The Nation Newspaper

Category: Life – The Midweek Magazine

  • 117 photographers for Uncover Naija

    117 photographers for Uncover Naija

    No fewer than 117 photographers and videographers from across the country have been shortlisted in a competition that seeks to provide a lucrative digital platform for creatives to showcase their talents by capturing through their camera lenses the beauty and richness of Nigeria tourism assets.

    With public voting set to commence from November 20, this year, Uncover Naija competition is also to spotlight Nigeria’s diverse cultural landscapes and traditions through the lens of talented creative in the photography genre.

    The competition was launched last October 25, byTorrista, a product of Sterling Bank’s Tourism Business Unit, is fully supported by the Federal Ministry of Art, Culture, Tourism & Creative Economy, and its agency, the Nigerian Tourism Development Authority (NTDA), the Lagos State Ministry of Tourism, Arts & Culture, as well as, the Made by Nigeria (MBN), another initiative of the bank focused on promoting Nigerian creativity and supporting local talent.

    According to Torrista, the Uncover Naija initiative seeks to challenge participants to document Nigeria’s history, city life, landscapes, people, and natural wonders, offering the world a glimpse into the vibrant stories that define the country.

    Read Also: Enough is enough

    Managing Director Sterling Bank Plc, Mr Abubakar Suleiman re-echoed the position of the initiative as he enjoined tourism stakeholders, including the media to amplify the Uncover Naija competition, and by extension, the country’s cultural and tourism legacy.

    According to Suleiman, the enormous task of promoting Destination Nigeria as a global tourism brand requires all hands to be on deck, stating that Uncover Naija was his bank’s own contribution towards that direction.

    “Ultimately we want you to see Nigeria because if you see Nigeria you will buy Nigeria. We want to sell Destination Nigeria through photography.  Even when you think you travelled the entire length of Nigeria there are still details you may have missed.

    “What we have done through Uncover Naija is present Nigeria in HD to everybody. It’s digital photography like you have never seen before; Nigeria in photographs. Please amplify this for us,” Suleiman said.

    Director-General National Theatre, Mrs Tola Akerele, who represented the Minister Ministry of Arts, Culture, Tourism and Creative Economy, Hannatu Musawa, noted that the Uncover Naija initiative aligns with ministry’s agenda of championing ‘the wealth of Nigerian heritage, support creative industries, and foster talent that will tell our country’s unique stories on both local and global stages.’

    “Uncover Naija speaks directly to this mission by inviting Nigerians to showcase their cultural roots, talents, and perspectives. Through the competition, we aim to inspire young Nigerians to explore their heritage, share their artistic interpretations, and gain recognition for their contributions to Nigeria’s cultural tapestry.

    “Our goal with this competition is not only to uncover the beauty and stories within Nigeria but also to nurture and amplify the voices of young creative.

    “By providing a platform for emerging talent, Uncover Naija aligns with the Ministry’s agenda to nurture local creativity, build the economy around arts and culture, and cultivate a sense of national pride.

    “The competition aims to spotlight Nigeria’s untapped creative potential while fostering a deeper appreciation for its unique identity among a wide audience. In addition to this, Uncover Naija is a powerful opportunity to strengthen Nigeria’s place on the global tourism stage. Through the lens of each entry, the world will get to see Nigeria’s beauty, diversity, and depth. From our landscapes to our vibrant traditions and welcoming people.

    “This competition gives global audiences an authentic look into our culture, which we hope will inspire a growing interest in visiting and experiencing our country firsthand. This initiative will position Nigeria as a cultural and tourism destination, making it a valuable part of our national economic development strategy.”

    Akerele, expressed the hope of ‘seeing Uncover Naija shine as a testament to the extraordinary creativity and resilience of our people.’

    Speaking earlier, Head of Tourism at the bank, Abiola Adelana, disclosed that a total number of 526 photographers and videographers from across Nigeria registered for the competition, with 117 of them shortlisted based on the quality of their entries. These entries, she said, will be open to public voting from November 20, 2024.

    “The competition showcases Nigeria’s heritage across five categories: Cultural Heritage; City Life; People & Portraits; Breathtaking Landscapes; Wildlife & Nature. “Uncover Naija emphasizes the importance of cultural preservation and storytelling, using the power of visual arts to promote and celebrate Nigeria’s vast cultural diversity.

    With cash prizes awarded to 32 exceptional winners, the Uncover Naija will also reward the 1st Place winner with the sum of N2.5 million, 2nd Place winner gets N1.5 million while N150, 000 each will be given to a total of 30 runners up in the competition.

    Adelana disclosed that the initiative will create a digital gallery from works submitted to the competition which will not only provide a showcase for the nation’s most talented visual artists ‘but also serve as a new revenue stream for participants, enabling them to monetize their works and create sustainable careers.’

    “Uncover Naija is more than a photography competition, it is a platform that empowers Nigerian creative, supports cultural preservation, and promotes Nigeria’s image on the global stage.

    “By telling stories through the lens of Nigeria’s heritage, Uncover Naija aims to foster national pride while creating economic opportunities for photographers and videographers.

    “Beyond this competition, Uncover Naija also aims to support these artists in a lasting way. We are excited to announce that, in addition to cash prizes for 32 winners, we will launch a digital gallery to feature their work. This gallery will allow these talented individuals to earn income from the sale of their pieces, creating a sustainable platform to showcase and export Nigeria’s heritage globally.

    “Through Uncover Naija, we are not only promoting and preserving Nigeria’s cultural treasures but also empowering our creative with the recognition and opportunities they deserve. This project speaks to our commitment at Sterling Bank to celebrate and elevate Nigeria’s stories, voices, and visions,” Adelana said.

    Marketing Manager for Tourism Business, Obianuju Akinlolu, disclosed that while the original 526 entrants were drawn from the 36 states of the Federation, the shortlisted 117 were spread across only 27 states. According to her, voting is expected to take place on Torrista’s portal and will last for one week after which the final set of winners emerges on November 30, this year.

    Fielding questions by journalists at the event, on the issue of professionals in the competition, the Sterling Bank MD, Mr Suleiman explained the focus of Uncover Naija ‘is essentially to unearth those exceptional and unique aspects of the country’s tourism and heritage assets, in addition to rewarding the creatives in the genre.’

    On the continuity of the competition, Suleiman assured that Sterling Bank is dedicated to the cause, adding further that the success of this inaugural edition will go a long way in defining subsequent editions.

    Commenting, Mr Olabanjo Alimi, the Divisional Head, Renewable Energy, expressed the assurance that the competition will unearth the hidden gems of Nigeria Tourism, including the creatives in the drive to reposition the industry for meaningful contribution to the economy. According to him, the Uncover Naija competition is also intended to reward participants meaningfully via the digital gallery platform, where rights to their works are fully covered and protected.

    Sterling Bank’s Torrista promotes Nigerian cultural and travel experiences by providing curated local tours, unique travel experiences, and opportunities to explore Nigeria’s rich cultural heritage, while offering financial services  that make travel more accessible for all.

    The media briefing also had in attendance the Mrs Alice Akinsola, the Zonal Coordinator, South West, for the NTDA who represented the Director General of the agency, Chief Folarin Coker. Also, in attendance was ace photographer, Mr Don Barber, and Mubarak Bakare, an industry influencer and Mr Maurice Igugu of Sterling Bank.

