The Nation Newspaper

Category: Life – The Midweek Magazine

  • The pill to give vitality to the arts

    The pill to give vitality to the arts

    Thirty-three years after The National Endowment for the Arts Act was established, the dreams of the artists community remained unfulfilled no thanks to lack of political will of the government to walk their talks. Last Thursday in Lagos, the Federation of Registered Guilds and Associations in Nollywood led by Dr. Victor Okhai renewed the call for amendment of the Act establishing the National Endowment for the Arts as well as a comprehensive review of the National Film Policy to reflect today’s realities and the dynamic nature of the industry, Assistant Editor Arts OZOLUA UHAKHEME reports.

    • Stakeholders revive plans for billion naira Endowment Fund

    Representatives of 18 registered guilds and associations in Nollywood, under the auspices of the Federation of Registered Guilds and Associations in Nollywood, have called for the establishment of Endowment Fund for the Arts to provide financial backing for ambitious projects and emerging talents in the industry. The federation also called for the comprehensive review of the national film policy to reflect today’s realities and dynamic nature of the industry.

    Its Chairman, Dr. Victor Okhai who spoke in Lagos, said to attract investment and grow the industry, policies that will promote a conducive environment for growth must be implemented. He disclosed that the federation will, among others, advocate for tax holidays from government, making it easier for new and existing productions to thrive.

    “Imagine a Nollywood where every talent, from actors to directors, from scriptwriters to set designers, can thrive and reach their full potential. A Nollywood where our stories are told with authenticity, where our culture is celebrated and where our industry is recognised for its excellence on the world stage. This is the vision of the federation,” he added.

    Continuing, he said: “We are not just here to celebrate our unity, but to pledge our commitment to work in harmony. To quote Barack Obama, “Change will not come if we wait for some other person or some other time. We are the ones we’ve been waiting for. We are the change that we seek.” With The Federation, we will seize every opportunity, transform our dreams into reality, and shape the future of Nollywood.”

    He noted that the federation will intensify efforts in engaging government and financial institutions on pertinent challenges within the industry, pledging the federation’s commitment toward repositioning the industry. He added that the federation is not just coming on board to celebrate ‘our unity, but to pledge our commitment to work in harmony.’ 

    According to Okhai, the federation is more than a name as it is their opportunity to work closely with government bodies and organisations both locally and internationally. By forging these partnership, he said, the federation will enhance ‘our creative economy, secure better opportunities for our members, and establish Nollywood as a global powerhouse.’ He stressed that the unity of the federation will drive job creation, foster innovation and creates opportunities that were once unimaginable.  

    He observed that the industry has faced numerous challenges, but it is in ‘our challenges that we find our strength. Together, we will overcome obstacles, advocate better conditions for all our members, and ensure that the world recognises the brilliance of Nollywood. We will leverage our diverse talents and experiences to create a more robust and dynamic industry.’

    “Let us move forward with determination and purpose, knowing that our unity is our greatest asset. Together, we will write the next chapter of Nollywood’s story, a story of collaboration, innovation, and success,” he said.

    Responding to questions on film distribution, Okhai noted that the industry did not have enough distribution outlets and platforms that enhance abundance space for appreciation of the movies. According to him, the easiest way to reflate the economy is to fund movie making.

    Read Also: Before Lagos bans sachet water and other single-use plastics

    On quality of production, he said: “Ife we are not good, we won’t be accepted by the different platforms showing Nollywood films. In fact, there is room for big and small movies that provide jobs for the people. The small filmmaker of today, will be big filmmaker of tomorrow.”

    He recalled that Nollywood, which has grown to become a global phenomenon, was born out of a small-scale grassroots movement, ascribing the feat to the power of determination and unity. 

    “A true-life story that epitomises our potential is the international success of The Wedding Party. This film, produced by a diverse team of talented individuals from various parts of Nigeria showcases how collaboration within Nollywood can lead to groundbreaking success. The Wedding Party not only broke box office records but also put Nollywood on the global map, proving that when we come together, we can achieve extraordinary feats,” he added.

    The National Endowment for the Arts Act was established in 1991 to support creativity and creatives for the promotion of cultural heritage and knowledge in Nigeria. Ever since then, the Fund never witnessed practical efforts at the implementation. Instead it has been one promise after the other by subsequent administration.

    Recalled that the Ex-Minister of Information and Culture Alhaji Lai Mohamed had assured the artists community of government readiness to amend the act establishing the fund.

     “We have decided to amend the Act establishing the National Endowment for the Arts so it can better meet the demands of the sector, which has been greatly impacted by the pandemic,” he said. According to a statement by his spokesperson, Segun Adéyemí, the minister said the move is to support every medium and area of creative activity in the art, culture and heritage sector as well as to foster professional excellence in the sector in the age of pandemic. He said the government would work with the National Assembly for early amendment of the Act to mitigate the effects of the pandemic on the sector.

    Since the global public health crisis (COVID-19) hit Nigeria in February 2020, businesses around culture and creative production have been the worst. Cinemas, pubs, social gathering outlets have been forced to close or comply with the physical distancing guidelines in a bid to contain the pandemic.

    The minister said with social distancing, ban on mass gathering, and travel restrictions globally, the sector has become the worst hit because the entire industry is audience-centred. He said in Nigeria, the impact has been particularly devastating due to the importance and the relevance of the sector to the national economy.

    “The Nigerian creative industry is large, diverse, dynamic and critical for economic growth, development and diversification,” he said.

    “It is the biggest job creator after agriculture, with particularly great opportunities for women and the youth.”

