Category: Life – The Midweek Magazine

  • Nigerian sculptor emerges best painter in Qatar

    Nigerian sculptor emerges best painter in Qatar

    After a keenly contested two-day live painting competition, featuring no fewer than 100 hundred artists from across the globe, Nigeria’s Chizogie Stephen Osuchukwu emerged the overall winner at this year’s seventh edition of Qatar International Art Festival, in Doha, Qatar. His composition, of children, eagle, cat and Arab horse was adjudged overall best by the jurists and won a cash prize of 3,500 Qatari Riyal. He beat Spaniard Luis Alava Harrera to second position, while South Korea’s Choi Dong-Hwa and Silvio Duerte Da Silva of Brazil took third and fourth positions respectively. Germany’s Luz Esmeraldo Torres de Delke and USA’s Fatima de La Luz Olea won the fifth and sixth positions respectively.  

    The seventh edition of the Qatar International Art Festival 2025 witnessed six days of vibrant artistic and cultural activity that brought together an elite group of artists from around the world.

    Osuchukwu is a Lagos-based sculptor and a mentee of Chief Nike Okundaye, was among 10 Nigerian artists that participated in the competition. He recalled that he entered for the competition not for the monetary gain but for the exposure and experiences, adding that all the expenses to Doha and back home were borne by him.

    “When I got a call from the organisers in Doha that my drawing is likely to be overall best or runners up, I was overwhelmed with joy,” he said in a chat.

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    Recalling his experiences, he said: “I am a sculptor, but I love drawing using charcoal. I have participated in different competitions. This was an open call for live painting competition organized by Qatar International Art Festival. We had about 10 Nigerian artists that participated. At the venue in Doha, jurists went round to score artists all through the two-day painting session. My drawing was charcoal on canvas, a black and white piece but sections of it were done with acrylic to highlight the lamp. The message of the drawing is that coming together for the competition shows that diversity unites the world.”

    The seventh edition of the festival with the theme, Diversity in Unity, came to a close with an awards ceremony, and a tribute to participating artists, on December 12, celebrating the creative talents who contributed to the success of this year’s edition. The finale was a luminous moment of inspiration, artistic dialogue, and cultural exchange, reaffirming Katara’s status as a global platform that nurtures creativity and unites artists of diverse backgrounds under one roof.

    Organized by Katara in partnership with MAPS International, the Qatar International Art Festival has strengthened its reputation as one of the region’s leading art platforms-harmonizing global creativity with the cultural spirit that defines the Katara Cultural Village. Its diverse programming offered a dynamic space for engagement between artists and audiences, reinforcing the festival’s role in nurturing talent and promoting cultural exchange

  • With Traces of time, Calabar carnival excites connoisseurs

    With Traces of time, Calabar carnival excites connoisseurs

    For the third year running, the annual art exhibition tagged Traces of Time, which is also the theme of this year’s Calabar Carnival, complements Africa’s biggest street party, which held throughout December featuring vibrant parades, elaborate costumes, music, and dance. Like the carnival, Traces of Time is also showcasing Nigeria’s rich cultural heritage through the eyes of some visual artists. The exhibition, with the theme Identity, was held at the Calabar National Old Residency, Museum Exhibition Hall, Calabar, Cross River State, between December 1 and 30. It was organised by Paris-based curator, Bose Fagbemi in partnership with Cross River State Carnival Commission headed by Sir Gabe Onah. The exhibitors are a mix-pack of old and young artists with diverse backgrounds and styles. The artists include Prof Best Ochigbo, a professor of painting, Edosa Ogiugo, a Lagos-based visual artist, Godfrey Ichile Mashiga, a ceramist, and Octogenarian Princess Elisabeth Ekong Okon, a textile artist whose works are derived from tradition and ancient philosophy like the nsibidi motifs.  

    Princess Okon’s collection is a product of her Mbufari concept she initiated in the 80s with the introduction of creative patterns into traditional table covers for cultural events. The Mbufari Concept was birthed by multiple pieces of waste fabric found in her tailoring shop, rather than put the pieces to waste. They were converted to a series of patterns stitched together like the coat of many colors.