  • When spirituality of love blossoms in colours

    When spirituality of love blossoms in colours

    By Samiat Oyedeji

    From one generation to another, the resilience of figurative paintings keep getting stronger, so explain the art of Abayomi Odetomi. The artist is more conceptual, applying the human and pets’ narrative, as well as spirituality of love, among other subjects, from which he creates contemporary textures.

    Odetomi’s art of realism captures stories of African origin, though sometimes with foreign influence in fashion of the subjects. Odetomi’s canvas also strengthens the popularity of blackened figurative paintings, just as he brings his own identity to complement the new face of contemporary African art. From cosmic to ethereal, the artist celebrates the power of humanity, creating aesthetics from blackened figurative paintings.

    Whatever fascinates ladies when it comes to domestic pets, artist Odetomi seemed to have unveiled in such works like A Symphony of Love and African Queen. For each of the pieces, Odetomi creates strong synergy between human, animal and the environment. For example, in A Symphony of Love, the artist builds beauty around the human subject by creating an environment flooded with beautiful plants. Strengthening the beauty is the little dog, which the lady shares human affection with. According to the artist, the femininity of the woman affirms the natural connection that exists between human and all non-wild animals, irrespective of the environment. The lesson of the painting is simple: “Love can be found in the quiet companionship of our pets, creating a harmonious melody of shared experiences and emotions.”.

    Read Also: Curbing the menace of out-of-school children

     Still of love and the spiritual connection, Odetomi delves onto the celestial space to assert the belief that man is not alone as seen in the piece titled Angel of Love. As much as depicting angel in a specific gender would always remain contentious, Odetomi also expands the argument with this painting. For the artist, his Angel of Love is represented in female form, with wings too, but in earthly garment of contemporary fashion design.

    He explained that that the Paint embodies the ethereal and transformative power of love through its depiction of a celestial figure radiating warmth and compassion. How angels manifest, either in familiar human forms or strange look is a matter of conjectures. For Odetomi, the essence is love that connects humans with the unknown. “The angel’s gentle expression and outstretched arms invite viewers to embrace love in all its forms, symbolising protection and guidance,” he explained the importance of the concept. “This painting serves as a poignant reminder that love is a divine force that uplifts and inspires, encouraging us to connect with one another on a deeper level.”

     Further connecting love with the ethereal, Odetomi brings another piece titled Lunar Luminescence”, a capture of cosmic and astrological contents. As much as the female figure in the foreground is the central focus, the cosmic rendition in the background appears more prominence, generating curiosity. Whatever side of the divides anyone belongs in the spiritual and cosmic context, the galaxy-likr images created in the composite by Odetomi resonates with the general belief in the unknown and unseen. Within the romantic context, the artist explained that the painting depicts a lady waiting patiently for the love of her life at the dates venue, capturing the ethereal beauty of the moonlight as it dances across the canvas, creating a serene and enchanting atmosphere. Again, the cosmic factor is emphasised by the artist: “The painting explores themes of tranquility and introspection, inviting viewers to immerse themselves in the calming effects of lunar light. Through its delicate use of color and light, the artwork reflects the profound connection between nature and human emotion, encouraging a sense of wonder and appreciation for the mysteries of the night sky.”

     Odetomi studied painting in Yaba college of Technology and graduated in the year 2016. His choice of themes includes stylish women in their trendy fashion. He also depicts Yoruba deities in modern looks, using vibrant colours and African fabrics in his compositions have gained him recognition both home and abroad.

    Caption: ‘A symphony of Love’ (mix-media on canvas, 144x114cm, dated 2024) by Abayomi Odetomi.

  • Rollercoaster of romance, secrets and suspense

    Rollercoaster of romance, secrets and suspense

    Title:  Dangerous Intimacy

    Author:  N. Viktoria

    Publisher: Alpha Zuriel Publishing

    Reviewer: Ozolua Uhakheme

    Pagination: 195

    From its first page, Dangerous Intimacy draws you into a world where romance and intrigue entwine in a narrative that pulses with emotion, desire, and suspense. It’s not just a love story—it’s a multifaceted exploration of relationships, trust, betrayal, and the unforeseen consequences of loving someone who may not be who they seem.

    In Dangerous Intimacy, N. Viktoria deftly navigates the tension between passion and peril, creating a story that keeps readers on edge, constantly wondering what will happen next.

    What sets this book apart is the depth of the characters and the complexity of their emotional journeys. N. Viktoria’s ability to craft characters that feel real—who are flawed, vulnerable, and full of life—is one of the novel’s greatest strengths.

    From the very first chapter, you’re introduced to Viola, the protagonist whose strength and vulnerability become the core of the narrative.

    Viola’s evolution throughout the book is masterfully handled. She is a character who wears her emotions on her sleeve, and the reader is taken along as she navigates the highs and lows of a relationship with Michael August, a man who seems perfect but carries deep secrets that could shatter everything.

    Suspense and pacing

    The pacing in Dangerous Intimacy is nothing short of brilliant. In the opening chapters, Viktoria pulls you in with an intense romantic connection that feels both passionate and intimate.

    Read Also: Enough is enough

    The chemistry between Viola and Michael is electric, and their relationship quickly escalates into something that feels larger than life. Pretty intense. The kind of romance that will have you cooing, “God when?”

    Yet, beneath the surface, you’ll be able to sense that something isn’t quite right. The author cleverly uses foreshadowing to drop hints of tension, creating an underlying sense of unease.

    Trust me when I say nothing will quite prepare you for the bombshell.

    This is where Viktoria’s literary prowess shines—using suspense not as a tool for cheap thrills but as a mechanism to deepen the emotional resonance of the story.

    The build-up is slow and deliberate, allowing the reader to become fully invested in the relationship before pulling the rug out from under them.

    Just as you start to believe in the fairy tale (I’m talking-flying-out-of-town-on-a-private-jet-with-a-hired-private-Italian-chef-lunch-date kinda fairytale), the dark twist arrives, and everything you thought you knew is thrown into question.

    Character development and emotional depth

    One of the standout features of this novel is the layered character development. Viola is a woman whose vulnerability is matched only by her resilience. Viktoria paints her with such complexity that it’s impossible not to root for her, especially as her world begins to crumble.

    She is far from the typical romantic heroine. She’s flawed—sometimes impulsive, often too trusting—but this makes her journey all the more relatable. As she discovers Michael’s hidden life, the shift in her character is palpable. The author doesn’t rush her transformation; instead, it unfolds organically, allowing Viola to grow in a way that feels authentic and earned.

    Michael August, on the other hand, is a character wrapped in mystery. The allure of his wealth, charm, and success is contrasted with the darkness lurking beneath the surface. His duality keeps readers guessing—who is the real Michael or which personality does he really want to embrace?

    Viktoria skillfully uses him as both a romantic lead and an enigma, playing with the reader’s emotions. Is he a victim of circumstance or an orchestrator of his own downfall?

    The complexity of his character makes him a perfect foil to Viola’s emotional transparency. Absolutely brilliant!

    Literary devices and themes

    The use of dramatic irony is a notable feature of the novel. As readers, we’re often a step ahead of Viola in terms of knowing that something isn’t quite right with Michael, yet we’re still shocked when the full truth is revealed.