    “The Industry also contributes between 2.5 and three per cent to the nation’s GDP. “I have no doubt that the measures we are putting in place will yield positive results in sustaining the creative industry in Nigeria in the days to come,” he said.

    But today, the amendment to the act is yet to be done by the government. Worst still, not many stakeholders got the federal government palliatives meant to cushion the pandemic hardship.

    Okhai who was in company of representatives of some guilds and associations  said: “Today, we make history. Today, we become pioneers of a movement that will contribute to the growth of our nation’s creative economy. With The Federation, we are not just participants in an industry; we are leaders, visionaries, and champions of our culture.”

  • ‘409 mentally-challenged have been reunited with their families’

    ‘409 mentally-challenged have been reunited with their families’

    On the behest a former federal lawmaker, Hon. Onadeko Onamusi, a Non-Governmental Organisation (NGO), South-Westshire Health Trust, located in Itele in Ijebu East Local Government Area of Ogun State, Southwest Nigeria, has taken the care and rehabilitation of destitute and mentally-challenged persons to new heights. Encouraged by its successful rehabilitation efforts, Onamusi, who co-founded the Trust, which is currently home to 168 in-patients, reveals plans to replicate the facility across Nigeria’s six geo-political zones, in collaboration with relevant government agencies, ERNEST NWOKOLO reports.

    His passion for uplifting the needy and the downtrodden, including providing care and rehabilitation for destitute and mentally challenged persons, isn’t something out of the blues. Even before he joined partisan politics over 30 years ago, a former federal lawmaker, Hon. Onadeko Onamusi, had vowed to channel his energy and resources from his legislative career into catering to the well-being of people with severe mental challenges.

    Accordingly, South-Westshire Health Trust, a Non-Governmental Organisation (NGO), which Hon. Onamusi co-founded to feed his passion for the welfare of the less-privileged, has since been assisting people with severe mental challenges. Yet, his solemn vow to God wasn’t the only motivating factor.

    The former member of the House of Representatives between 1999 and 2003, also told The Nation that his humanitarian spirit and passion to provide a shoulder for victims of life’s vicissitudes to lean on also sprang from his two years stint working abroad in a mental healthcare facility and following his late father’s footsteps of caring for the less-privileged. 

    Located at Km 57 Sagamu-Ore -Benin Express Way, Itele in Ijebu East Local Government Area of Ogun State, South – Westshire Health Trust is currently home to 168 in-patients, which include males, females, young and old, who are undergoing varying degrees of care and rehabilitation from aftermaths of drug addiction, broken relationships and mental illness.

    Tucked away from much of the din of human activities, the facility has three wards for the males and two for females. It also boasts of over 22 personnel, some of who are volunteers. The personnel comprise a psychiatrist, psychologist, laboratory technologist, nurses and matron who daily attend to the special needs of the patients.

    When The Nation visited the facility recently, it was discovered that as at February 6, 2024, it has received no fewer than 600 in-patients since 2017, and of the lot, a total of 409 have been rehabilitated and reunited with their families, loved ones and communities.

    Pioneer in-patients who were admitted into the facility include Tope Kajero, who was 32 at the point of entry in 2017; Idowu Oladeinbo, 55 in 2017, and Segun Bello. While Bello and Kajero hailed from the host Itele community, Oladeinbo was rescued as a vagrant, and his nativity or place of origin could not be immediately ascertained.

    Another batch, numbering 13 joined the pioneers later same 2017. The Nation gathered that the 13 were from the host Itele community, whose relatives allowed to seek succour from the facility after seeing its successful rehabilitation efforts on the pioneer in-patients. About 25 of the current in-patients have been rehabilitated, fit and ready to be re-united with their families, but their loved ones abandoned them there.

    Read Also: Terror kingpin Bello appeals for dialogue in new video

    Expectedly, the refusal of their loved ones to take them back has stretched the resources of the facility. The case of Ms Gloria Ekong, from one of the South South States, is an example. She was rescued from the street along with her kids and brought to the facility. The centre took the children to an SOS Village (orphanage home), Ijebu Ife and later traced the family despite daunting odds on its way while rehabilitating Gloria.

    The centre was, however, shocked when Gloria’s family bluntly declined to take her and the kids back. “It is now a huge burden keeping and maintaining her and others in similar situation here. Some of them also don’t want to go back home because in their thinking, they may never get the type of attention and care they receive here,” one of the personnel said.

    But, South – Westshire Health Trust is undeterred. Instead, Onamusi said he is planning to replicate the facility across the country’s six geo-political zones, in collaboration with relevant government agencies.

    He reasoned that the centre, if established in six different locations across the country, will be in a better position to bring succour to the hurting, take as many vagrant lunatics as possible off the streets and prepare them adequately for reintegration with their families, communities and the larger society.

    Hon. Onamusi, who had also served as a Commissioner in the Ogun State House of Assembly Service Commission, revealed that he had long procured the necessary equipment for skills acquisition and vocational trainings for the in-patients. He, however, said lack of an enabling environment such as building infrastructure and adequate space, has continued to stall progress in that direction.

    According to him, the equipment and tools for training and learning for barbing, tailoring, hair dressing, panel beating, welding, plumbing and other vocations are already on ground, hence the vision to have the centre established across the federation for maximum impact.

    He reckoned that each centre will respond to cases generated from the corresponding geo-political zone and end the hassles of patients or family members travelling from far places to access the South-Westshire Health Trust’s in Itele–Ijebu.

