Category: Life – The Midweek Magazine

  • British Council, Cambridge awards for exceptional students

    British Council, Cambridge awards for exceptional students

    British Council in collaboration with Cambridge International Examinations has recognised the achievements of exceptional students from various British Council partner schools across Nigeria. The students were awarded the prestigious British Council Recognition and Outstanding Cambridge Learner Awards (BROCLA) for their remarkable performance in June and November 2023 Cambridge international education examination series.

    The ceremony, which is held annually, also recognised British Council partner schools that showcased implementation of the Child Protection Policy and the Equality, Diversity and Inclusion Policy. These recognitions underscore the British Council’s dedication to fostering safe and inclusive educational environments.

    Ninety-five students from 37 British Council Partner Schools achieved the remarkable feat of obtaining the highest marks in Nigeria British Council partner schools in subjects such as sociology, information and communication technology and business studies with seven students from three schools earning the esteemed ‘Top in the World’ honour. This award is granted to students who have obtained the highest marks in the world in a single subject. Additionally, 71 students received the ‘Top in Nigeria’ awards for achieving the highest standard mark in the country for individual subjects. Further accolades included 48 ‘High Achievement’ awards and 8 Best Across’ awards, recognising students with the highest cumulative standard marks across multiple subjects.

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    Country Director, British Council Nigeria, Lucy Pearson, said: “Today, we celebrate outstanding learners and our collaboration with Cambridge International Education. Our work with British Council Partner Schools in delivering UK assessments and qualifications in Nigeria has been instrumental in helping individuals gain educational and professional development, positioning them for success in life and careers. We believe in providing young learners with access to world-class education and assessments.

    Director Examinations, British Council Nigeria, Deep Adhikari, emphasised the importance of EDI Award, noting that “this award aims to minimise prejudice and discrimination based on protected characteristics. I congratulate the recipients for fostering a culture of Equity, Diversity and Inclusion in their schools and for showcasing practical ways to integrate EDI into inclusive education.”

    Regional Director, Cambridge International Education, Juan Visser, said the awards recognised the talent and commitment of learners and staff.

    He said: “Congratulations to Cambridge learners who have worked so hard to achieve tremendous success in Cambridge exams. With the education you have from Cambridge and from your schools, nothing can get in the way of you achieving your dreams. Your Cambridge qualifications will no doubt open you to a world of opportunities. With an education that is trusted, recognised and truly International, you are all ready to make a positive impact in the world.”

    In addition to student awards, Greenspring School, Lekki, Lagos, a British Council partner schoo, was honoured for its impactful contributions to best practice policies in Equality, Diversity, Inclusion, and Child Protection, as well as its efforts in promoting upward mobility for its employees.

    This year’s BROCLA awards were marked during a significant milestone as British Council celebrates its 80th anniversary of its operations in Nigeria under the theme Amplifying the Voices of the Future in building connections, understanding and trust. This milestone reflects British Council’s long-standing commitment to fostering educational excellence and supporting the aspirations of generations of Nigerians.

    Over the last 80 years, British Council Nigeria has achieved significant milestones by investing in human capital through scholarships, supporting young entrepreneurs and enhancing educational practices between UK and Nigerian schools. All top-performing students will be awarded certificates from Cambridge International Examinations to acknowledge their achievements and mark a pivotal moment in their academic journey.

  • The Man Died ‘resurrects’ on Lagos stage

    The Man Died ‘resurrects’ on Lagos stage

    After setting the tone in March, during the World Poetry Day at the Eko Hotel and Suites, Victoria Island, Lagos, the 90th birthday celebrations of Nobel laureate Wole Soyinka will hit many arts centres across Lagos, Abuja and Abeokuta beginning this weekend. From Muson Centre, Onikan Lagos to University of Lagos, Freedom Park, Lagos, Korean Cultural Centre, Abuja and June 12 Cultural Centre, Kuto Abeokuta, Ogun State, arts enthusiasts will have a bountiful harvest of performances that mirror the many parts of Kongi, Assistant Editor (Arts) OZOLUA UHAKHEME reports

    The Man Died, a feature film inspired by the ‘Prison Notes’ of Africa’s first Nobel laureate, Wole Soyinka, will have its ‘special premiere screening’ on Friday, July 12, in Lagos.

    The screening, a strictly by invitation event, is designed as a flagship of the global celebration of the 90th birthday anniversary of Soyinka (who is 90 on July 13); and it is expected to be witnessed by a gathering of eminent dignitaries, members of the diplomatic corps, industry stakeholders, family, friends and associates of the Nobel laureate as well as key members of cast and crew of the film. 

    “This is not the premiere yet but a special screening to commemorate the 90th birthday of Prof Wole Soyinka,” stated the organisers, stressing that guests would only be admitted based on their invitation and RSVP. A later date will be set for the formal premiere of the film, assured the managers of the event.

    Shot entirely in Nigeria – Lagos and Ibadan – late 2023, the 110-minute feature is directed by the cineaste and culture scholar and academic, Awam Amkpa and produced by the ace storyteller and media content producer, Femi Odugbemi for the renowned film company, Zuri 24 Media.

    A fictionalised adaptation of the stories narrated in the prison memoirs, the screenplay written by young but tested writer, Bode Asiyanbi, is ‘not a bio-pic of the prison life of Soyinka, but an expanded narrative on his prison experiences, and includes stories that you would find in his subsequent memoirs on his life stories,’ stated Amkpa, the director in an earlier released The Making of The Man Died, produced by Odugbemi.

    Amkpa, a former student and long-standing associate of Soyinka, said stories from Soyinka’s subsequent memoirs, Ibadan Penkelemes Years; and You Must Set Forth at Dawn, are also accommodated in the film. A trained theatre artist, filmmaker and culture scholar, Amkpa is currently Professor of Drama, Film and Social and Cultural Analysis, and Dean of Arts and Humanities and Vice Provost for the Arts at New York University Abu Dhabi.

    Produced by ZuriMedia24, with generous financial support from the New York University, Abu Dhabi, the film is shot by an entire Nigeria crew with no input from any foreigner, except in the post-production. The director of photography is Agbo Kelly while the Production Designer is Theo Lawson, an architect who has, however, been involved in other film projects in recent years.

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    On reason for relying entirely on an local production resource to realise the film, unlike projects of its status, which usually bring certain crew members from outside, Amkpa said this was a deliberate and intentional choice.  He said in making such a film based on the ‘colourful and fascinating life of enigma who is also an eminent global citizen, authenticity is very important. We need to stress on the input of people intimately familiar with the cultural and political environment that shaped the Nobel laureate and his narratives, irrespective of their skill sets.’