    This gap between what the protagonist knows and what we suspect heightens the tension and keeps us eagerly turning the pages.

    The themes of trust, betrayal, and self-discovery are explored with great subtlety. Viktoria uses the relationship between Viola and Michael to probe deeper questions about what it means to truly know someone and whether love can survive the discovery of painful truths.

    Relatable questions you may find yourself asking once or twice when you fall in love. You tend to wonder if it’s really too good to be true.

    Dialogue and prose

    N. Viktoria’s command of dialogue is another strength of the book. Conversations between the characters feel organic and true to life, but there’s always a subtext—an unspoken tension or an emotional undercurrent—that adds depth to the scenes.

    Whether it’s the playful banter between Viola and her best friend Lucy or the emotionally charged exchanges between Viola and Michael, the dialogue is sharp, witty, and poignant.

    The prose itself is elegant without being overly flowery. Viktoria has a gift for description, painting vivid scenes that immerse the reader in the world of the characters without bogging down the narrative with unnecessary details.

    This balance between description and action keeps the story moving at a steady pace while allowing readers to fully experience the emotional landscape of the characters.

    Dangerous Intimacy is more than just a romance novel; it’s a captivating exploration of love, trust, and the dark secrets that can unravel even the most passionate relationships.

    N. Viktoria’s skillful use of suspense, character development, and emotional depth makes this a standout read. The story grips you from the first page and doesn’t let go, taking you on an emotional rollercoaster that will leave you breathless.

    If you’re looking for a book that offers more than just a surface-level romance—a book that delves into the complexities of human relationships and the secrets we keep—Dangerous Intimacy is a must-read.

    The tension, the passion, and the unexpected twists make it a novel that lingers in your mind long after you’ve turned the last page. It’s the kind of book that keeps you up late at night, eagerly devouring each chapter, hungry to know what happens next. And isn’t that the mark of truly great storytelling?

  • MOWAA: Inspiring next generation of cultural stewards

    MOWAA: Inspiring next generation of cultural stewards

    With a vision for creating a sustainable ecosystem dedicated to heritage, craftsmanship, and contemporary art across West Africa, the Museum of West African Arts (MOWAA) is set to inspire the next generation of cultural enthusiasts. OZOLUA UHAKHEME, Assistant Editor (Arts), writes.

    In a couple of days, the cultural landscape of the ancient Benin Kingdom will wear a new look with the formal opening of the Museum of West African Art’s (MOWAA) first purpose-built building, the MOWAA Institute, tucked in the heart of Benin City, the Edo State capital. Indeed, the ancient city, its culture and people are making a huge come back on global cultural space with a museum dedicated to education, learning and skills development. It is also aimed at the preservation of heritage, expansion of knowledge, and the celebration of West African arts and culture.

    At a special facility tour of MOWAA Institute conducted recently for Art Writers, the huge investment by the promoters, the world-class facilities including first-of-its-kind laboratories and the rich collections, were a testament to the level of commitment to cultural heritage preservation, archaeological findings, researches, quality education and training of would-be professionals to close the knowledge and skills gap in the conservation and archaeology fields.

    Leading the tour, Director, MOWAA Institute, Ore Disu said the institute is desirous of providing quality leadership in art and archeology in West Africa, as well as offering best of heritage and art conservation practices and facilities. She stated that MOWAA is big on sustainability, which is reflected in the building designed by Adjaye Associates and supervised by MOE.

    The single-story MOWAA Institute building provides approximately 4,000 square meters (43,000 square feet) of highly sustainable interior space for state-of-the-art facilities for archaeological research, conservation, and public programmes. It features an atrium exhibition gallery with views into the collection study area, a 100-seat auditorium, conference rooms, conservation laboratories, a library, and an outdoor amphitheater.

    Set within the ancient moats of the Benin Kingdom, the rammed-earth construction links the building to the West African heritage that will be honoured by MOWAA throughout the Campus. The building also serves as a model for the care and preservation of the many other mud-wall structures in Benin City and meets global standards of sustainability. The MOWAA Institute building is designed by Adjaye Associates, with the Lagos-based firm of MOE+ responsible for construction supervision.

    With a key focus on research and education, MOWAA has the goal of empowering future generations of cultural stewards by developing African leadership in heritage studies and practices.

    Community engagement initiatives have been ongoing over the past two years in support of this goal with programmes in field archaeology—conducted in partnership with NCMM, the British Museum and the University of Cambridge—that were joined by activities such as ‘Discovery Days’ for the public, with simulated digs and creative workshops.  Going forward, there will be residency programmes for artists and curators, student fellowships; and more. There will also be programmes to foster wider learning and public engagement that will be cultivated under the Institute’s Materials Research and Center for Field Archaeology.

    Read Also: Curbing the menace of out-of-school children

    On MOWAA’s future programmes, Disu said: “When I took up my role at MOWAA, it was with a strong sense that we should create something that gives Black and African people a sense of their place in the world and platforms to articulate what happens next. Without robust records and monuments, it can be difficult to visualise what Africa societies built, invented and achieved. No Akan, Yoruba or Edo should ever doubt the sophistication of their ancestors.”

    Executive director, MOWAA Phillip Iheanacho explained that the focus on quality leadership in art and archeology is key in MOWAA’s mission as it moves beyond the notion of museum as a building and research as purely academic knowledge, to practically use creativity to connect and highlight the continuous innovation and sophistication of West African heritage.

    “We all visit museums in other parts of the world and see how much they are patronised even by young people. We have to be creative in our approach in order to change the narrative. So, MOWAA is bringing to the table a different, yet unique approach to museums and arts in general,” he said.

    Already the institute is hosting critical stakeholders, donors and patrons who expressed satisfaction at the quality of its programmes line up. At the two-day event aimed at sparking critical conversations about the future of museum practice in West Africa, guests engaged with prominent thought leaders such as Prof. Chika Okeke-Agulu, Robert Schirmer (Professors of Art & Archaeology and African American Studies at Princeton University respectively), and Prof. Shadreck Chirikure (Edward Hall Professor of Archaeological Science and Director of the Research Laboratory for Archaeology and the History of Art at Oxford University), as well as other distinguished intellectuals and cultural practitioners.

    The discussions among others focused on themes such as defining a ‘West African’ museum in the 21st century, the changing role of arts organisations in urban transformation and sustainable development, how archeological technologies might challenge misconceptions about Africa’s past, the significance of African leadership in cultural preservation and the ethics of restitution.

    Aside from formal discussions, participants were also treated to tours of the MOWAA Campus and Institute, participatory workshops on traditional pottery and rammed earth building, and enthralling performances by local and international artists.

    The occasion brought together MOWAA’s current donors and partners, which included the National Commission for Museums and Monuments (NCMM), the German Foreign Office, US-based Mellon Foundation, and other corporate leaders, international artists, and local cultural practitioners.

    Director-General, NCMM, Olugbile Holloway said: “The world is watching, and what we do here serves as a model for what we are capable of as Nigerians and Africans alike. I want everyone to know that NCMM has seen this, and it is a challenge for us. This has raised the bar, so anything we do at the federal level must match and tie into this vision.”