    How it all began

    For Hon. Onamusi and his seven-year-old South – Westshire Health Trust, it was a chance meeting. And it all started when operatives of the Nigeria Customs Service (NCS) set up a Check Point at the Itele-Ijebu corridor of the Sagamu-Ore Expressway to tackle smugglers of contraband goods making use of that bustling route.

    However, little did the Customs operatives know that beyond performing their duties, they would also inadvertently be party to series of events leading to the care of destitute and mentally challenged persons, whose loved ones and society had abandoned to their fate and the harsh elements.

    The story is that before 2017, a vagrant mentally ill man in his mid-50s, unkempt with dirty rags which passed for clothes that hung loosely from the shoulders down the waist of his disheveled frame, had made the NCS Itele Check Point area his abode. After wandering about in the day, he would return to the location to rest.

    The vagrant lunatic was later identified as Oladehinbo. It was learnt that after beholding the sorry state of Oladeinbo as days rolled into weeks and months, the NCS operatives got someone to clean him up in 2017 and arranged with a nearby food seller to be giving him food while the operatives bore the cost.

    By coincidence, Hon. Onamusi got wind of Oladehinbo’s presence at the NCS Check Point and decided to take up the case. The former federal lawmaker recalled that on a day in 2017, he took Oladehinbo and two other mentally-ill persons – Bello and Kajero, put them in his car and drove to the Neuro-Psychiatric Hospital, Aro, Abeokuta, for their treatment as out-patients.

    He brought them back after health professionals at the specialist hospital had seen the trio and prescribed medications for them. Hon. Onamusi narrated: “As I was returning home from Abeokuta that day and throughout the journey home, the question of where to keep them kept ringing in my mind. I told my wife about it and she told me to bring Bello to our home.

    “That was how I took Bello in. The first three nights were hell. The experience was not funny. I did not sleep. I was constantly up and peeping to see if he would destroy something in the house. Later, five of us were coming here to attend to him. I returned Kajero to her parents while Oladehinbo was taken back to the Customs Check Point. However, the three were later admitted here (i.e. South-Westshire Health Trust) as first in-patients for proper care.”

    He said after that singular incident, the place began to take in more people requiring help and rehabilitation, many of whom were rescued from the streets. Justifying his kind gesture, he said people in such health conditions could be helpless and incapacitated to take decisions about their health.

    Onamusi, therefore, urged relatives to pay close attention to strange behaviours or manifestations from their loved ones and take such persons to psychiatrists for professional help, pointing out that early detection and treatment is critical to full recovery and reduced cost of management of mental illness.

    He described the task of assisting people with mental illness, particularly those who are on the streets as daunting, saying much could be achieved if government and relevant agencies lend helping hands. He also called for a legislation by the National Assembly to provide for the adequate care of mentally challenged persons – particularly their feeding, clothing and shelter through the ministry of Humanitarian Affairs.

    Hon. Onamusi expressed concern that the NGO has not received financial or material support from any quarters. “We have never received support from any government whether federal, state or local government or international donor. As of February 23, 2024, no financial or material support came from any government or agencies,” he complained.

    But a ray of hope is on the horizon. This followed the recent unannounced visit by officials of the World Health Organisation (WHO) to the facility in February, to have a firsthand knowledge of the happenings there. The visit buoyed the hopes of Onamusi and the facility’s in-patients, as the global health body may support them with free medications and other soft supplies.

    “We thank God that some officials of the WHO visited this Trust unannounced to see what we are doing. We are very glad that the visit was fruitful and we are expecting the support of WHO, which may be providing medications to the Trust. Similarly, the Federal Ministry of Humanitarian Affairs, Federal Ministry of Health and Sustainable Development Goals (SDGs) are also in the process of collaborating with us on the project,” Onamusi said.

    He expressed optimism that by God’s grace, if the Trusts gets support of those establishments and organisations, “We will be able to establish our presence in the six geo-political zones of the country and each of these planned mental facilities with the support from SDGs in the areas of infrastructure to accommodate our 2,000 or 3,000 vagrant psychologically disturbed persons while the Federal Ministry of Health will provide manpower support.”

    According to him, WHO is expected to support with medications while the Federal Ministry of Humanitarian Affairs is expected to support with food items.

  • Grillo’s rare paintings excite collectors

    Grillo’s rare paintings excite collectors

    Three years after his death, one of Nigeria’s master artists, Yusuf Grillo, gets his first posthumous solo exhibition, which showcases paintings that were never seen in public during his lifetime. Titled Yusuf Grillo: Like You’ve Never Seen, the exhibition opened recently at Yusuf Grillo Museum, 28, Ogunlowo Street, Ikeja, Lagos. Among the works on display were paintings, mixed media among others as old as the 1970s and recent as 2018.

    “This is an exhibition with a dierence, focusing on the rarely seen, and never before exhibited conceptual works for bigger scale commissions; such as mosaic murals, stained glass church windows and bas-relief sculptures that the master artist produced during the prime years of his life,” Executive Director, GRILLO Art Limited, Morayo Anthonio stated while announcing the exhibition.

    “Although the artist never intended these works to be publicly exhibited as paintings, seeing as they were just a means to a more impressive end; the care with which they were kept within his studio betrays the worth and significance of these preparatory artworks,” she added. 

    Read Also: I can swear with Qur’an I never stole as Kaduna Governor — El-Rufai

    Anthonio disclosed that uncovering the collection was so exciting that the need to share them with the general public became necessary as part of the third year memorial event of the late master. She stated that quite some other works in sculptures, shown before, will be exhibited alongside the newly uncovered paintings. “While the focal point of the exhibition will be these nine conceptual paintings, other previously exhibited paintings will also be on show as well as marquette of sculpture commissions undertaken by the artist at various periods of his life,” she noted.