    He continued, “I have an army of former students who are big-time filmmakers in Hollywood and elsewhere that I could just call on a whim to make the film and shoot it in Nigeria but that for me, there’s no learning curve. For me, every creative project is like going back to the basics and building back upwards. That was why for me it was very educational to come here.”

    Odugbemi, a veteran of the Nigerian movie and television sets, stated in an interview, “As you probably know, it is a very intimate account of Soyinka’s 22 months in solitary confinement for his role in trying to bring a halt to the civil war. I hope this narrative of resistance and courage inspires this generation.

    “It is also an ambitious adaptation that brings to life an iconic literary work offering a deep, personal perspective on Nigeria’s conflicted political history and the intense challenges of nation-building. By transforming Soyinka’s poignant narrative into a visual medium, I hope to reach a broader audience, particularly young people, who might be less inclined to engage with the written text but can be profoundly impacted by the film.”

    Over 100 film workers of varying specialties and industry experiences featured in the project with notable performers including Wale Ojo in the lead protagonist role of Soyinka, and Sam Dede as the main antagonist, Yisa, Soyinka’s interrogator and torturer. Aside the Hollywood rising actor, Abraham Amkpa, who played Soyinka’s bosom friend, Femi Johnson, other lead actors are Nobert Young (Prison Superintendent), Francis Onwochei (Prison Controller), Edmund Enaibe (AIG), Christina Oshunniyi (Laide Soyinka), Similoluwa Hassan (Emeka Ojukwu), Segilola Ogidan (Morenike), Dili Ezugha (Agu Norris), Ropo Ewenla (Olusegun Obasanjo), Henry Diabuah (Yakubu Gowon), Temilolu Fosudo (Bola Ige), William Idakwo (Victor Banjo), among others.

    Odugbemi, renowned for his indelible signature on many successful movies and TV series projects, including Maroko, Gidi Blues, Eve, Code Wilo (movies) and Tinsel, Battleground, Movement JAPA, The Covenant (TV), continues: “Of course, this is not just a memoir; it is a testament to the resilience and courage of the human spirit in the face of oppression. It vividly chronicles Soyinka’s experiences during the Nigerian Civil War, highlighting the brutal reality of political imprisonment and the relentless struggle for justice and freedom.”

    Odugbemi, a voting member of both the Academy of Motion Picture Arts and Sciences (Oscar Awards) and the International Academy of Television Arts and Sciences (Emmy Awards), among other film service roles, continued on the making of the film: “Through this film, we aim to inspire young people to embrace their role in demanding humanistic ideals from our nation’s political leadership. In a world where authoritarianism and corruption often threaten democratic values, we hope the film will resonate as a call to action for citizens to remain vigilant and proactive in pursuing justice and equity. We hope it sparks meaningful dialogue to inspire positive change in our country.”

    The July 12 premiere in Lagos is supervised by the film’s Associate Producers Makin Soyinka and Jahman Anikulapo with the Production Manager, Adewale Emmanuel Orosun, and managed by ONE Management. Admission is strictly by Invitation. It is supported by Lagos State Government, Providus Bank, Dr. Kayode and Erelu Fayemi, among others. The partners are Arise and Afia Tvs.

    After the Lagos premiere, the film will be screened next on July 25 at The Africa Centre (TAC), London, where it will feature as part of WS90 — a 9-day programme of events, jointly organised by the Wole Soyinka International Cultural Exchange and the TAC, also to commemorate the 90th birthday anniversary of the poet, playwright, essayist, memoirist, human/civil rights activist and global cultural icon. It will thereafter go on a tour of select festivals around the world, before hitting the public cinema screens in Nigeria, the UK, the USA, Europe, UAE and other centres around the African continent.

  • ‘My father prostrated for me when I was chosen as Oba’

    ‘My father prostrated for me when I was chosen as Oba’

    In this interview with Oba Peter Oluwole Ipadeola Ilufemilolye Akinyooye III, the 35th Olufon of Ifon Osun and Aremo Obatala of the universe, we delve into the tapestry of his ascension to the throne and the challenges he faced. His journey from a reluctant contender to a revered monarch is intertwined with mystical encounters, spiritual revelations and encounters with fraudsters. His narrative provides insights into the timeless traditions, rich heritage and unwavering commitment to progress that define Ifon Osun. He speaks with TOBA ADEDEJI

    How he ascended the throne

    We’ve transcended the need for admonishing my fellow contenders, as harmony now prevails amongst us. Many have joined hands, contributing ideas and efforts towards our shared goals. There are no losers; we are all winners, collectively propelling our town forward. I adhere to my blueprint for development, focusing on initiatives that will uplift our community. I believe our town’s sons and daughters don’t necessarily need to return physically to contribute; investing in their homeland can drive progress.

    We’ve laid the groundwork, fostering peace with our neighbors to prevent further conflict. Through this approach, many are already considering investing in our town. While I assumed this throne only six months ago, it’s premature to expect everyone to relocate immediately. We’re engaging with our diaspora community, encouraging them to participate in our town’s growth.

    Regarding the unfortunate incident with the Ilobu community, it’s incomprehensible that violence erupted over land disputes. Such actions defy logic and decency, warranting intervention and psychological assessment. Despite our historical ties and intermarriages, they trespassed and incited violence. Despite our pleas for assistance, some authorities underestimated the severity, allowing the situation to escalate.

    Engaging in armed conflict with neighbors is unacceptable, especially considering our close relationship. It’s disheartening that instigators remain unpunished, while our communities suffer. It’s imperative that those responsible face justice, ensuring the safety and well-being of all.

    How Osun State government resolved Ifon-Ilobu the communal war

    I commend Governor Ademola Adeleke’s commitment to peace, even in the face of discomfort for stakeholders. His dedication to maintaining peace is admirable and underscores the importance of peace in fostering development. Ifon Osun is known for its inclusivity, hosting diverse communities including the Hausa, Igbo, and Fulani in significant numbers.

    During the recent Salah celebration, our community welcomed visitors from across Osun State and beyond, attracted by the presence of over twenty trucks of rams brought by northerners for sale, all of which were sold out.

    While the issue with Ilobu has received attention, it’s important to note that Ifon has ceded land to several other communities, with documented boundaries dating back to the 18th century, as evidenced by the Captain Rose Boundary document. Any further land requests should be approached through civilised means, such as consulting with the Olufon. It’s concerning when individuals attempt to claim ownership of land through deceitful means, as seen in instances where properties purchased from Ifon are falsely labeled as belonging to Ilobu. Such actions disregard established laws and undermine communal harmony.