    In his remark, Consul-General, Federal Republic of Germany, Weert Boerner said: “Today, we are impressed by this modern Institute building featuring unique African architecture and design, as well as cutting-edge technology that is partially installed and will be installed soon, and we are excited about the launch of its inaugural exhibition next year. On behalf of my government, I am pleased to say that we are proud to be a part of this project, through financial support from the German Foreign Office for the construction and operation of this ‘museum in the making’ over the last two years.”

  • Making the artist central to curatorial process

    Making the artist central to curatorial process

    Iheanyi Onwuegbucha’s curatorial process begins with the principle that the artist is central—their works reflect their society and an aggregation of their experiences. This perspective allows him to view each project as a co-creation between the artist and curator. He always begins with studio visits, and unless he is working on a historical exhibition, he develops the project through extensive discussions with the artist(s). This collaborative approach ensures that the final exhibition is a shared vision. Ultimately, his goal is to make both art historical research and the artist’s creative output accessible to a broad audience through exhibitions.

    This approach is rooted in Onwuegbucha’s early experiences in the art world. His interest in curating began in art school, where discussions about Western curators visiting their studio sparked a desire to create opportunities for African artists. A pivotal moment came when Chika Okeke-Agulu spoke about his project “Who Knows Tomorrow” in Germany, inspiring Onwuegbucha to pursue curatorship.

    The 34-year-old’s curatorial debut was at the University of Nigeria, Nsukka, where he assisted Professor Chijioke Onuora with the university’s 50th-anniversary exhibition. Later, he curated the convocation exhibition, featuring works by renowned artists like Uche Okeke alongside his classmates’. This success led to his role as Festival Secretary of the Life In My City Art Festival (LIMCAF) and eventual collaboration with influential curator Bisi Silva.

    Read Also: Curbing the menace of out-of-school children

    His academic background has also played a significant role in shaping his curatorial vision. He holds an MA in Art History from the University of Leeds, earned through a Chevening Scholarship, and is currently pursuing his doctoral studies at Princeton University in the US. His academic pursuits have deepened his understanding of art history and its significance in contemporary society.

    As a cultural producer and intermediary, Onwuegbucha believes curators play a vital role in shaping cultural discourse, which ultimately becomes part of history. They must understand that their work is inherently political, wielding influence that should be exercised with caution and responsibility. In his practice, he grounds his work in social and political history, responding to contemporary issues. He ensures that each curatorial project includes multiple layers of public engagement, transforming the exhibition into a platform that connects the art, the artist, and the public.

    This approach fosters conversations that extend beyond the art itself, creating a deeper, more meaningful connection with the audience. By creating these opportunities for interaction, Onwuegbucha aims to build a sense of community around the exhibition, encouraging visitors to see themselves as part of the cultural conversation rather than passive observers. He believes curators have a responsibility to bridge the gap between art and society, making art accessible and fostering a collective reflection on the issues that shape our lives.

    Onwuegbucha’s current group exhibition, “The Kindred Spirit,” highlights the Aka Circle, a group of Nigerian artists who made significant contributions to contemporary African art. This exhibition celebrates their legacy, innovation, and socio-political engagement. The Aka Circle was a group of artists united by a commitment to material experimentation. Though they did not share a unifying style, each artist pursued their chosen medium with such skill and inventiveness that their influence extended far beyond the Eastern region where they began.

    Tracing and locating works by deceased Aka artists posed a significant challenge. Successfully gathering the works of all 15 members was an achievement, overcoming obstacles to present a complete picture of their collective legacy. This exhibition aims to inspire younger artists to engage with socio-political issues and provide a space for appreciation of Nigeria’s contemporary art scene. He hopes visitors will leave with a deeper understanding of the historical foundations of Nigerian contemporary art.

    His journey serves as a remarkable example of dedication and vision in shaping the narrative of African art. His commitment to elevating Africa’s creative voices continues to illuminate the continent’s rich cultural heritage for the world to appreciate. With upcoming projects, including a book on the Aka Circle, Onwuegbucha remains focused on his objective, navigating challenges and conflicts with collaborators to bring his vision to life.

    As he continues to push boundaries, his legacy will undoubtedly inspire generations to come. His work demonstrates the significance of curators in shaping cultural discourse and making art accessible to all. Through his tireless efforts, he has established himself as a leading figure in the world of contemporary African art, leaving an indelible mark on the art world.

  • Book festival targets children literacy

    Book festival targets children literacy

    A 2023 report by the United Nations Children’s Fund (UNICEF) highlights this pressing issue, revealing that 75 percent of Nigerian children aged seven to 14 cannot read simple sentences. This gap in literacy not only hampers individual growth but also stifles the nation’s socio-economic development. A Nigerian first and largest book feast dedicated exclusively to children, Akada Children’s Book Festival (ACBF), was held this year in response to the urgent need to address Nigeria’s literacy crisis.

    With the theme “Read Your Way,” the book feast showcased 29 original children’s books created by Nigerian authors both locally and internationally; further reaffirming its commitment to promoting literacy, and encouraging widespread engagement with children’s literature. The just- concluded festival, which was in sixth edition, was held at the UPBEAT Centre in Lekki. It had over 1,157 attendees, highlighting its pivotal role in nurturing young minds and reinforcing the importance of literacy and cultural heritage in Nigeria.

    In addition to book readings, the festival featured storytime sessions, book chats and book exhibitions, allowing children to meet their favorite authors and discover new titles. Engaging activities included a chess tournament, a STEM exhibition, sip and paint sessions, a sensory play area, arts and crafts, jigsaw puzzles, word games and an art exhibition, all providing opportunities for children to express their creativity. Insightful sessions for parents and teachers offered guidance on supporting children’s literacy development, while professional workshops for writers created a platform for adults to learn and grow in their careers. This year’s festival featured three theatrical performances and heralded the winner of the first Akada Children’s Book Festival Children’s Book of the Year Award.

    Read Also: Enough is enough

    Commenting on this year’s festival, author and convener of the Akada Children’s Book Festival, Mrs. Olubunmi Aboderin Talabi, said: “We are inspired by the impact of bringing children, authors, and educators together to celebrate the beauty and power of stories. This year, with over 1,157 young readers, parents, and educators joining us, we’ve deepened our commitment to making children’s literature accessible, vibrant, and reflective of all young readers. Seeing children connect with stories that represent their experiences and heritage is truly inspiring, and we’re excited to continue expanding these opportunities for young minds to explore, learn, and dream. Each activity, from the dramatic presentations to the creative workshops, was crafted to ignite a lifelong love for reading and cultural pride. We are thrilled by the response and look forward to furthering this enriching journey.”

    A significant highlight of ACBF 2024 was the inaugural ‘Akada Children’s Book Festival Children’s Book of the Year’ Award, presented to renowned author Lola Shoneyin for her picture book, “Anyibo and the Mother Hen”.  Speaking on the recognition, Shoneyin expressed, “It brings me immense joy to be part of an event that celebrates and uplifts our stories. It was important for me to ensure every child is represented—not just middle-class children, but also those from humble backgrounds who are experiencing the real struggles of existing and surviving in today’s world. I want these children to feel seen, to know their stories matter, and to envision a future in which they can thrive.”

    This year’s festival was hosted by Channels TV Book Club host Kunle Kasumu; he had Oluwadara Oluwatoye as his co-host.