    As part of plans to sustain Grillo’s legacy, Anthonio announced that the next event will be a private art auction scheduled to hold before the end of the year. “For the collectors who have long sought an opportunity to add a Grillo to their collections, will be odered by a private auction sale featuring one original and limited edition prints of five of the conceptual works,” she said.

    Renowned artist and former Deputy Rector Yaba College of Technology, Kolade Oshinowo, described Grillo as one who allowed him stand on his shoulders to look into the horizons adding that he elevated many people and supported fairness and justice.

    “He was a man who allowed me to stand on his shoulders to look into the horizons, if anybody will do that for another human, you should hold that person in high esteem. He elevated so many people without thinking about it. That was the major legacy he passed on to all. It’s not all about money. The relationship is quite important,” he said.

    Commending the children of Grillo for showcasing the works and making their father proud, he said: “Apart from Grillo himself, I think we should talk about the children. What they have done is magnificent, what they have done will make any parent proud to have converted this place and the thought of doing this, I must praise them. They have decided to ensure that the legacy lives on and alive. For Yusuf Grillo to a lot of us, he’s not dead. He’s in our hearts because he endeared himself to all of us.”

    Art patron and collector, Prince Yemisi Shyllon while praising Grillo, encouraged all to touch lives one way or another. He said that as an art collector, Grillo works of art will never die as they are in Yemisi Shyllon Museum where they are displayed for the benefit of humanity.

    “Yusuf Grillo can never die because his works are in the Yemisi Shyllon Museum. Artists never die. We collect and ensure those works are in places where when they are gone, where they are displayed, they can be useful to humanity.

    “This man is not just an artist. He was the builder of people and the builder of resources. I am here not because I’m invited, or because I collect art. I’m joining others to celebrate a great man, a man who made an impact in our lives and others. I just wanted to encourage you all, let us touch lives in our own small ways, let us leave a good legacy behind,” he added.

    Curator of the exhibition, Kehinde Sanwo described the event as ‘a ground-breaking posthumous exhibition.’ noting that the ‘unprecedented collections have been carefully selected,’ to bring what he perceived as ‘a fresh perspective to Grillo’s innovative style and artistic prowess.’

    The inclusion of some of the familiar works of Grillo into the exhibition, according to Sanwo, will keep the trajectory of the artist alive. “Maquettes of commissioned sculptures, carved wooden partition stand and wooden stools will be on display, providing a comprehensive understanding of Grillo’s artistic trajectory,” Sanwo said, adding that the exhibition is a testament to his boundless creativity and his enduring legacy as a leading figure in modern art.

    Art lecturer at the Ahmadu Bello University, Zaria Prof. Jerry Buhari noted in the exhibition brochure that the show is giving art followers an inspiring example and lessons in applying three key words of ‘archiving, preservation and presentation’ to celebrate creative professionals, living or departed. Buhari urged living artists to take lesson from the exhibition as regards future of their creativity. The scholar also directed similar message of preservation and presentation to cultural institutions to consider the importance of documenting, and preserving art for posterity.

    Buhari captured some of the medium and techniques of Grillo within the context of the late artist’s contribution to modern Nigerian art. “The images in the catalogue have as an introduction, a rare and excellent black-and-white lateral view portrait of the artist,” Buhari said. “It captures his youthful look gazing into a world he is in, worlds he has gone through and experienced, worlds he will create and conquer,” he added.

    Born in 1934, in Lagos, Grillo graduated in Fine Arts from the Nigerian College of Arts, Science and Technology, Zaria in 1960. He was a member of the Zaria Arts Society, a group of students that spearheaded an artistic revolution that challenged the norms of colonial education. In the late 1950s, the Zaria Art Society embraced a theory of “Natural Synthesis,” fusing indigenous Nigerian themes with European techniques. This initiative gave rise to the appellation “Zaria Rebels” by which the Zaria Art Society is often referred to.

  • Woven Imaginations: Building bonds of creative forge

    Woven Imaginations: Building bonds of creative forge

    Two years ago, a set of 1997-1999 old students of Yaba College of Technology, Lagos made its debut group exhibition at the Adeline Gallery, Lagos featuring 11 members.

    Today, the group which built on that successful outing recently held another exhibition titled Woven Imaginations, simultaneously across two venues at Adeline Gallery, Ilupeju and Yanna Studio, Ikoyi, Lagos despite the hard economic situation in the country.

    The group membership rose to 19 this year.  With a work each from the artists, Woven Imaginations offers enthusiasts and collectors a combination of concepts in diverse manners that speak to people’s emotions and tastes. This is manifested in most of the works especially paintings by Desmond Dubre, Sylvester Aigbogun, and Norbert Okpu. Other artists who also expressed their talent in other forms include Idowu Sonaya, Porter Ajayi, Babatunde .B .B, Francis Nja, Dotun Alabi, Taiwo George-Taylor, Patrick Oduone, Lekii Adebesin, Akintunde John, Kafaru Abiodun, Carew Fuad, Owolala Adeniyi, Olusegun Mokayi, Olusegun Savage Tony Agha and Victor Assam. In all, they presented diverse works in different media such as mixed media and sculpting.

    Expressing his gratitude to the members of the group, Chairman, Exhibition Planning Committee, Idowu Sonaya said in the exhibition brochure: “I’m also grateful for the commitments and supports of all members of the planning committee as well. It is our prayer that every artist within our group keeps waxing stronger in their various chosen mediums from time to time. ”

    Read Also: Terror kingpin Bello appeals for dialogue in new video

    Significantly, the exhibition theme speaks to the constant deployment of artistic sensibility by each artist to reference and comment on the human condition with layers of meaning that transcends the surface.