    Mbufari is commonly used for events like traditional marriage, table covers, chewing stick bags, etc. Her designs have evolved over the years and modified into other functions like dining table covers, throw pillows, bed covers, bags, and interior decorations.

    One of her works, The family dining cover shows dominant triangles in this concept represent traditional symbols of fire (upward triangles) and water (downward triangles). These two form part of the fundamental elements in tradition and ancient nsibidi philosophy. The shapes culminate and transform the qualities of water (life) and fire (passion) into the conceptual mbufari design suitable for a family dining table cover. All the colours are carefully selected to represent the values of the family. From Red, which symbolises shared love and passion, Yellow, meaning happiness/sunshine, and dominant dark blue, which envelops the design as a symbol of authority, boldness and wisdom.

    Interestingly, Prof. Best Ochigbo has more works than other exhibiting artists. His works include Calabar/Nwanniba waterways, The return of fisherman, Carnival, A long way to go, Reclining figure, The mind, Landscape, and The politician. 

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    One of the leading fine artists in Lagos, Edosa Ogiugo in his piece on Benin Art, interrogates the impact of the British incursion of Benin Empire on the wives, citing Queen Mother Idia as symbolic of ‘emotional connection – Queens of loyalty.’ His presentation explores loyalty, displacement, feminine strength, and the preservation of culture.

    He stated that at the close of the Benin Empire’s golden era, Queen Idia’s story shines as a beacon of courage, intelligence, and mystical prowess. “Her Image—marked with intricate patterns and calm authority became a lasting symbol of devotion to king and kingdom. Generations later, her legacy seemed to echo through two lesser-known women, Queens Egbe and Aighobahi, the wives of Oba Ovonramwen Nogbaisi.

    “When Oba Ovonramwen was captured and exiled by the British in 1897, his household scattered. But Egbe and Aighobahi chose loyalty over comfort following the Oba into exile, away from Benin’s rituals and the warm coral glow. They carried the weight of empire, memory, and love into foreign lands, their devotion evoking the spirit of Queen Idia’s legendary heroism.

    He noted that within them is a lineage of womanhood, defined by strength and quiet resilience—a deep emotional undercurrent beneath the history we record. But worried that their names are rarely mentioned, their sacrifices often forgotten, yet art and storytelling could and would revive their legacy as a powerful portrait of loyalty triumphing over erasure.

    Describing the famous Queen Idia Head, Ogiugo who showed two works (Charcoal and pastel and Queen’s loyalty) at the exhibition, said the elaborate hairstyles and coral beads worn by Benin women—braided crowns, ivory combs, and ivie strands—are imbued with meaning. ‘They symbolise identity, ancestry, and spiritual protection. Coral, drawn from the sea, stands for purity and an ancestral link; carefully sculpted hair reflects order, beauty, and discipline—outer signs of inner strength. 

    ‘Through this painterly series of mine, the Benin woman serves as muse and messenger—keeper of memory and emblem of resilience. Art gives voice to what history set aside, honouring the indomitable women who loved, endured, and carried their culture through me and loss.’

    Godfrey Ichile Mashiga, a ceramist featured some works such as Bound flight, Fortitude of irony, Echoes of time, Face of passion, Ascending passion, Surface of attraction, Agbada of war, Never ending saga and She who remains

    One of Mashiga’s works, Fortitude of Irony, is a layered and eloquent ceramics visually captivating yet conceptually unsettling.

    The intricately coil-pressed oval form, supported by two stylised hands bound in chains, becomes an embodiment of strength trapped within contradiction. Set upon an open book base, this piece reads like a silent sermon on the struggles of enlightenment, knowledge, and agency in a system rife with paradox.

    According to the artist, in Nigerian context, the work becomes deeply resonant, while the bound hands, symbols of both strength and subjugation suggest the persistent entanglement of potential with systemic oppression. The oval form, balanced delicately, speaks of endurance and fragility, perhaps alluding to the nation’s repeated cycles of hope and disillusionment.

    ‘The open book is especially poignant: a symbol of education, truth, and clarity yet in this composition, it also represents how these ideals are often weighed down or rendered symbolic rather than functional. The use of bisque fired ceramic, combined with vivid acrylic hues and sealed

    with resin, reflects a tension between rawness and polish, struggle and presentation further deepening the ironic undertones.