    Casualties of the communal war and compensation process

    We’ve compiled the names of those affected by the recent unrest. Since assuming my position, I’ve made efforts to obtain the list and provide assistance to those in need. With the resources available to me, we’re doing our best to support them. I’m grateful to Senator Ajagunla, who generously contributed bags of rice directly to the palace for distribution to the affected individuals. We’ve been methodically distributing aid, ensuring each person receives their share.

    However, the scale of the damage is extensive, with many suffering losses such as looted and burnt shops and homes. As a traditional ruler, my resources are limited. We’ve reached out to organisations like NEMA through the Ifon Progressive Union, but assistance has been slow to materialise. I appeal to both the federal and state governments to intervene, providing grants and loans to help rebuild the lives and livelihoods of those affected.

    I am honored to serve as the 35th Olufon of Ifon Osun, and I hold the esteemed title of Aremo Obatala of the universe. Ifon is steeped in ancient history, and its influence extends far beyond its borders. Not only do we have other Ifon towns in Ondo State, such as Sepeteri and Ago Amodu, but we also have a presence in Cotonou. These towns serve as reminders of our ancestral migrations and the rich heritage we carry with us. As custodians of our core traditions, it is incumbent upon traditional rulers to deeply understand the responsibilities of the throne they seek to inherit. Every religion finds its place within our realm, for they all offer paths to our revered ancestors. A king must embrace all faiths, for in doing so, he honors the diverse spiritual beliefs of his people.

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    A traditional ruler should not espouse a particular religion but rather serve as a father figure to all faiths. By maintaining this impartial stance, the throne retains its spiritual power and relevance. Conversely, straying from this principle risks diluting the sacred essence of kingship. I meticulously studied the intricacies of the throne before assuming my rightful place as its guardian. Through this process, I gained invaluable insights into the duties and challenges that lie ahead, guiding my actions as I navigate my reign.

    Regarding my ascension to the throne, I believe that we are all guided by spiritual forces in our journeys. At times, I felt a stirring within me, hinting at a future intertwined with royal destiny. However, I initially resisted these inklings, hesitant to embrace the weighty responsibilities of kingship.

    Yet, one fateful morning, following the passing of our esteemed monarch, I encountered a profound omen that would alter the course of my life. Three pristine mushrooms emerged inexplicably before my home—a symbolic occurrence deeply rooted in the lore of our town. Upon sharing this extraordinary sight with my father, his reverent reaction affirmed the significance of the moment. Subsequently, I received spiritual signs reaffirming my destined path to the throne, providing solace and resolve during the tumultuous contest for kingship.

    These mystical experiences serve as reminders of the sacred bond between our earthly realm and the divine, guiding me as I fulfill my duty to uphold the ancient legacy of Ifon Osun.

    To be honest with you, ascending this throne is one of those things I didn’t want to do, but I have been ordained and called for service. When my father told me that I am going to be the next king, I rejected it. I told him to contest for it and I will back him up with all that I have. He said he had seen a lot of things that I would be the king.

    I prayed about it and started having dreams that I am on a white throne. I told the wife of my State Pastor about it, Mummy Akinrinade, she said I should give her three days to pray about it. The following morning, she called me and said ‘Kabiyesi’. That was when I entered the contest. Yes, my father was the first person to prostrate for me. That was when he told me that only one person saw mushrooms like I did during the time of Ilufoye and he did not survive it because he was killed before the time. That was why he cautioned me not to tell anybody about it. You know when your father is talking to you, you must take heed.

    I wish I could share a story about my encounter with fraudsters on my journey to the throne. Some people who are fraudsters came through one of my loyalists during the contest, they penetrated him and told him that there are some things that we need to do if I am serious about the throne of Olufon. One of them said he is the son of the late Esa of Ifon and his father told him certain things that anybody that wants to become the Olufon must do ahead of other contestants. I was persuaded to heed to them unknowingly. So I met those people at Ara junction, and a boy came to pick us up, he said we need to visit a place where all past Olufon used to visit. I wondered, what kind of shrine he was taking us to because I went with some of my friends. I told those people that I won’t make any covenant nor take any oath.

    I was told that the place is only meant for prayers. We entered through bushy paths and upon my arrival, I discovered it was a shrine. We got there and they started to tell us the history of Ifon Osun, those people were very smart because they presented the history in a very chronological way. They mentioned all the Olufon that have reigned. They were eulogizing all the past kings, when they mentioned Olufon Kesa my head was swollen and heart was touched. They showed us the acclaimed seat of the immediate late Olufon at the shrine.

    After that, they said we have another meeting with the ancestral world which will happen by 8PM. It is good to hold unto God and have faith in him. Don’t look for what is not yours, when you do that you will be entangled and caught in traps. I lost only N60,000 to them but I showed them pepper! My eyes see many things on my way to become the Olufon.

    Experience before ascending the throne

    They said they will send a boy called Ifayemi to me by 8PM to take us to the ancestral world because we can’t go during the day. They said we need to buy a white ram, and I gave them the money, that was the N60,000 I said I lost to them. By 8pm., he never showed up until 9pm at my hotel, I thought he would give us something to use that would take me from the hotel to the ancestral world or make some incantation and I would travel from there. He said we should prepare to go, and I asked if we were going in our car and he said ‘Yes’. I wondered where they used to go in the ancestral world with a car. He bought one bottle of Schnapp alcohol. We waited in a place till the dead of night.

     Around 11PM, he took me to Osun Osogbo groove with my friends. When we got there they said we should go and pray at the river bank. Thank God I know the place, I am conversant with the place. They said I should go and pray. I am saying this so that other people won’t fall prey to them that is why I am exposing them now. I prayed by the river, while I finished and about to leave the riverside, I started to hear very strange and loud noises. The noises were terrible; birds were making sounds terribly, the kind of noise that will make you cover your ears.

      When I was coming out, I saw women numbering about 40 with this local light called fitila. Nobody can pass through such and won’t fall for their antics. When we were going to the river, they were not there but when I was leaving, I saw them, they were wearing white, calling my father and mother’s names. They were organised fraudsters! They already prepared a mat for me and told my friends who followed me to the place to leave while I stayed. One of them was jittery whether I would return home. This was around midnight. I sat on the mat, they told me to look at the back of a tree close to where I was standing, I moved closer and saw Yoruba cooking stone. There was an empty pot on top of it. When I opened the pot, I saw nothing inside, so they told me to pour the alcohol that Ifayemi had bought inside it, which I did.