    One common thread that runs through many of the exhibits is the vibrant colours that accentuate the content of the paintings especially be it oil on canvas or acrylic. Also, images and forms centre on environment and heritage, which help to connect the works to the viewers. Ikole Ekiti by Dotun Alabi and I nogo gree by Idowu Sonaya are ready examples.

    Dotun Alabi’s Ikole Ekiti is an artistic recreation of the natural environment of that rural community showing serene setting that thrives in greenery and hilly landscape. It also reflects the preserved old traditional homes of the people

    Though rendered as relief metal sculpture, Sonaya intricately reenacts the advocacy slogan of Gen Z during the last protest across the country over good governance in I no go gree. But, he choses Abami Eda, the Afro beat legend Fela Anikulapo, as the authentic face of the struggle. In a way, it is a deserving tribute to the late maverick musician who dared the military junta using his music till his death. 

    Desmond Dubre’s Maneuvering Masquerades (oil on canvas), which captures three masqueraders in a dancing mood is presented with a combination of earthy and vibrant hues that heightened the elegant gait of the ancestral spirits/figures.  With the combination of lines and hues of colours, Desmond highlights the theme and mood of the images revealing lots of action.

    Sylvester Aigbogun’s Sisi’s birthday party (oil on canvas) reflects the typical Lagos Owambe party scene capturing three women in colourful attire. But, the figures are stylized leaving the viewer wondering about their true identity. In similar tone, Norbert Okpu explores female figure in The Melodies of My Mind, to shares his existential concerns about life. There is however a seeming moody atmosphere in the painting, which is also a source of curiosity to the viewers.

    Babatunde’s Ogolo masquerade (acrylic on canvas) depicts the popular masquerade southeast of the country with heavy presence of red colours as part of its costumes. The artist masterfully captures the movement and action of the masquerade showing the dance steps.

    For Taiwo George-Taylor, Lagos Life is a celebration of vibrant colours, people and vehicular traffic of the ever bustling city of Lagos that never sleeps. With cubic frame, he captures the different structures, the low and high rise buildings that challenge the web of electricity wires that crisscross the atmosphere. The red, white and yellow colours spice the different images that contrast the all blue sky background.

    But the splash of white on the lower portion of the sky provides attractive depth for the painting. Woven Imagination was held between September 1 and 15.

  • Challenging preconceived notions of beauty, colours

    Challenging preconceived notions of beauty, colours

    One of Nigeria’s contemporary artists with a strong penchant for water colour, Mr. Olumuyiwa Afolabi Olusola, has described master of light and atmosphere, the late J.M.W. Turner, Alvaro Castagnet, Joseph Zbukvic and Pablo Ruben as some of his classical and contemporary influencers in water colour painting. He said Turner’s ability to evoke emotion through the play of light and shadow in his landscapes has been an inspiration for his exploration of nature’s fleeting beauty, while the use of bold of colour, dynamic compositions and mastery of tonal contrasts by the contemporaries such as Ruben shaped his understanding of how to push the limits of watercolor as a medium.

    “One of my most profound formal influences is J.M.W. Turner, particularly his mastery of light, atmosphere, and the sublime qualities of nature. Turner’s ability to evoke emotion through the play of light and shadow in his landscapes has been an inspiration for my own exploration of nature’s fleeting beauty. His works capture not only the physicality of a scene but also its emotional resonance, and this deeply influences my use of light in watercolor. I am especially inspired by his ability to convey movement and mood through washes of color, which is something I strive to emulate in my pieces,” he said.

    The Yaba College of Technology, Lagos trained fine artist spoke at a virtual preview of his recent water colour paintings exhibition tagged First Insight opening on October 5, at Gemini Gallery on  King George IV Street, Onikan Lagos. He stated that contemporary watercolor artists have challenged traditional notions of watercolor as being delicate or understated, instead embracing its potential for power and vibrancy, which is a direction I often explore in my own work.

    Read Also: I can swear with Qur’an I never stole as Kaduna Governor — El-Rufai

    Some of his paintings, which are more in series include the Journey, This Time, Meeting Point, Reflection, Our Daily Bread, Close To Nature, The Child, The Cashless, Home Coming, Stay Safe, Save A Life Cross Current,  Colour For A Living, To And Fro and Amoye Oro Agba. 

    According to him, First Insight is more than just an exhibition as it is an invitation to embark on a journey of discovery. He said it challenges enthusiasts to step outside their comfort zones, to question assumptions, and to embrace the unknown with an open heart. Through this collection, he said, he hopes to inspire viewers to look at the world and at themselves with fresh eyes, finding beauty, meaning and inspiration in the most unexpected places.

    “First Insight is a journey into the depths of perception, where the familiar is seen through new lenses, and ordinary experiences are transformed into extraordinary revelations.

    This solo exhibition marks a pivotal moment in my artistic journey, where I invite viewers to explore the world with renewed vision and an open mind.

    “Each piece in the collection reflects a unique perspective, challenging preconceived notions and encouraging a deeper understanding of the subtle beauty that surrounds us. Through vibrant colors, intricate textures, and dynamic compositions, I aim to evoke a sense of wonder and curiosity, prompting viewers to question, reflect, and ultimately discover new meanings in the everyday.