    ‘Through this piece, the artist critiques the performative strength demanded of individuals in a fractured society. Fortitude of Irony forces us to reflect on how resilience, though admirable, is often romanticized at the expense of genuine liberation. It is not just a ceramic piece, it is a statement. A mirror held up to a society where irony has become both a survival tool and a silent scream,’ he said. 

    In the foreword to the exhibition brochure, Prof Ochigbo observed that the artist ensemble reveals that visual culture always has a history behind it, noting that the works can be described as timeless visualisations of ideas that project narratives on Nigeria’s cultural tapestry and utopias associated with them.

    “The artist, in evolving the memory of spatial imagery in a montage of temporalities, ushers in ideas of the future in the present. The works in this exhibition clearly portray the artists as a group that do not perceive reality as a natural state. Their individuality, style, technique, and mediums of exploration stand them out as artists with ideological differences encapsulating invisible traces that succeed in visible themes with clearly explored passage of me as seen in this exhibition that is tied to the Calabar Carnival.

    “The seasonal Carnival leaves footprints in the sands of time. The exhibition “Traces of Time” leaves behind memories of artistic landmarks revealing distinct ideological identities of the artists with their unique styles, and signature techniques. This identity reflects each exhibiting artist’s creative voice giving verve to the Traces of Time art

    exhibition as a brand. It is this brand that gives the artists a purpose, direction and platform to showcase their creative oeuvres,” he added.

  • Ogbomoso Cradle Carnival 2025: Rare reunion

    Ogbomoso Cradle Carnival 2025: Rare reunion

    This year’s Ogbomoso Cradle Carnival held between December 19 and 22, at the Soun Ogunlola Township Stadium, Ogbomoso attracted hundreds of indigenous socio-cultural associations from home and the Diaspora. The carnival, which was in its second edition, was more than a cultural celebration, as the various activities were in synch with themes of endurance, unity and shared purpose, Assistant Editor (Arts) OZOLUA UHAKHEME reports.

    For four days, the university town of Ogbomoso, Oyo state wore a new look. It ransformed not only into a carnival ground, but also a vibrant tapestry woven from memory, identity and opportunity. And no fewer than 100 indigenous socio-cultural associations from across Nigeria and  the diaspora converged on the Soun Ogunlola Township Stadium, Ogbomoso ardoned  in stunning and colourful traditional attire. Their mission was to pay respects to the reverred Soun of Ogbomosoland, His Imperial Majesty, Oba Ghandi Afolabi Olaoye, Orumogege III. The event was the second Ogbomoso Cradles Carnival 2025 held last month. The parades were not mere spectacles—they were powerful affirmations of belonging, echoing with celebration and pride.

    The carnival, which kicked off Thursday, December 19, showcased rich cultural rites, tantalising exhibitions of local cuisine, mesmerizing masquerades, and the infectious energy of traditional drumming. Spiritual reflections led by Araba of Osogbo, Chief Yemi Elebuibon, spiced the occasion with a contemplative spirituality. He extolled the revival of Yoruba cultural consciousness  while lauding the monarch’s pivotal role in rejuvenating pride in indigenous heritage.

    Providing recreational opportunities for participants, a US-based indigene, Adebayo Majolagbe, organised a 170-kilometre Grand Fondo Cycling Tour beginning from Ogbomoso to Iseyin and back, featuring over 100 cyclists through landscapes that now gleamed with the promise of tourism. The Ogbomoso Marathon, held on Saturday, also amplified themes of endurance, unity and shared purpose.

    All through the city, the carnival literarily revitalised everyday life. Markets thrummed with energy, hotels reported full occupancy and transport operators extended their routes and hours, while food vendors, artisans and entertainers basked in heightened patronage. This celebration turned culture into currency, directly infusing vitality into the local economy.

    Traditional games, golf tournaments, and youth-centered activities intertwined seamlessly with regal ceremonies. The grand celebration of Odun Oole Oba, uniting the five ruling houses, and the installation of new chiefs—including Dr. Saka Balogun as Balogun of Ogbomosoland and Prof Adesola Adepoju as Asiwaju of Ogbomosoland—drew dignitaries and returnees to the palace, bridging governance, tradition and community.