    Other activities included celebration of new talent with competitions — Moyinoluwa won the illustration prize, and Tijani Hameeda took first place in the writing contest. There was also a young authors’ Panel with Seyi Odewoye, author of “Nala Am I Black and Proud”, and Omotorera Agun, author of “The Marvellous Cat and Other Stories”; a theme song competition in which students from Grange School won the coveted Best Performance prize; a book chat with students from Leap for Joy School; and a drama performance by Kunbi’s Music.

    Supported by IweMi, NIBSS, PepsiCo, UPBEAT, STEM-METs, The Mobile Spa, Starfield Montessori School, Paelon Memorial Hospital, among others, the annual festival continues to be a must-attend event for anyone passionate about children’s literature and literacy, celebrating the power of stories in connecting and inspiring people of all ages.

  • A peep into minister’s stewardship

    A peep into minister’s stewardship

    Title: Alake on rescue mission

    Reviewer: Reviewer: Tunde Rahman

    Pagination: 46

    Alake on Rescue Mission is much more than a photo book of activities, events and work of the Minister of Solid Minerals Development, Dr. Oladele Henry Alake, in one year in office. It’s a serious-minded and exciting piece of writing on the minister’s stewardship.

    If you see it as the official book on the Minister’s achievements in one year in office, you will hit the nail on the head. Appointed on August 15, 2023, Dr. Alake has spent around 14 months as Minister of Solid Minerals, meaning one year has actually passed on his watch of the ministry.

    The book’s release was also planned to coincide with the minister’s 68th birthday on Sunday, October 6. However, the organisers of this book launch missed this date by a few days. Perhaps this was deliberate.

    Because the book is on Alake’s stewardship, hard as one may try, it will be difficult to separate its contents from Alake’s scorecards. Both are mutually inclusive and as such, a review of the book also means an evaluation of the minister’s one year in office.

    The 46-page book, which includes 24 articles, 34 pictures, and two appendixes, gives an account of all that has happened under Alake’s watch of the ministry. It presents a holistic idea of the changes that have been brought to bear on the mining sector in just one year.

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    In the first article, written by Mr. Kehinde Bamigbetan, the minister’s special adviser, we were taken through Dr Alake’s seven-point agenda for the ministry. Fashioning out a seven-point agenda within the Solid Mineral Development component of President Bola Tinubu’s Renewed Hope Agenda underscored the seriousness with which Minister Alake had approached his assignment.

    Many of us here recall the shock and trepidation that greeted the appointment of Dr. Alake, a media and communication expert and brilliant strategist, as Minister of Solid Mineral Development on August 15, 2023. Naysayers had predicted that Alake would find it difficult to find his feet in the technical field of mining, where geologists and mining engineers hold sway.

    Indeed, the strategic importance of the mining sector to the country can hardly be over-emphasized.

    According to official data, Nigeria is said to be endowed with over 40 types of minerals including gold, silica, lead, marble, tin ore, zinc, coal, iron ore, granite, laterite, manganese and limestone.

    Nigeria sits on mining reserves worth $750billion following a preliminary report on assessment of the mining potentials by a German firm, GeoScan.

    But the sector remains under developed, accounting for only 0.3% of Nigeria’s GDP.

    So given the mining sector’s strategic place in the nation’s development goals and its potential to be a significant revenue earner for the country, President Tinubu might have decided to put in charge of the sector a trusted ally, a patriot,and an incorruptible man who he knew would make the difference.

    Bamigbetan writes that Alake’s forte is strategy. It can be argued, and rightly, too, that one can conquer any ground with planning and strategy. Has Minister Alake mastered and conquered the mining sector? I will soon return to this vital question.

    In the following three articles in the book, namely Working with Dr. Dele Alake, Celebrating Dr. Henry Oladele Alake, and Driving us to Aim Higher, three top public officers working with Dr. Alake, including the Permanent Secretary in the ministry, Dr. Mary Ogbe; Director-General, Mining Cadastral Office, an agency under the ministry, Engineer Simon Nkom; and the Head of Solid Minerals Development Fund respectively narrated their experience working with the minister, while also highlighting their roles and responsibilities within the ministry.

     The trio seemed to be unanimous in their verdict. Permit me, however, to quote the Perm Sec: “Dr Alake’s unwavering dedication to Nigeria and excellence is something that we all strive to emulate as we work together to realise the full potential of our nation’s solid mineral sector.” 

    Writing on the topic Dele Alake and the Power of Positive Influence, Senior Special Assistant to the President on Media and Publicity, Temitope Ajayi, in his contribution to the book, harped on the close relationship between President Tinubu and Dr. Alake. He surmised that “for many aides, associates, cabinet colleagues and friends of the President who have suggestions and advice for the President and cannot immediately reach him, Dr Alake is the go-to, knowing he has the ears of the President and will never shy from offering sound advice to him.”

    It is noteworthy to mention a couple of other articles like the Investment Report, which gives an update on the situation with respect to foreign investment within the mining sector.  There is also a plethora of other articles, spotlighting the media and its relationship with the ministry like Alake in the Eyes of the Media, Broadcasting Mining and Boosting Mining with Digital Media among others.

    What they all signpost is a good relationship with the ministry and a promise of more support.

    Perhaps, a more interesting and instructive feature of the book is the addition of two articles written in those dark days of the military by Alake in his columns in the defunct National Concord. In “Civility in Public Appointments published on November 23, 1987 and Needed, a Cautious Economic Policy, penned on March 13, 1989, the readers confront the firebrand and irrepressible activist who spared no word in condemning military regimes and their policies. If hitherto, many of those gathered here witnessed the sharp tongue of Mr. Alake against political opponents particularly during the campaign for the election of President Tinubu, now they would encounter his sharp pen as well.

    In all, the leading article, bearing the title of the book Alake on Rescue Mission gives us a helicopter view of Dr. Alake’s watch in the ministry and impact in one year, and thus offers us room for interrogation.

    The minister drew up a seven-point agenda. The first component, and perhaps the most important of the 7-point agenda, is the formation of the Nigerian Solid Minerals Corporation (NSMC). Realizing that attracting big investors is a major challenge of the sector, Bamigbetan tells readers that the NSMC “is the face of the Nigerian Mining Sector in the global business space, the go-to company for transactions and the deals to deepen the capital formation that will keep investors coming.”

     The book reveals that the minister had sought to avoid the pitfalls of the defunct Nigerian Mining Corporation in coming up with the structure by comparing the Nigerian National Petroleum Corporation with the Nigerian Liquefied Natural Gas, NLNG, company. Bamigbetan writes that “Leaning towards the latter, the minister is proposing a NSMC with 25 percent shares held by the Federal Government of Nigeria, 25 percent by Nigerians through a public offer, and 50 percent by private corporate placement with the condition that no private placement exceeds 10 percent.”

    It is important to note, however, that more than one year down the line, the NSMC is still in the works.

     The question can be asked also as to whether foreign investments have rolled in into the mining sector. Following the Investment Report on Pages 11 to 14, there is cheering news. Under Alake’s watch,Nigeria has seen a steady rise in companies establishing mineral processing plants in the country. For example, in April 2024, the minister attended the commissioning of the Asba Group’s lithium processing plants, which is said to worth $50m and in a follow-up letter to the minister, further investments in a tin/tantalite processing plant worth $146m and a Tin/Columbite processing plant in Bauchi State worth $67m are underway to bring the group’s investment to approximately $263m.