    “In First Insight, I am exploring the idea that our understanding of the world is constantly evolving. With every new experience, we gain fresh perspectives that reshape our thoughts, beliefs, and emotions. This exhibition is an exploration of that process a celebration of the ever changing nature of perception.  As an artist, I have always been fascinated by the way light, colour, and form interact to create different moods and meanings. In this series, I have experimented with various techniques and mediums to capture the essence of these interactions. The use of watercolor, with its fluidity and unpredictability, serves as a perfect metaphor for the fluid nature of perception itself,” he said.

    On why he specializes on water colour, Olumuyiwa said: “My decision to specialize in watercolor painting emerged gradually but became solidified during a period of artistic self-reflection. I had experimented with various mediums, from charcoal to oils, acrylic, ecoline, coffee, enamel but none seemed to offer the delicate balance between control and freedom that I sought in my work. Watercolor, with its transparent layers, subtle blending, and capacity for creating light filled compositions, aligned perfectly with my vision of capturing the nuances of life and nature.

    “What intrigued me most about watercolor was the sense of immediacy it offers. Each brushstroke feels alive there’s no going back or covering up, only adapting to what unfolds on the paper. This quality mirrors life itself: fleeting, unpredictable, and rich in emotion.

    This immediacy also encouraged me to focus on the present moment, a mindset that reflects not only in my creative process but also in the themes I explore capturing the beauty of impermanence, light, and the quiet yet powerful moments that often go unnoticed.

    Another significant reason why I chose watercolor as my primary medium is its versatility in expressing both precision and abstraction.” First Insight will run till October 11.

  • Realities of marriage

    Realities of marriage

    Title: The Truth About Sadia

    Author: Lola Akande

    Reviewer: Oluwashindara Oso

    Pages: 301

    Publisher: Tunmike Pages

    The Truth About Sadia is a fiction, which opens with a poignant prologue that sets the tone for the rest of the story. Akin, in a fit of jealousy and an overwhelming desire to control his sister’s fate, takes Sadia to a medicine man who implants a maggot in her body—a ritual act that curses her love life. This initial act of cruelty and betrayal by a family member highlights one of the novel’s central themes: family dispute/unforgivenness.

    As the narrative progresses, readers are introduced to Sadia’s life, particularly her ill-fated marriage to Mofe. The relationship, which begins as a seemingly romantic and hopeful union, quickly deteriorates as Mofe’s dark past and present struggles with drug addiction come to light. Akande skilfully uses flashbacks to reveal the underlying tensions and unresolved issues within both Sadia’s and Mofe’s families, painting a vivid picture of how deeply rooted issues can destroy lives.

    The Truth About Sadia by Lola Akande is a compelling and multifaceted novel that delves deep into the complexities of family dynamics, the destructive nature of drug abuse, and the untold struggles of marriage. As the narrative progresses, readers are introduced to Sadia’s life, particularly her ill-fated marriage to Mofe. The novel delves into how Sadia’s marriage to Mofe unravels, reflecting the harsh realities of marriage, contrasting societal expectations with the ugly truth of living with a drug addict. The relationship, which begins as a seemingly romantic and hopeful union, quickly deteriorates as Mofe’s dark past and present struggles with drug addiction come to light. Akande skilfully uses flashbacks to reveal the underlying tensions and unresolved issues within both Sadia’s and Mofe’s families, painting a vivid picture of how deeply rooted issues can destroy lives.

    The repeated cycles of hope and despair in Sadia’s life illustrate the broader societal issues of addiction, mental illness and the stigmatization of those who are married to addicts.

    The narrative is primarily told from a third-person perspective, but Akande occasionally allows characters to express their emotions in the first person, adding a personal and intimate touch to the story.

    Read Also: Nigeria’s money-making practices

    One of the novel’s strengths is its exploration of marriage, not as a tranquil institution but as a complex and often challenging partnership. Sadia’s marriage to Mofe is flawed by his substance abuse and the toxic influence of his brother, Aremo, who steers him into addiction.

    The first-person narrative brings readers to the forefront of the protagonist. Readers were able to understand her pain, her thoughts and her desires and could also see that the author wanted us to feel the pain and anguish of the protagonist. Right from the prologue, the intrigues get the reader hooked till the end. Its simple plot structure woven around the couple- Sadia and Mofe, also makes comprehension easy and tale, quite engaging. The literary devices used in the novel helped us to understand the feelings of the protagonist even more and could also follow her thought process.  The book tells of the unspoken struggles of life. Marriages are not always a bed of roses. There’s a sharp contrast between society’s viewpoint and reality on the subject of marriage. Through Sadia’s experiences, Lola Akande challenges the romanticized view of marriage, revealing it as a commitment that requires more than just love; it demands communication, forgiveness, and a willingness to endure hardship.

    The Truth About Sadia is a thoughtful and engaging exploration of marriage. Akande’s skilful storytelling and deep insight into the dynamics of marital relationships makes this novel a compelling read. must-read for individuals of marriageable ages, as the author effectively challenges the readers’ notions of a fairy-tale romance.

  • Omole unveils foundation

    Omole unveils foundation

    The Wale Omole Foundation for Virtues and Ethics in Yoruba Culture has been unveiled, marking the beginning of a transformative journey focused on education, community development, and cultural preservation. The event, held in Victoria Island, Lagos and attended by distinguished guests and dignitaries, was held to celebrate the vision of Prof Wale Omole, a revered figure in academia and Yoruba culture.

    According to the Chairman and Founder of the foundation, Prof Wale Omole (OFR), the foundation will focus on education, community development, and cultural preservation.

    He noted that the foundation is set to empower countless individuals and communities, ensuring that the virtues and ethics of the Yoruba people continue to thrive for generations to come.