    Then they told me to make fire underneath with the help of Ifayemi. I closed the pot and stood there watching. After some minutes when vapor was coming out of the pot, they told me to carry the pot and open it. I saw cooked meat inside it. The leader of those women instructed me to stand up, which I did, I was told to move to another side of the area, when I got to the place, I saw the pictures of all the contestants in the place except mine. They said that all those that their pictures were there have visited them but they do not have a crown on their head but they see from the spiritual realm that I have the crown that is why they looked for me. They said they are ready to back me. They asked me of my age and told me to bring things for sacrifice that amount to my age.

      From those things they demanded, that was when I got them that they were 419. For example; they asked me to bring 60 cows, 60 rams, 7 horses, 60 chickens and many others. They now said with N20,000 they will transport all of those things. How is that possible? Haba! I felt they were compassionate with me over the N20,000. I think they felt that the bill was too much. At one point, I started making fun of them, they were angry and I denied that I was making jest of them. I told them that I am serious as they are because I am a businessman.

    That was how I got them, they were telling me to monetise those things they demanded from me and send it to an account. So I lied to them that I had transferred the money. I already told my friends that if I told them that I had transferred the money they would cut communication with me because they would rush to the bank to go and cash out. So after my claim, they cut contact with me, they were not waiting again. They headed to the bank.

      So that is why I want to advise that, when you are looking for something, don’t close your inner and spiritual eyes. If I had looked for this throne desperately, I would have seen many troubles. I know they will read this interview, if they are sure of themselves they can come and greet me in the palace. After that, around 11 pm, he took me to the Osun Osogbo grove with my friends. When we arrived, they instructed us to pray at the riverbank. Fortunately, I was familiar with the area, which prevented me from falling victim to their schemes. I prayed by the river, and as I was leaving, I heard strange and loud noises, accompanied by unsettling bird sounds.

      As I exited, I encountered about 40 women wearing white, holding traditional lamps, and calling out my parents’ names. They had prepared a mat for me and urged my friends to leave. Despite their efforts to intimidate me, I remained composed. They directed me to a cooking stone with an empty pot on top, instructing me to pour the alcohol inside and ignite a fire underneath. After a while, the pot revealed cooked meat, and the women guided me to another area where they displayed pictures of all the contestants except mine. Claiming they saw a crown on my head in the spiritual realm, they pledged their support and requested offerings equivalent to my age.

      Their demands, including 60 cows, 60 rams, 7 horses, 60 chickens and more, raised suspicions. When they proposed transporting all these items for just N20,000, I realised their fraudulent intentions. Pretending to comply, I claimed to have transferred the money, causing them to abruptly end communication and rush to the bank. This experience taught me to remain vigilant and discerning, especially in pursuit of aspirations. If not for my cautious approach, I could have easily fallen into their trap. I extend this caution to others, urging them not to overlook the signs and to trust their instincts. Looking at the time we came on board, there are a lot of things on the ground that are begging for attention but definitely, sport will be taken to the highest altitudes. We will build our stadium and many other things in sport.

  • A jolly ride on Abuja Metroline

    A jolly ride on Abuja Metroline

    The rhythmic hum of the Abuja Metro Line has become the heartbeat of the Federal Capital Territory (FCT), connecting the vibrant city centre to its bustling suburbs. As the train glides smoothly across the tracks, it carries with it stories of joy, convenience and discovery. Assistant Editor JIDE BABALOLA writes on delightful experiences of travellers who recently embarked on this urban adventure.

    For Ahmed Bello, a young professional, commuting from Lugbe to his office in the bustling Central Business District, the metro line has transformed his daily routine. “Before the metro, I spent hours in traffic every day, but now my commute is a breeze. The view of the city waking up in the morning through the train window is simply breath-taking,” he shares, smiling as he recalls his first ride.

    The Ayodeji family, with their two young children, decided to explore the metro line as part of their weekend outing. “The kids were thrilled to ride the train,” says Mrs. Ayodeji. “It was their first time, and they couldn’t stop talking about the experience. The convenience of hopping on the metro and reaching our destination without the hassle of driving made our family day out even more enjoyable.”

    Then there’s Grace Okonkwo, a university student, who frequently travels from Kubwa to the city centre for her studies. “The metro line has been a game-changer for me. It’s safe, reliable and allows me to use my travel time productively,” she explains. “I can study, listen to music, or just relax before a busy day of classes.”

    These personal stories highlight the transformative impact of the Abuja Metro Line, making it more than just a means of transportation but a cherished part of daily life for many. Whether it’s simplifying commutes, creating memorable family experiences, or providing a peaceful space for students, the metro line is a testament to the progress and connectivity shaping Abuja’s future.

    The 40-minute train ride from Abuja’s Metro Station in the bustling Central Area to Nnamdi Azikiwe Airport offers a refreshing perspective on Nigeria, even for the most sceptical. Happy families enjoying a free excursion, giggling teenagers, and the idyllic landscapes on either side of the tracks reveal the often unseen and underappreciated beauty of the Federal Capital Territory. For those returning from the airport, the cleanliness, smooth ride and clear security measures enhance the pleasure of re-entering the capital city.

    The growing number of cars rolling into Abuja from various satellite towns every morning has been a concern for years. Urban planners, transportation specialists and many others have wondered why Nigeria has been slow to embrace the integrated advantages of intermodal transportation. In Nigeria, the transportation system is predominantly uni-modal, with over ninety per cent of goods and passengers transported by road. Rail lines, shipping corridors, and the prohibitive costs of air transport have made road travel the dominant choice.

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    Intermodal passenger transport, as explained by Wikipedia, “involves using two or more modes of transportation in a journey. Mixed-mode commuting is often used to combine the strengths (and offset the weaknesses) of various transportation options. A major goal of modern intermodal passenger transport is to reduce dependence on the automobile as the major mode of ground transportation and increase the use of public transport.” The history of Nigeria’s train transport system and the Nigerian Railway Corporation dates back to 1898, when the first railroad was constructed by the British colonial government. However, the lack of political will by the nation’s leaders has significantly stunted the growth of Nigeria’s railway system, reinforcing the population’s reliance on road transportation.