    Adding verve to the entire celebration was the Oyo State Cultural Troupe, which thrilled the residents with scintilating dance, music, and performances on Ajilete Day.   These were presented alongside contemporary entertainers. And the streets morphed into vibrant communal spaces filled with laughter, rhythm and shared pride.

    Political and community leaders echoed this prevailing exuberance. Senator Buhari Abdulfatai hailed the carnival as a living manifestation of unity and cultural confidence, while Prof Adepoju reflected on the heartfelt returns of many indigenes who had been away for years, all moved by the scale and organization of the event.

    In its second year, the Ogbomoso Cradles Carnival accomplished something rare—it made culture profoundly personal again, turning roads into routes of return, festivals into family reunions, and heritage into a dynamic, thriving economy.

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    Speaking on the occasion, Oba Ghandi recalled the philosophy behind the name ‘cradle’ articulating how it encapsulates Ogbomoso’s identity as a wellspring of art, music, values, bravery, enterprise, and creativity—elements that continuously give birth to greatness.

    “This carnival reminds us that we are more than a city. We are a cradle of greatness,” the monarch declared passionately. “A cradle of music, art, dance, innovation, enterprise, values, dreams and limitless potential. From these cradles, greatness was born, and from these same cradles, greatness shall rise again.”

    He described the carnival as both a jubilant celebration and a transformative movement—one capable of sparking a cultural and economic renaissance in Ogbomoso. Recalling the sacrifices of the town’s forebears, the monarch urged the present generation to maximize the opportunities at their fingertips.

    “Our forefathers built with less. If they stood tall against challenges, shall we bow to ours?” he inquired rhetorically. “Ogbomoso will not rise because we wish it. Ogbomoso will rise because we rise.”

    The monarch underscored unity, diligence, and collective responsibility as the indispensable paths to rediscovering Ogbomoso’s greatness, encouraging youths, professionals, traders, artisans, and farmers alike to see themselves as architects of a new era.

    He urged sons and daughters of Ogbomoso residing in Lagos, Abuja, Accra, London, Houston, and beyond to return home, invest, and support cultural initiatives.

    “When we stand together, we are Ogbomoso—a name that carries honour wherever it is spoken,” he affirmed, viewing the carnival as an urgent call to transform heritage into prosperity.

    Chairman Planning Committee, Hon. Olusegun Dokun Odebunmi, confirmed that the carnival has already begun to catalyze significant socio-economic development in the city. “Without question, this festival has brought immense benefits to Ogbomoso,” he stated, reflecting on the collective spirit of a thriving community ready to embrace its future.

    Oyo State Commissioner for Information, Prince Dotun Oyelade said: “Well, I think the event has galvanized the importance of this particular event, with regard to the festival going on right now. If you look at the trajectory of events that started last year, in so many respects, it has grown tremendously because the event has galvanized so many interests.

    “The people there, the number of people there and the number of representatives of interest which this Carnival has gathered globally. And one of the take homes is that the event is not only a local affair but it has graduated and gravitated from a local affair to a regional affair because we had meetings shown from far-flung areas like Australia, the America, United States of America, all of Europe.

    Oyelade explained that the event is going to engender a better framework for next year’s outing.

    According to him “we have assurances from what we have seen that the whole edition is going to be better for the cultural evolution of Ogbomoso and the marketing of the potential of our culture and tradition to the entire world. We are very pleased with this event and we are sure that even those that have started before us in Nigeria will have something to emulate from the outing of Ogbomoso Cradle Carnival.”

    Commenting on the carnival, the Iyalode of Ogbomoso said: “Well, we need to appreciate His Imperial Majesty, Oba Ghandi Afolabi Olaoye, Orumogege III, who initiated this. So we have done 2024 and this is the second edition, 2025.

    We pray it will continue this way.

    The Ogbomoso Cradle Carnival came with lot of merriment; on one hand, this is the period of the birth of our Lord Jesus Christ. And at the same time, it has been listed as part of the Oyo State Vibing December fiesta, which makes the event a gathering for home comers to engage and unite through the one-week-long Carnival.”