    Read Also: Nigeria’s money-making practices

    Prof Omole said: “From the very beginning, my life has been guided by a deep sense of purpose and an unwavering commitment to uplift and empower our communities. The grace of God has been a recurring theme in my life.

    “Over the past four decades, I have dedicated myself to education, community development, and the promotion of cultural heritage. I have witnessed firsthand the transformative power of education in changing lives and breaking the cycle of poverty.

    “I have seen how community development initiatives can create sustainable livelihoods and foster a sense of pride and belonging. And I have experienced the profound impact of preserving and promoting our rich cultural heritage, which serves as a beacon of identity and unity.

    “It is this God-given wealth of experience and unwavering dedication that is the cornerstone of The Foundation. Our mission is clear: to create a brighter, more equitable future for all by focusing on three key areas – Education, Community Development, and Cultural Preservation.

    “We believe that education is the cornerstone of progress. The foundation will support educational initiatives that provide access to quality education for all, particularly for those in underserved communities. We will work to improve educational infrastructure, provide scholarships, and support teacher training programs to ensure that every child has the opportunity to realize their full potential.

    Our commitment to community development is unwavering. We will support initiatives that create sustainable livelihoods, promote entrepreneurship, and improve access to essential services. By empowering individuals and communities, we aim to foster economic growth and social well-being. Our rich cultural heritage is a source of immense pride and identity.”

  • Expanding opportunities for art, artists

    Expanding opportunities for art, artists

    Chief Executive Officer, LVI Art Gallery and Cultural Nexus, Julius Iyighiojie has urged Nigerian visual artists to have positive mindset towards Nigeria despite the economic hardship the country is going through now. He said that ‘we have more for us than what is against us as a people.’

    Iyighiojie lamented that instead most Nigerians are seeking greener pastures outside the shores of the country at very high risk. “Unfortunately, we are seeking foreign validation and endorsements as well,” he added. He spoke recently in Lagos while unveiling his gallery’s three-month painting and outdoor exhibition coming up in October, November and December for visual artists..

    Iyighiojie stated that the monthly exhibition will flag off on October 4 and is designed to enlighten Nigerians and the global community on the unique beauty and tourism potential the nation was endowed with. With the theme: ”The Hand that Creates the Masterpiece”, it will feature emerging artists who are expected to produce paintings during a live drawing session that explore the beauty and positive aspects of Nigeria. It will feature no fewer than 60 emerging artists, 20 for each month..

    According to him, this is his way of assisting the artists to gain personal visibility as well as promotion for their works. “Nigeria has all it takes to be big in tourism; this is an exhibition that is meant to expose people to the beauty of Nigeria. The exhibition would run as a live demonstration of artists engaging in painting on acrylic while the exhibition of those paintings will also run concurrently.

    Read Also: Drama as judge, SAN clash in N1.35b ‘fraud’ trial

    “This is my way of deliberately promoting the young artists who have no means to hold exhibitions and it is also planned to achieve my desire of showcasing the beauty of Nigeria to spur tourism. The October session will run from 4th to 6th November edition will hold from 1st to 3rd while the December session will run from 6th to 8th. Within the three days for each month, the artists are meant to produce a maximum of three paintings that will explore the theme for the exhibition,” he said.

    To be part of the programme, Iyighiojie disclosed that prospective visual artists must have any of these qualifications: Ordinary National Diploma (OND), Higher National Diploma (HND), B.A or M.A in Arts and Designs. Interested artist can access the gallery via @lvi art gallery.

    He said all paintings would be done on acrylic because of its environmental friendly nature and is fast to dry. He assured that for.proper documentation, a catalogue of the art works created within the three months will be produced and it will be distributed to museums and ministries for proper promotion.

    “All art works are to be produced and completed at the exhibition arena and each artist is to produce 3 artworks within the painting period. This will be a regular practice going forward. I want to see Nigerian emerging artists coming out of obscurity to fame.

    “We are going to ensure that the works produced are sold during the exhibition and the artists will have the opportunity to continue to exhibit their works in my gallery, even after the exhibition period,” he said. As part of his plans for children with special needs, he said a similar art programme will be organised by the gallery this month when students resume school.

  • Honour for unsung heroes

    Honour for unsung heroes

    As a way to honour unsung heroes and recognise the continent’s most impactful humanitarians, organisers of the African Humanitarian Awards 2025, have lined up activities for its maiden edition holding in Lagos in January next year.

    The launch of the awards in Accra, Ghana organised recently by a Lagos-based magazine, Elgee Info Media, attracted key players in Ghana’s humanitarian sector.

    The awards ceremony, which will span two days in January 2025, will be a landmark celebration of those making a difference across Africa. The first day of the event, January 26, is dubbed Humanitarian Day and will feature Africa’s largest humanitarian fair offering practical support to the continent’s most vulnerable populations. NGOs from various sectors will participate, providing free services such as wheelchairs, eyeglasses, medicines, food and clothing to the needy. The second day, January 28, will culminate in the grand awards ceremony where individuals and organisations excelling in various humanitarian fields will be honoured.

    Read Also: Drama as judge, SAN clash in N1.35b ‘fraud’ trial

    Categories include Education, Healthcare, Poverty Alleviation, Empowerment of Women and Girls, Environmental Sustainability, Peace Building and Conflict Resolution, Humanitarian Innovation, amongs others. A special Lifetime Achievement Award and recognition for companies with humanitarian achievements are also among the highlights.