    On November 30, 2006, while launching Nigeria’s ambitious $8.3 billion rail project, then-President Olusegun Obasanjo underscored the government’s commitment to expanding intermodal and multimodal transport services, aiming to leverage the strengths of each system. Yet, for years, this grand vision made only modest progress. The Abuja Rail Mass Transit (ARMT), also known as the Metro Line, was developed in six phases and funded by loans from the China EXIM Bank. The Obasanjo administration awarded the contract in 2007, and former President Muhammadu Buhari commissioned it on July 12, 2018. Although trial operations were set to commence from September 2018 to March 2020, the project stalled soon after Buhari’s commissioning due to vandalism, low public patronage, and other challenges.

    Making a difference

    President Bola Tinubu and Vice President Kashim Shettima’s administration has pledged a transformative policy thrust known as the ‘Renewed Hope Agenda,’ aimed at repositioning Nigeria as a prime global investment destination and positively impacting citizens’ lives. As part of these efforts, Minister of the Federal Capital Territory, Nyesom Wike, inaugurated the ARMT system during the celebrations marking President Tinubu’s first year in office.

    Wike described the inauguration as a practical demonstration of the government’s ‘Renewed Hope Agenda.’ Despite the Metro Line Rehabilitation contract being awarded at $30 million in 2018, funds were not released until President Tinubu took office. In September 2023, Tinubu directed the Central Bank of Nigeria, the Ministry of Finance, and the Accountant-General of the Federation to facilitate action by the contractor, China Civil Engineering Construction Corporation Limited, towards completing the project.

    As a result, twelve train stations with car parks were constructed at a cost of N21.4 billion. Additionally, Wike renegotiated the $128 million earmarked for manpower training by the previous administration down to $75 million, saving taxpayers $53 million. The ARMT system now boasts 12 diesel multiple units, each capable of transporting approximately 700 passengers. Designed for a minimum of 14 trips per day, the system can transport around 9,800 passengers daily. This development marks a significant step forward in Nigeria’s journey towards an integrated and efficient transportation network, fulfilling a long-awaited dream.

    On Wednesday, May 29, President Tinubu inaugurated the re-launch of the Abuja Rail Mass Transit (ARMT) commercial operations with a heartening announcement. Originally promised a two-month period of free rides by FCT Minister Nyesom Wike, commuters will now enjoy complimentary train rides for six months. “Our dear Landlord, the Minister of the Federal Capital Territory, I have heard you say that there will be free train rides for two months. I want to appeal to you to make it until the end of the year. Let us give the people reasons to celebrate,” President Tinubu declared, drawing enthusiastic applause.

    Shortly before boarding the train for a ride from the metro station to the airport, President Tinubu described the operations on the Abuja Metro Line as a symbolic milestone of enduring progress for the country and the Federal Capital Territory. “As we gather to commemorate the first anniversary of my administration, we are also celebrating the fruits of collaboration, dedication, progress, and foresightedness,” he stated. This extension of free rides until the end of the year underscores the administration’s commitment to improving the quality of life for Nigerians and enhancing the transportation infrastructure. It provides not only a practical benefit but also a reason for citizens to feel hopeful and proud of the advancements in their nation.

    Joyful rides

    Interest in the FCT’s train service is gradually increasing. Falmata David and Yakubu Mohammed, two young reporters from a popular online news medium, were on the train to capture passengers’ impressions. For families and society, the sheer delight that lights up the faces of children and young ones is significant. A recent train ride highlighted that students and other young people appear to be particularly engaged and excited about the experience, echoing the joyful sentiments expressed by President Tinubu.

    The late English writer Agatha Christie once said, “Trains are wonderful… To travel by train is to see nature and human beings, towns and places of worship and rivers, in fact, to see life.” For those on this 40-minute train ride, it was indeed a delightful experience, even though train transportation is not yet as popular in Nigeria as it could be. Waiting for the 3:30 PM ride from Abuja Metro station to the airport provided an opportunity to interact with two very courteous FCT staff members – Dunke Yusuf and Samuel Oriade. Both declined formal interviews but were polite and informative. Currently, the train service offers four trips out of town and an equal number of trips into the city, with people traveling to or from Kubwa using the Idu train station as a junction to change trains on their journey. Plans are underway for more coaches and additional daily trips.

    When it was time for departure, men and women lined up in separate queues. The young security personnel explained the necessity of their screening and checks for everyone’s safety. Downstairs, passengers boarded the newly-commissioned coaches, which were clean, well-lit, and well-ventilated. Each of the four coaches has a seating capacity for twenty-four passengers, with provisions for standing passengers. Among the happy crowd in the fourth coach were the Ayodeji Kosamot family. Surrounded by three children and other family members, Ayodeji explained that they came for the fun of the ride, which the children found delightful as part of their mid-term school break. When asked if he had ever been on a train before, one of the children gleefully responded that he was on one at that moment. The family planned to disembark at Idu station and connect another segment of the free train ride to Kubwa.

    As the train rolled along from Idu, passengers appreciated the expansive stretch of peaceful, idyllic landscape, with a brief pause at Bassanjiwa station. After sixteen years in Abuja, some were hearing the name for the first time. The train continued its journey towards the airport, moving along tracks that split the village in two, revealing mud houses and temporary ‘bachas’ or ghetto structures. Despite this, new mini shops and economic activities indicated an infusion of better living conditions. Clearly, the people in this rural part of the FCT are industrious.

    Shortly after Bassanjiwa station, the metro train reached Nnamdi Azikiwe Airport station. It took only two minutes after passing through the validator machines for the lively boys from Kubwa suburbs to shout excitedly at the sight of an airplane on the tarmac in the distance. For many, it was their first time seeing an airplane up close, a memorable experience for these potential frequent travelers of the future. The connecting glass doors to the airport grounds were locked, but there was an entrance door for travelers to exit or enter from the airport.

    As the train pulled into the final station, a sense of unity and hope filled the air, echoing the words of Nelson Mandela: “It always seems impossible until it’s done.” The revitalised Abuja Rail Mass Transit system stands as a testament to this spirit, bringing together families, students, and daily commuters in a shared journey that not only connects destinations but also hearts. Amidst the laughter of children and the awe of first-time riders, it’s clear that this train is more than just a mode of transport; it’s a moving symbol of Nigeria’s unwavering progress and the boundless possibilities that lie ahead.

  • Freedom Vibes: Celebrating Alamutu @ 60

    Freedom Vibes: Celebrating Alamutu @ 60

    The art community thronged the Freedom Park on Lagos Island to celebrate art advocate Sola Alamutu, who turned 60.

    The day was marked with a potpourri of artistic events, featuring a colloquium in the afternoon and a night of performances.  Both events were compered by former TVC ‘Your View’ Co-host and social advocate, Olajumoke Alawode-James.

