master of ceremonies (MC), actor, singer and saxophonist make wave in the entertainment. At his 40th birthday celebration, he organised a music and comedy concert tagged FourtyTUDE held at Freedom Park, Lagos. Among guests that attended the concert included Y eni Kuti, Theo Lawson,  Femi Odugbemi and Mc Shaggi.

With his exploits in the industry, many of his fans see him as a creative entrepreneuring.

Alex rose through the ranks, overcomesome stumbling blocks in the industry and gradually made a name for himself through hardwork, consistency and most importantly, selfless service to humanity.

With his passion turned profession, Alex who has put in 18-year experience in the art, entertainment industry, is also an art collector and former Public Relations Officer at the National Museum, Lagos.

He holds a Bachelor’s degree in Theatre Arts, which he bagged from the Creative Arts Department  of the University of Lagos. He has been on stage with lots of prolific actors and has produced and co-produced a few stage plays. In 2007, the vision became more profound and Alex founded Root Entertainment Africa (REA), an entertainment firm with the singular objective of rendering entertainment services to the public. REA runs a 12-man band named “Root Entertainment Band”.

“It is on this platform that we have co-produced several shows including stage plays over the years,” Osho said.

Under REA, he has successfully produced a few comedy/music concerts. His passion as a master of ceremony has put him on a pedestal worthy of recognition.

He has been involved in anchoring hundreds of weddings, birthdays, seminars, end of the year parties, expositions, concerts and a host of others. Alex, as he is fondly called, is social media savvy as those who know him well can attest to.