     There is also the $5m, which is already in Nigeria Lithium pegmatite belt of Kwara, Niger and FCT Abuja, by Canada-based Orosur Mining through its UK subsidiary Lithium West Limited as well as the commitment of Woodcross Resources to establish a tin refinery in the country, which will be the first of its kind.

     However, it does appear that some of the factors that will attract investors to the sector may not be solely within the realm of the ministry. The government’s fiscal policies, business environment and economic situation in the country must mesh with the arrangements put in place by the ministry to attract more genuine investors.

     With respect to the second component of the agenda, the countrywide geological exploration of key minerals, to de-risk the investment and ensure the government acquires the precise geological data, the ministry had proposed N70 billion to the National Assembly in its budget. This important project is still being hampered by funds. As we say in this country, Nigeria may have happened to the ministry.

     The minister has, however, recorded remarkable success in the area of the establishment of the Mining Marshals and introduction of satellite technology to monitor mining operations among others. On March 20, Alake inaugurated the Mining Marshals, drawn from the Nigerian Security and Civil Defence Corps, in conjunction with the Ministry of Interior. With 60 officers per unit per the Federal Capital Territory and each of the 36 federation states, the Mining Marshals took off with 2,220 units. About a month later, the NSCDC boosted the Marshals with 350 additional 350 officers.

     Given his commitment towards the resurgence and full development of the mining sector in Nigeria and Africa, Alake was also elected as the pioneer Chairman of the African Minerals Strategy Group, whose formation he spearheaded. Alake’s appointment to lead the group is a testament to his excellent leadership in the sector.

     Putting the book Alake on Rescue Mission together, in the final analysis, is commendable. The book will be an invaluable resource for students, scholars, administrators, miners, and investors seeking knowledge and information about the ministry, its activities, and its offerings.

    The content is rich, while the quality is high. Save for some identifiable typos, each article is a piece of good, clear, well-structured and easy-to-read writing. Its high aesthetic quality is also typical of the man the book is arranged to honour.

    The jury is out on the minister’s performance in office. But has Minister Alake discharged himself creditably thus far? I think so. Alake has lived up to the billing. He has worked the path trodden by seasoned journalists like Dr. Nnamdi Azikwe, Chief Obafemi Awolowo, Chief Bisi Onabanjo and Alhaji Lateef Jakande, all of blessed memory and, of course, Dr. Christopher Kolade and our own Aremo Olusegun Osoba who all made the difference in public office. Looking at my crystal eyeball, even at 68, the future is still ahead of Dr. Alake.

    On this note, I would also like to wish him many more years and robust health so he can continue offering our country more valuable services.

  • Reliving Yoruba myths, fables as epic

    Reliving Yoruba myths, fables as epic

    Four years after the launch of his unique historical novel, Gods and Heroes: Itan legends of the golden age  at the Nigerian Institute of International Affairs, Victoria Island, Lagos, Dr. Oladele Olusanya, a US-based physician, writer and artist, relived some critical aspects of Yoruba heritage contained in his book to a select audience at the Quintessence in Ikoyi, Lagos. The interaction, which lasted about two hours, was very refreshing as related historical issues were penultimate Saturday interrogated and shared.

    Setting the tone of the interaction, Olusanya read excerpts from some pages of the 345-page book published by Maven Publishing. It has nine chapters. These readings were followed by observations and comments from the audience who were mainly old classmates at Government College, Ibadan (GCI), friends and book lovers.

    Gods and heroes is book 1 of the Itan – Legends of the Golden Age Trilogy, which tells the 1,000-year story of Yoruba people with a blend of myth, history and fiction.

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    According to the author, the book was written to answer the question ‘why can’t the Yorubas have their own epic that can be placed beside the best in the world of legends?’ He said apart from other pursuits and interests, he is extremely passionate about the promotion of Yoruba history, mythology and culture.

    He disclosed that God and heroes has received critical acclaim all over the world. It was placed on the recommended list of the prestigious US Review of Books, while the online Book Club gave it a maximum 4 stars out of 4. According to the Pacific Book Review, the book ‘may be the first step in placing the myths of the Yoruba people among the epics that have shaped the world of legends.’ The book has also impressed notable Nigerian authors including Dr Femi Olugbile, prize-winning author of Lonely men and Dr. Dare Demuren, author of The Kingmaker, who called it a masterpiece.

    Dr. Oladele’s passion for Yoruba heritage is not limited to book publication as he also established a Yoruba Cultural Center in Dallas, USA that teaches Yoruba language.

    Though a historical novel laced with lots of imaginations, the book, according to Dr Olusanya is not meant for controversy. “It’s just for us to understand the traditional view of our origin and other stories from our point of view. It’s a historical novel, which means that you have the facts and you take it out like a book. So, the old woman is the one telling the story. 

    You have to read the book very well to know who this old woman is. I just want you to know that the old woman is telling the story and I am the person writing it down. And different people in the story, we take up the story to tell the part of the story,” he added.

    The author also shared from the book the historical affinity between the Yorubas and the Binis as contained on Page 55 thus: “Later as we know, the name of Oranmiyan‘s son and heir was shortened to Eweka by the people of Bini. According to a legend of the people of Bini, an oracle of the time of Eweka’s birth predicted that as Owo-mika, the hand of this baby would hold the scepter of power as the first in a long and uninterrupted line of kings of Bini as a legacy of Oduduwa through his grandson, Oranmiyan.

    Years later, when Eweka became a king of Bini, he was hailed as Oba, in the language of our people, rather than the previous Bini title of Ogiso.

    The book also chronicles historical accounts on the establishment of Ile Ife by Oduduwa and the sacrifice of the heroine, Moremi; Obatala, Orunmila, Ogun and Olokun, Oba Esigie of Benin, Obanta of Ijebu land  as well as their exploits as legends.  ”One unique character of the book is that each chapter carries a poem and an illustration of an artifact to provide background and context for the contents. 

    In his remark, the Managing Director Quintessence Gallery and Bookshop, Mr. Jude Oni-Okpaku said Olusanta’s book may be the first step toward adding the mythology of Yoruba to the list of epics that has shaped the world of legends.

    “It will take many years before it will be known if this bold ambition may be achieved. However, in the meantime, the book can be enjoyed for its value as an entertaining saga that delivers on its own merits. There can be no doubt that Dr. Olusanya has accomplished his goal of bringing to life the many stories and characters found in the Yoruba oral history. In so doing, he has given readers a perspective that many will not have considered previously,” he added.

  • LIMCAF names jury panel, curator

    LIMCAF names jury panel, curator

    The Organising Committee of Life In My City Art Festival (LIMCAF) has listed members of the jury panel and curator of the festival’s grand finale exhibition.

    A statement from the Art Director, Dr. Ayo Adewunmi, said the list of the jury panel was agreed on after a meeting of the committee in Enugu. This is in keeping with the committee’s policy to protect jury members from possible pressure during the conduct the jury process.

    The members are Prof. Blaise Gundu Gbaden of the Federal University of Lafia, Nasarawa State, as chairman, Prof Gundu Gbaden hails from Benue State, but was born in Ilorin, Kwara State. He attended Primary School in Vom, Plateau State and secondary school at the Boy’s Secondary School, Gindidri also in Plateau State.