    They were put together by Unchained Vibes Africa (UVA) as part of the eight edition of its freedom series, tagged: FREEDOM Vibes 8.0.

    With Alamutu (aka Green Queen), who is the organisation Research and Advocacy Manager, in focus, the one-day colloquium underscored the impact of women in the arts, advocacy and freedom of expression campaign and how they are engaging the civic space.

    With the theme, “Inspiring Women to Drive Social Change Through Arts”, it had an all-female panel members, who had been mentees of Alamutu and had borrowed her artistic and advocacy leaf and are impacting lives in their respective spaces..

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    According to UVA Executive Director, Mr. Ayo Ganiu, this edition of UVA artistic freedom series (FREEDOM Vibes 8.0) is designed is to inspire women in driving meaningful change in the society by highlighting the Green Queen, writer, freedom of artistic expression and environmental justice advocate, Sola Alamutu, who has become a role model to many women through multiple platforms and unwavering commitment to the arts. Hence it was held to coincide with her 60th birthday celebration on May 29.”

    For UVA’s Programme Manager, Samuel Osaze, “Freedom Vibes 8.0 serves as a platform to further the conversation on women’s empowerment in the realm of arts and advocacy while amplifying Alamutu’s legacy. Through a diverse fusion of exhibitions, spoken word, panel discussion, music, dance, drama and a myriad of artistic expressions, the event aims to inspire women while igniting dialogue and driving social change.”

    In attendance were CORA board members – Taiwo Ajai-Lycett and Kayode Aderinokun; Former ace broadcaster at NTA, Mrs. Bimbo Oloyede, Toki Mabogunje is the Vice Chair Africa at ICC World Chamber Federation; Honorary Live Vice President of the Lagos Chamber of Commerce and Industry, Shade Bembotoun-Young, Programme Chair for Committee for Relevant Art (CORA), Jahman Anikulapo; the President, Poets in Nigeria (PIN) and former Chairman, Association of Nigerian Authors (ANA), Abuja Chapter  Eriata Oribhabor, and Brenda Nwafor of ANA Lagos, among others.

  • Ezinna Achugwo for burial May 17

    Ezinna Achugwo for burial May 17

    The family of Achugwo Shimeobi of Eke-Ezeala, Amulu, Ihitte Autonomus Community, Mbieri, Mbaitoli Local Government Area, Imo State, has announced the death of their husband, grandfather and father-in-law,  Pa Ezinna Peter Achugwo Shimeobi (aka Dee Pee, Enyioha). He died at 95.

    The funeral rites will begin with a brief stop over at his maternal home, Umunkwo Obazu on Friday , May 17, by 7:30 am.

    Lying-in-state at his compound in Umuduruaku, Eke-Ezeala, Amaulu Mbieri by 8.15 am

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    By 10 am, a Requiem/Funeral mass will be held at St Theresa Catholic Church, Amaulu, Mbieri.

    Interment follows immediately after the Service at his compound in Umuduruaku by 12:00 noon.

    There will be Outing/Thanksgiving Service at St. Theresa Catholic Church, Amaulu, Mbieri by 9 am on Sunday, May 19.

    He is survived by children, grand children, great grand children and inlaws.

    Among his children is Mr. Augustine C. Achugwo.

  • Rebirth for arts, culture, creative economy

    Rebirth for arts, culture, creative economy

    By Dr. Deji Ayoola

    Beyond a seeming cosmetic spruce-up, the new Federal Ministry of Arts, Culture and Creative Economy (FMACCE) benefits from a fundamental vision tweak and structural reconceptualisation from which the impactful achievements it has recorded in a year flow.

    A baby of “Renewed Hope Agenda” and rigorous visioning by President Bola Tinubu, FMACCE, under the guidance of youthful minister, Hannatu Musawa, has chalked up some key achievements as of Q1, less than a year since she set sail at the instance of the President.

    “As a nation, we are trying to diversify from oil, and the creative economy is a strong alternative as the new oil because the future of the country depends on the creative sector.

    “Nigerian creatives all over the world are doing great things and that is why our ministry is set to be a beacon of creativity, innovation, and inclusivity,” Musawa said in a keynote address at the opening of 2024 management retreat for ministry workers and agencies in Abuja.

    Cutting to the heart of her mandate, she added: “We play a critical role in shaping the creative and cultural landscape of our nation while promoting and preserving Nigeria’s rich cultural heritage.

    “Since establishment of the ministry by President Tinubu, we have witnessed remarkable achievements and milestones, thanks to the dedication and passion of our predecessors and key stakeholders.

    “From establishment of cultural institutions to implementation of landmark policies, project and programmes, our ministry has been and will continue to be in the forefront of driving positive change and transformation.”

    FMACCE is committed to aligning itself with the presidential priorities enunciated by President Tinubu for ministers and top government functionaries back in November. These include reforming the economy to deliver sustained inclusive growth, strengthening national security for peace and prosperity, boosting agriculture to achieve food security, among others.

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    Musawa nailed it when she insisted: “The Art, Culture, and the Creative Economy sectors have a crucial role to play in achieving these priorities and are critical drivers of economic growth and job creation. By ensuring the development and continued investment in these sectors, we can harness their potential to stimulate innovation, promote entrepreneurship and attract investments, thereby contributing to diversification and resilience of our economy.”

    With notable clarity and emphasis, she reaffirmed her ministry’s commitment to working together to ensure that efforts that birthed FMACCE are consolidated and institutionalised. Significantly, Musawa, who boldly proclaimed that the creative economy is Nigeria’s “new oil,” has kept her pledge, mirrored in the impressive, critical grounds FMACCE has covered on her watch, despite challenges.

    As the administration of President Tinubu marks its first anniversary in office, it will be pertinent to track its governance progress. It is a good opportunity to beam the searchlight on achievements of FMACCE.

    Under Musawa’s watch, the FMACCE, as at the first quarter, recorded 1,005 individuals trained in professional development programmes in the creative sub-sectors through NICO, National Theatre, NFC, NFI, NGA, MOWAA. It has also recorded 103 trainees trained in cultural and creative academies established in partnership with higher institutions. These positives come under capacity building/training of individuals.

    The ministry has also embarked on PPP for infrastructure renovation/construction. The renovation of the National Theatre through PPP with the CBN & The Bankers Committee.

    On partnerships and collaboration, it has commenced mapping of potential domestic and international partnerships and collaborations. It has signed MOUs for partnership with the Recording Academy (Grammy’s); International Council on Monuments and Sites (ICOMOS) with NCMM, ABU Zaria, and AUN Yola.