    Founder and Chairperson African Humanitarian Awards, Samuel Akinyemi, hinted the importance of recognising those who have shown exceptional selflessness, resilience and compassion.

    “In these challenging times, celebrating those who are making a positive impact is crucial. Their work not only changes lives but also serves as an inspiration for others to act in the spirit of Ubuntu—our shared humanity. This event aims to shine light on Africa’s unsung heroes who are creating ripples of positive change across the continent,” Akinyemi said.

    Nominations for the awards are currently open and will close on October 30, 2024. Interested individuals are encouraged to nominate deserving candidates by visiting the official website, www.africanhumanitarianawards.com.

    Organisers say the ceremony is expected to draw high-profile participation, with African First Ladies among the notable attendees. Confirmed guests include the First Lady of Nigeria, Her Excellency Senator Oluremi Tinubu; H.E. Dominique Quattara, First Lady of Cote d’Ivoire; H.E. Rebecca Akufo-Addo, First Lady of Ghana; and H.E. Jeannette Kagame, First Lady of Rwanda, among others.

    A panel of distinguished experts will oversee the selection process, ensuring that the awards are granted to the most deserving recipients. The event, which will hold at Eko Hotel and National Stadium, Surulere, Lagos, promises to be a gathering of influential figures from across the continent, including government officials, philanthropists, corporate leaders, and international dignitaries.

    The African Humanitarian Awards 2025 aims to foster partnerships and collaborations that promote sustainable development across Africa, highlighting the innovative solutions being championed by individuals and organisations dedicated to improving lives.

    The public is invited to join the conversation on social media using the hashtag #AfricanHumanitarianAward and to submit nominations through the official website.

  • Guide to public affairs reporting

    Guide to public affairs reporting

    Title: The essentials of public affairs reporting

    Authors: Hassan Biodun Suleiman and Mukaila Olabamiji Sanusi

    Reviewer: Mohammed Shosanya

    Pages: 96

    Publishers: LASU Press

    The essentials of Public Affairs Reporting by Hassan Biodun Suleiman, PhD and Mukaila Olabamiji Sanusi, is an insightful guide aimed at equipping journalists with necessary skills and knowledge to effectively cover public affairs. This review covers the book’s key elements, structure and contributions to the field of journalism.

    The book provides a detailed exploration of Public Affairs reporting, focusing on the critical aspects of covering government activities, political events and public policies. It emphasises the importance of accuracy, objectivity and ethical considerations in reporting. Suleiman and Sanusi draw on their extensive experience in academics and journalism to present a guide that is both informative and practical.

    The book also explores the dynamic interplay between media and government, highlighting the journalist’s role in promoting transparency and informed masses.

    Endorsed by Rotimi Williams Olatunji, a professor at Lagos State University, the book is recommended as essential reading for students in C ommunication and Media Studies Programme. This endorsement, along with the authors’ extensive experience, adds credibility to the book’s content and its potential impact on journalism education in Nigeria and beyond.

    Read Also: Nigeria’s money-making practices

    In summary, it is a well-rounded guide that combines theoretical insights with practical advice. It focuses on ethics, detailed examination of Public Affairs and the importance of a journalist’s role in democracy. This makes it a must read for journalism students and professionals, dedicated to enhancing their craft while contributing to an informed society.

    The book is structured into seven chapters, each focusing on different aspects essential for public affairs reporting. The first chapter, ‘Public Affairs’, provides an overview of the field, explaining the importance and scope of public affairs journalism. It highlights the role of journalists in informing the public about government activities, policies and issues affecting the community. The second chapter, ‘Nature and Scope of Public Affairs Reporting’, includes coverage of local, state and federal government activities, legislative processes, elections, political parties and policy decisions.

    Meanwhile the third chapter, ‘Sources of Public Affairs Reporting’, delves into the methods of sourcing and researching information for public affairs stories. It covers techniques for gathering reliable data, conducting interviews and verifying facts. The fourth chapter, ‘Media and Promotion of Government Policies’, explains how the media serves as a crucial channel for disseminating information about government policies to the public by providing comprehensive coverage of policy announcements, objectives and potential impacts.

    The fifth chapter, ‘Ethical Considerations In Public Affairs Reporting’, highlights the importance of maintaining impartiality and objectivity. Journalists must present information without bias, providing balanced perspectives and avoiding favouritism or undue influence from political or corporate interests. This chapter expatiates more on transparency and accountability as well as how transparency in the reporting process is crucial for building trust with the audience.

    The authors advocate for journalists to be clear about their sources and methodologies, explaining how information was obtained and why certain editorial decisions were made. However the sixth chapter ‘Public Affairs and National Interest’ delves into how public affairs reporting can enhance public awareness through comprehensive and accurate reporting.

    It also states how the community can be actively engaged through outreach programs, investigative reporting on local concerns and initiatives that fosters a deeper understanding of the issues affecting the public mood. By incorporating these practices into their work, journalists can demonstrate a genuine respect for the mood of the public, fostering trust and transparency in their reporting and contributing to a more informed and engaged society. However the seventh chapter, ‘Freedom Of Information Act (2011)’ the Act which was signed into law by former President Goodluck Jonathan in May 2011 is designed to make public information freely available,  ensuring transparency and accountability in government and public institutions. The book outlines a clear procedure of making information requests, including written applications.

    The book is characterised by clear, concise language that is accessible to both beginners and experienced journalists. The authors used precise diction appropriate for academic and professional contexts which enhances the books readability. The logical structure, with well organised chapters and practical examples aids in comprehending complex concepts. This blend of straightforward language and practical application makes the book highly readable and useful for mastering public affairs reporting.