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    Prof Babásèhìndé Augustine Ademuleya is an artist, art historian, and art educator. He graduated from Adeyemi College of Education, Ondo with a B.A.Ed. (Fine Arts) degree in 1991 and obtained his M.A. and PhD in African Studies (Visual Arts) from the University of Ibadan in 1997 and 2002 respectively. He joined the Federal College of Education (Tech.) Akoka in 1993, and later moved to Obafemi Awolowo University, Ile-Ife in 2004. Also on the jury panel is Obioha Onyebuchim Nwaegbe (Obi Nwaegbe) is a Nigerian multimedia artist with a bachelor’s degree in Painting from the University of Nigeria, Nsukka. He is the Founder and Executive Director, Artstier Company Limited, an Art Production and Consulting company based.

    Earlier, the Board of Trustees of the festival has also approved new key appointments into its strategic management team, according to a statement by the Art Director, Dr. Ayo Adewunmi. They appointees are Adaora Oji-Ngwu as Programme Manager, Chichetam John Okoronta as Art Manager of the festival.

    Dr Ayo Adewunmi explained that approval for the new appointments was given at the meeting of the Board a few days ago, noting that  Oji-Ngwu will bring to the position her expertise in fundraising, project management and organizational transformation.

    “With a strong background in business development and strategic partnerships, Adaora has demonstrated the ability to drive LIMCAF on the path for sustainable future growth and deliver impactful solutions across various sectors in accordance with the vision of the Trustees. She joins LIMCAF at a time when the 18-year not-for-profit private charity is expanding its portfolio to include all areas of cultural expression through a demonstrated experience in resource mobilisation, building effective collaborations and managing complex projects, making her a valuable asset to LIMCAF.

    “Oji-Ngwu will naturally work closely with the Board, in developing strong stakeholder relationships within the wider environment to ensure the success of LIMCAF’s programmes and long-term objectives within the culture sector in Nigeria,” he said.

    He disclosed that Okoronta’s appointment followed his effective contributions in the past two years, and will take on new and expanding responsibilities as Manager of the Art Department reporting to the Art Director. “In addition to managing the various aspects of the festival’s art competition, Chichetam, himself a skilled visual artist with broad expertise that includes IT support, graphic design, social media management, and visual arts, will be a key asset in the drive to the future of LIMCAF,” he said.

    Dr Adewunmi hinted that the festival week will begin with children workshop/exhibition from October 10 to 12 at the Alliance Francaise, Enugu, Art and Craft Fair on October 19th at IMT Conference Centre, Enugu, as well as opening of grand finale exhibition. A drawing workshop will hold between October 22 and 23 at IMT Art Dept, Campus 3, Enugu. This will be followed by an interactive session, tours and photo session with top 100 and the media representatives on October 25 and/26 at IMT Conference Centre, Enugu. But, there will the festival lecture October 25 at IMT Conference Centre, while the Award Night holds on October 26 at IMT Conference Centre, Enugu.

  • At 90+, still fit

    At 90+, still fit

    To many, age is a thing of the mind and mere numbers. But, the reality is that as people get older, it becomes more likely that they will need help with day-to-day activities like cooking, cleaning, getting dressed, moving around and self-care. This type of support, which is known as long-term care (LTC), is ideal for most men, especially nonagenarians. However, there are some exemptions, Assistant Editor (Arts) OZOLUA UHAKHEME reports.

    In ancient times, men were reported to have lived up to hundreds of years while the women were left behind in the age race. Today, the tables have turned as men are now trailing the women. According to Statista, a global data and business intelligence platform, the life expectancy at birth in Nigeria in 2023 was about 61.79 years. Specifically, this figure equaled 59.93 years for men and 63.75 years for women. Life expectancy in Nigeria is among the lowest in Africa and the world, according to reports.

    The figures serve as indicator of the quality of healthcare in different countries and are influenced by various factors, including the prevalence of diseases. 

    Experts identified harsh living conditions, poverty, illiteracy, corruption, stress, high rate of crime, insecurity and high unemployment rate as some of the factors responsible for low life expectancy ratio and untimely death ratio between men and women.

    But in the midst of these disparities, there are some men who turned nonagenarian and still strong and fit. Some of these men who are 90+, still go about unaided, physically fit, strong and mentally alert. What could be responsible for this rare gift? The Nation gathered that beyond hereditary and grace of God, a combination of factors ranging from healthy life style to income level and regular medical care are responsible. Conversely, some causes of low life expectancy ratio and the untimely death ratio are linked to illiteracy, corruption, poverty, high rate of crime and insecurity, high unemployment rate, stress and harsh living conditions. 

    Some Nigerian men who have gotten to the ninth floor and still very fit include Gen. Yakubu Gowon (retd), former Secretary-General Commonwealth, Chief Emeka Anyaoku, Nobel laureate Prof Wole Soyinka, artist Prof. Bruce Onobrakpeya, and journalist Comrade Jola Ogunlusi. These men are still seen in public places moving unaided. They even participate actively in discussion forums, a testament to the fact that they are not only fit, but also very alert mentally.

    General Gowon (Retd)

    The former military Head of State was born October 19, 1934 in Pankshin, Plateau state and served as military head of state between 1966 and 75. On his 90th birthday at the weekend, President Bola Tinubu described Gowon as a gentleman extraordinaire and one of the longest-serving Nigerian leaders. “He did a lot for our country and served meritoriously in various capacities within and outside the military. As a brilliant officer trained at Sandhurst and reluctantly became Nigeria’s leader at 32, his life story has inspired many Nigerians.

    “As the nation’s head of state, he significantly contributed to nation-building and development and can be rightly called the father of national infrastructure. It is on record that after the country’s civil war, his philosophy of “No victor, no vanquished” helped promote national healing, peace, and reconciliation.

    “His most incredible legacy was the Economic Community of West African States (ECOWAS) founded in 1975,” Tinubu said.

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    Gowon was founder of the national Youth Service Corps, the compulsory one year service for Nigerian youths among other major institutions. He was educated in Zaria and later became a career army officer. He was trained in Ghana and in England at Sandhurst and twice served in the Congo region as part of Nigeria’s peacekeeping force there in the early 1960s. After the coup of January 1966, he was appointed chief of staff to Maj. Gen. Johnson Aguiyi-Ironsi, the country’s new leader. But when the northern officers staged a countercoup in July 1966, he emerged as the compromise head of the new government. In an attempt to resolve the conflict that ensued, on May 27, 1967, Gowon declared a state of emergency and divided Nigeria’s four regions into 12 states. Three days later the Eastern region declared itself the independent state of Biafra, with Colonel Odumegwu Ojukwu as its leader, and armed conflict between Biafra and the Nigerian government began in July. The war however ended in January 1970, with no victor no vanquish declaration.

    However, on July 29, 1975, Gowon’s administration was toppled by a military coup while in Uganda for an Organization of African Unity summit meeting.  Gowon was exiled to Great Britain. However, he was later pardoned by President Shehu Shagari in 1981, and his rank was restored by General Ibrahim Babangida in 1987. Having earned a Ph.D. at Warwick University in 1983, Gowon became a professor of political science at the University of Jos in the mid-1980s and attained the status of an elder statesman in Nigerian politics.