    On job creation, the ministry has recorded 257,754 new jobs. In terms of its contribution to GDP, it has scaled up GDP contribution share by 0.37 per cent from 1.3 per cent to GDP share of 1.67 per cent.

    In the period of assessment, FMACCE has increased Nigerian Cultural Heritage on UNESCO Representative List by two. These include Sango Festival Oyo and Midwifery.

    On the soft power front, FMACCE spearheaded increase in Nigeria’s cultural influence from 2.5 per cent to 46 per cent and recorded increase in Nigeria’s cultural influence from 2.5 per cent to 46 per cent. It further recorded increase in Nigeria’s Brand Perception Index from 1.5 per cent to 18 per cent.

    In terms of stakeholder engagement, it conducted 18 stakeholder engagement events with the public through industry stakeholder workshops, organized by CBAAC and NGA.

    Against the backdrop, the creative economy is a fountain of opportunities, a wellspring of economic growth, and a catalyst for societal transformation. It is also a testament to the ingenuity of Nigerians, the richness of its cultural heritage and the imagination that defines it as a nation. It was not surprising the minister pledged her ministry will facilitate creation of two million jobs.

    Hear her: “We are trying to diversify from oil through the creative industry. Job creation is key and we want to create and contribute two million jobs by 2027. We want to increase the GDP by $100 billion by 2030. It is doable. We are going to work round the clock to ensure we are able to do that.”

    President Tinubu, through reconceptualisation and creation of the new FMACCE, demonstrated his commitment to supporting growth and development of the art, culture, and the creative economy sectors. He recognises the role these sectors play in the national development agenda.

    It’s little wonder that Tinubu has peered into the future and proclaimed his administration would create a trillion-dollar economy in 10 years. For Doubting Thomases, it could be recalled that California recorded over $3 trillion-GDP in 2023 by leveraging human and technological resources.

    Leaning on his “Renewed Hope Agenda,” the consensus is that Tinubu can leverage Nigeria’s population and resources to build a trillion-dollar economy in the next decade.

    The President noted that achieving his goal of creating a trillion-dollar economy in 10 years can be facilitated by job creation, access to capital for SMEs, inclusiveness, rule of law and battling insecurity, hunger, poverty and corruption. Musawa is a key player in that compelling big picture.

    What’s more. Musawa has demonstrated an awareness and knows it’s no secret that today, the world, Africa and Nigeria stand on the brink of disruptions – and of considerable opportunity – as new governance, political and business models challenge traditional playbooks. She demonstrated capacity, competence and leadership in her previous engagements. FMACCE, under her watch, is benefiting from these capabilities as she drives the creative economy.

  • Breathe of novelty opens fresh vista

    Breathe of novelty opens fresh vista

    With the exploration of the use of multi-colours in the production of batik works, Head of Departments, Industrial Designs, School of Art, Design and Printing, Yaba College of Technology, Lagos, Dr. Hakeem Adeyemo is raising awareness on the possibilities of using multi-colours in the production of batik wall hangings with his current works at his first solo exhibition.

    The exhibition, which was held at the Yusuf Grillo Art Gallery, School of Art, Design and Printing, Yaba College of Technology, themed Breathe of novelty focuses on inspiring creative discovery of artistic expressions with innovations and unique knowledge.

    According to him, ‘Breath of novelty is to open inventions, creating documentation of inventions, researches and so on. This is to show people that textile is not only wearable, but we can do batik as wall handguns that will give you the colors we wants if you look at the colours in the wall, some of them are more than 5-10 colors which is not common to every other art work. It’s more like painting in its own.’

    Adeyemo who is well known for his artistic works, tutoring and encouraging younger ones has been in arts since 36 years, during which he got his Ph.D in textile from the University of Benin (UNIBEN). He has learnt how to manually mix colours to create uncommon colours, and is ready to inculcate the industrial print into the concept of designs he produces manually.

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    He said that until now he has been exhibiting in group shows but decided to host a solo now. “People say charity begins at home let me dance in front of my people first before going out. But I have exhibited my works in group shows. This is my first show after my Phd.  That’s why I decided to do it in-house before I move out. Very soon by the grace of God, in the next few months, I would be showcasing my works in the public domain,” he said.

    The exhibition features a variety of his artworks, each providing a unique peek into his creative process and subject investigations.

    He explained that with the concept of this exhibition, as a textile artiste, he has been able to showcase some of his strength in the area of batik as it wasn’t always easy to get the right control of waxes and dyes for the job.

    “As a textile artiste, I’ve been able to showcase some of my strength in the area of batik, how one can control the wax and dyes,” he said.

    Chairman of the occasion, Managing Director, Adept Creations Limited, Mr. Olurinde Peters Jimmy stated that the exhibition shows excellence and awareness that textile deserves to be exhibited.

    “What happened here is the celebration of a colleague, an old time friend; we were colleague 36 years ago as art students. I chose graphic and advertising, while he chose to be an academia in textile. If you look at the arts here today, you would see that it has portrayed excellence here today, because hardly will you see people in textile hosting exhibitions. Adeyemo set the tone that textile is capable of being exhibited and you can see the works, the excellence in all of the jobs. Both print and batik, and all other works here are excellent jobs,” he said.

    With this show, the artist is encouraging the youths to make good use of their talents as is it innate and an expressive ability. Considering the state of the economy, pursing arts will help them make a good living.

    “Art is hands on. Arts, textile, graphics, all of arts is hands on, especially with the type of economy that we have today, if you studied art, you don’t have to beg for job. If you studied textile for instance, you don’t have to go and beg for job. I encourage the youths to take this opportunity that God has given. Most of these things are God’s given, they’re innate, latent ability that can be expressed. I want to encourage them to pursue it and make excellence out of their life,” he said.

  • Sound institute marks 10th anniversary with lecture, book

    Sound institute marks 10th anniversary with lecture, book

    The critical role sound engineering plays in enhancing the worship experience came to the fore when Starlight Media Institute (a school of audio engineering) marked its 10th anniversary.

    After years of helping to build and grow the sound departments of houses of worship, the institute held a lecture, book presentation and award ceremony to mark its anniversary.

    The event, which was held at the Trem King Court, Ojodu, Lagos, drew notable dignitaries. With the theme: “Achieving Exceptional Audio Quality Production In House of Worship”, the seminar focused on the significant role of audio quality on worship places, while stressing how they can achieve exceptional audio quality production. The lecture shed light on best practices and showcased the vital role of sound engineers in worship settings.

    According to the CEO of the institute, Steve Aluko, churches and good worship experience cannot do without a sound and audio department, adding that at the heart of it are sound or audio engineers.

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     The lecture was followed by the launch of the book “Microphone Demystified”, authored by the CEO of the institute, Steve Aluko. The book aims to demystify the complexities of microphone technology and equip individuals at all skill levels with a better understanding of its significance in achieving optimal audio outcomes.

    According to Aluko, the Institute chose to mark its 10th anniversary with pomp owing to achievements in the last decade. “Before the coming of Starlight Media Institute, there was no institute for the formal training of Sound Engineers in Nigeria. Practitioners were only trained by observation and hence, there was no established curriculum for training and this was the gap Starlight Media Institute was conceived to fill and has been filling for the past ten years,” he said.

    Aluko, who is a leading sound engineer, led the discussions on essential practices for sound engineers in such environments, while highlighting the relevance of sound engineers in churches. He shared insights on proper equipment management and the benefits of maintaining a positive attitude to uphold value and professionalism in the field.

    He, therefore, called for sound or audio engineering in Nigeria being inculcated into a formal curriculum in higher institutions of learning, positing that “since there is not yet any established curriculum for the course in our higher institutions is to segment the course into already existing related departments”.

    Speaking on opportunities available in sound or audio engineering in Nigeria, Aluko said: “There are numerous opportunities available in the field beyond the present belief that it only lies in music or church audio productions. Sound Engineering opens vistas in music, film production, cinematography, theatre production and so many other areas of the entertainment industry as well as acoustic or audio manufacturing. The seminar is meant to provided valuable insights and resources for individuals seeking to enhance audio quality in their respective environments

    “You cannot be academically sound as a graduate of Sound Engineering and be looking for a job. Rather, jobs will be looking for you. In radio and television broadcasting, in information technology where service providers like networks need sound engineers and even in medical facilities where ultrasound is done, sound technologies are always and will continue to be in high demand. All that is needed is the training to encourage expertise in all these fields, and that is where Starlight Media Institute comes in. To provide Nigerian youth with the expertise needed in these fields.”

    During the event, some dignitaries were honoured for their contributions to the growth of audio technology in Nigeria.

    They included Mr. Pedro Fatai, Laolu Akins, Mr. Shola Okiki, Rev. Roland, Mr. Diran Fajuyigbe, Mr. David Joshua, Mr. Femi Ojo, Engr. Sinmiloluwa Oyeleye, Mr. Emmanuel Shalom, Mr. Tunde Spencer, and Mr. Giwa Osagie

  • Enwonwu’s Legacy holds in London

    Enwonwu’s Legacy holds in London

    Oliver Enwonwu: A Continued Legacy, a joint exhibition of paintings, drawings and sculpture by Oliver Enwonwu and his father, late Prof. Ben Enwonwu, MBE, (1917– 1994) will open at Mall Galleries, London, between May 21 and June 1.

    To coincide with the 30th anniversary of Ben Enwonwu’s passing, the exhibition, which is organised by OM234, is conceived as a conversation between both artists exploring their shared depiction of femininity as a symbol of indigenous aesthetics and primordial feminine power. The exhibition venue pays homage to Ben Enwonwu’s 1985 exhibition Dance Theme also staged at Mall Galleries, London.

    For this joint show, Oliver Enwonwu has created new paintings that deviate from his father’s aesthetic to unpack ideas of nationhood, the female body, gesture, and symbolism. With a focus on the movement, hair, and clothing of his sitter’s Enwonwu depicts “strategy of resistance” emphasizing the self-assertiveness of his subjects. Enwonwu also engages with the works of other modern masters who failed to fully acknowledge their sources of inspiration in the geometric shapes of African masks and sculpture. Significantly, he has reinterpreted Picasso’s Les Desmoiselles d’ Avignon in a new work titled Were God to be a Woman. This painting asks us to reimagine the role of the women depicted by artists such as Picasso and celebrate indigenous African power over objectivity and colonialism.

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    Legacy of Resistance, Enwonwu’s interpretation of the 1804 Igbo Landing, is another notable work. Here, he explores the reality of historical trauma by recalling the past and written accounts of history and having them retold as myths or legends. In this painting as well as in the ‘Children of Biafra’ series, the artist adapted his father’s Anyanwu to continue a conversation with him as well as a metaphor for emancipation. The series on Idia (Iyoba, the warrior queen and mother of Oba Esigie of Benin) celebrates women through the concept of heroism, while Beauty and Morality and Musings challenge the gaze cast on women by White European artists such as Matisse and Modigliani, respectively.

    The use of archival material will underscore the exhibition and the relationship between the older and younger Enwonwu artists. Photographs of Ben Enwonwu with his iconic bronze Anyanwu at the National Museum in Lagos will be juxtaposed with images of his son standing next to the same work decades later. They also serve to highlight the beginning of the latter’s exploration of sculpture as a medium. Completed works in limestone and paintings appropriating Anyanwu that express ideas of the woman and nationhood will also be presented.

    In a long career spanning over six decades Ben Enwonwu’s broad oeuvre embraces several themes including the metaphysical, colonialism, sexism, gender inequality, environmental sustainability, and peace. Among Ben Enwonwu’s most acclaimed works are three iterations of Adetutu Ademiluyi, then a youthful princess of Ile-Ife. In continuing a conversation with his father, Oliver Enwonwu returns to the royal household for the making of another series of royal portraits. His subject is Adetutu’s niece, Olori Aderonke Ogunwusi (nee Ademiluyi, great-granddaughter of Ooni Ajagun Ademiluyi and wife of the present Ooni). In this new series of paintings Oliver Enwonwu re-enacts an artistic process of his father and continues his legacy. Printed editions of Ben Enwonwu’s ‘Adetutu Ademiluyi’ works will also be available.

    Ben Enwonwu’s sculpture of HM Queen Elizabeth II is also among his most celebrated works and will be remembered through a series of archival images depicting the late artist working on the sculpture and his meeting with HM to explain his artistic process in 1957. There will also be a few photographs of Oliver Enwonwu presenting the work to the then HRH Prince Charles on an official visit to Nigeria.

    Together the work of Ben and Oliver Enwonwu in A Continued Legacy will examine the meeting point of tradition and modernity while highlighting the continued relevance of indigenous African identities, values, and beliefs in the contemporary globalised world. The exhibition is sponsored by Geregu Power PLC and CSL Capital UK.