    Chief Emeka Anyaoku

    Chief Emeka Anyaoku, born 18 January 1933, was the third Secretary-General of Commonwealth. He attended Merchants of Light School, Oba, and later went to the University College of Ibadan, then the University of London, from where he obtained an honours degree in Classics.

    Anyaoku in 1959 obtained a London University Honours Degree in classics as a scholar and joined the Commonwealth Development Corporation (CDC) in Lagos. The CDC sent him as an Executive Trainee to its headquarters in London from where he went on a course at the Royal Institute for Public Administration in London.

    In 1980, Chief Anyaoku was installed as the Ichie Adazie of Obosi, Anambra State to fulfill the duties of the office of a traditional Ndichie chieftainship in Obosi. He joined the Commonwealth as Assistant Director of International Affairs which later became the Political Affairs Division. He rose to become the Secretary-General of Commonwealth in 1989 in Kuala-Lumpur when he was elected by Commonwealth Heads of Government as the third Commonwealth Secretary-General. He was re-elected at the 1993 Limassol Commonwealth Heads of Government Meeting for a second five-year term.

    Anyaoku was not pleased with the 1993 political impasse that rocked the Nigerian state. According to report, on the day after the annulment of the June 12 election, Chief Anyaoku issued a strident statement, saying that the annulment was a “severe setback to the cause of democracy, particularly at a time when all Commonwealth governments have pledged themselves to promote democratic rule in their countries”; he called it “a bitter disappointment” to all those who had been looking forward to the assumption of office of an elected government. 

    Worried by the state of the nation, in August this year, Anyaoku led The Patriots, a group of eminent Nigerians to meet with President Bola Tinubu seeking the President to send an executive bill to the National Assembly, proposing two measures namely:

    “The convening of a national constituent assembly with the mandate to produce a draft people’s democratic constitution. The constituent assembly should be of elected individuals, on a non-political basis, from the 36 states of the federation, possibly three individuals per state, and one from the FCT.

    “They should be assisted by seven constitutional lawyers, one drawn from each of the six geo-political zones and the FCT. The deliberations of the constituent assembly should take into full account the 1960/63 constitutions, as well as the recommendations of the 2014 National Conference and indeed of the various national conferences that considered the Nigerian constitutions.”

    But, President Tinubu responded that retooling the economy for sustainable growth and development is the major priority of his administration and not working for a new Constitution. “I want to assure all of you that as I listened to your two major requests on the path to referendum and that should lead to constitutional measures that will fit our diversity and governance so that we avoid conflicts and break-ups,” he added.

    Prof.  Wole Soyinka

    The last few months were dedicated to the celebration of Soyinka who turned 90 July 13, organised by Wole Soyinka International Cultural Exchange (WSICE ) under the platform of OpenDoorSeries. From US to London, Morocco, Lagos, Ibadan and Abeokuta, the poet and dramatist was celebrated by different groups and organisations. 

    Soyinka, born in Abeokuta, and attended Government College, Ibadan before entering University College of Ibadan and later the University of Leeds, where, later, in 1973, he took his doctorate. During the six years spent in England, he was a dramaturgist at the Royal Court Theatre in London. In 1960, he was awarded a Rockefeller bursary and returned to Nigeria to study African drama. At the same time, he taught drama and literature at various universities in Ibadan, Lagos, and Ife, where, since 1975, he has been professor of comparative literature. In 1960, he founded the theatre group, “The 1960 Masks” and in 1964, the “Orisun Theatre Company”, in which he has produced his own plays and taken part as actor. He has been visiting professor at the universities of Cambridge, Sheffield, and Yale.

    During the civil war in Nigeria, Soyinka appealed in an article for cease-fire. For this, he was arrested in 1967, accused of conspiring with the Biafra rebels, and was held as a political prisoner for 22 months until 1969. Soyinka has published about 20 works: drama, novels and poetry. He received the Nobel Prize in Literature in 1986.

    Prof. Bruce Onobrakpeya

    Founder of Bruce Onobrakpeya Foundation (BOF), Prof. Bruce Onobrakpeya who was born on August 30, 1932 in Agbarha-Otor in Delta State is son of a carver. He attended Western Boys High School, Benin City. After leaving high school, Onobrakpeya was hired as an art teacher at the Western Boys High School (1953–56). In 1956 he left for Ondo, where he taught at the Ondo Boys High School for a year. 

    In October 1957, Onobrakpeya was admitted to the Nigerian College of Arts, Science and Technology, now the Ahmadu Bello University, Zaria.  Funded by a Federal Government Scholarship, he was trained in the Western tradition of representational art. At the same time, he began to experiment with forms in relation to Nigerian folklore, myths and legends. Much of his work uses stylistic elements and compositions derived from traditional African sculpture and decorative arts.  The Zaria Arts Society, a discussion group which would later be called the Zaria Rebels, was formed on 9 October 1958 by a group of art students at the college led by Uche Okeke with the aim of “decolonizing” the visual arts as taught by expatriate Europeans. Onobrakpeya has said that the college gave him technical skills but the Zaria Arts Society shaped his perspectives as a professional artist. The society gave him the confidence to seek a personal expressive idiom that would project a Nigerian identity. He elongated his figures, ignored perspective and evoked the supernatural through ambiguous decorations. For over a decade, his annual Harmattan art workshop held at Agbarha Otor has been attracting artists from Nigeria and the West coast of Africa. Onobrakpeya is a recipient of the Living Human Treasure Award (2006) given by UNESCO, as well as recipient of Nigerian National Order of Merit (NNOM) 2017, the apex and the most important award for scholastic excellence in Nigeria.

    When he turned 90 two years ago, Onobrakpeya linked his fitness level to hereditary that runs in his family, saying his father lived up to over 100 years before he died. 

    Comrade Jola Ogunlusi

    When he started journalism in 1963, Comrade Jola Ogunlusi who turned 90 last September did so without forgetting his first love of medicine. To him, journalism was just a stopgap, pending his becoming a doctor. For several years after his first job as a reporter at Iwe Iroyin, the first newspaper in Nigeria, which was printed in Yoruba, Ogunlusi tried to become a doctor. He wrote the ordinary level examinations in chemistry and physics on many occasions to obtain the qualification to study medicine.

    He sat for chemistry about seven times, and flunked the examinations each time. He then gave up and faced journalism. He left indelible marks after decades of service.

    In a 20l3 interview with the Vanguard, Ogunlusi said: “I came into journalism in 1963 by accident. I needed something to do back then, so I took the job out of survival. My dream was to be a medical doctor. Even 10 years after my sojourn in journalism, I was still aiming to go into medicine. Sincerely, I would have left journalism if I had passed chemistry and physics. I failed chemistry more than seven times and I was in the profession till 1977 as an investigative reporter until I became fully the first National Executive Secretary of NUJ.” Three years before his exit, he had, in 1974, won a brand new Olympia typewriter prize for the best investigative reporter.

    On September 25, the League of Veteran Journalists, Lagos State Chapter held a lecture in honour of Comrade Ogunlusi, a former National Secretary of Nigeria Union of Journalists (NUJ)  when he  turned 90. The lecture with the theme, Jola Ogunlusi: Life of a Journalist After Retirement, was held at Ladi Lawal NUJ House, Ikeja, Lagos State.