  • Nnena Kalu makes history with Turner Prize win

    Nnena Kalu makes history with Turner Prize win

    Nnena Kalu has won this year’s Turner Prize, the UK’s most high-profile art award, for her “bold and compelling” sculptures and drawings – and has made history as the first artist with a learning disability to win.

    The judges praised Kalu’s brightly coloured sculptures – which are haphazardly wrapped in layers of ribbon, string, card and shiny VHS tape – and her drawings of swirling, tornado-like shapes. Kalu, 59, is an autistic, learning disabled artist with limited verbal communication.

    Charlotte Hollinshead, who has worked with her for 25 years, said on stage at the ceremony: “This is a major, major moment for a lot of people. It’s seismic. It’s broken a very stubborn glass ceiling.”

    ‘Idol, legend, winner’

    In a moving speech delivered alongside Kalu, she said: “This amazing lady has worked so hard for such a long time.

    “It’s wonderful she’s finally getting the recognition she rightly, rightly deserves.”

    Kalu and her supporters wore rosettes saying “Idol, legend, winner, whatever”

    Glasgow-born, London-based Kalu was announced as the winner of the award – and its £25,000 prize money – at a ceremony in Bradford, the UK’s current city of culture, on Tuesday.

    She accepted the honour while wearing a rosette bearing her photo and the words: “Idol, legend, winner, whatever.”

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    Kalu has been gradually gaining recognition in the art world in recent years after working as a resident artist with Action Space, which supports artists with learning disabilities, since 1999.

    ‘Incredible amount of discrimination’

    Ms Hollinshead, her studio manager and artistic facilitator, said: “We are so happy that Nnena’s talent and beautiful work is now out in the world for you all to see this complex artist who creates gorgeous, complex forms – all while listening to disco music, often as loud as possible.

    “Nnena’s career reflects the long, often very frustrating journey we’ve been on together… to challenge people’s preconceptions about differently abled artists, but especially learning disabled artists, an important creative community so undervalued.

    “When Nnena first began working with Action Space in 1999, the art world was not interested. “Her work wasn’t respected, not seen, and certainly wasn’t regarded as cool.

    “Nnena has faced an incredible amount of discrimination, which continues to this day, so hopefully this award smashes that prejudice away. “Nnena Kalu, you’ve made history!”

    ‘Beautiful intricacy’

    Kalu’s work has divided opinion among art critics, but the Turner Prize judges were impressed by the “really compelling sculptures and drawings that could only be made by Nnena”, according to the jury chairman, Tate Britain director Alex Farquharson.

    Her drawings, which come in sets of two or three near-identical shapes, have “a beautiful intricacy to them” and “look like swirling vortexes”, he said.

    Her sculptures, meanwhile, are hanging shapes covered in reams of re-purposed materials including fabric, rope, parcel tape, cling film and paper. They resemble three-dimensional versions of abstract expressionist paintings, Mr Farquharson said.

    “But they’re not paintings, they’re not flat on the wall. They’re suspended in the space that you’re in, like brightly coloured rocks or creatures.

    “They’re at almost your eye level. Although there are no figurative features at all, they appear to be communing among themselves and with you.

    “The use of materials is highly unusual, including video tape that gets wrapped round and round. “The colours and the lines the materials make are very like brush marks translated into three dimensions. They’re very gestural, they’re very expressive, they’re very compelling.”

    ‘Quality and uniqueness’

    The judges deliberated for two or three hours, Mr Farquharson said, and stressed that their choice of winner was based purely on merit.

    “The result wasn’t about wanting, first and foremost, to give the prize to Nnena as a neurodiverse artist. That wasn’t a driving factor,” he said.

    “It was an interest in, and a real belief in, the quality and uniqueness of her practice, which is inseparable from who she is.”

    “It breaks down walls between, if you like, neurotypical and neurodiverse artists. It becomes really about the power and quality of the work itself, whatever the artist’s identity is.

    “So maybe what’s historic about it is it’s one more move to include really great neurodiverse artists in the picture we present of art today.”

    All of the shortlisted artists’ works are on show at the Cartwright Hall gallery in Bradford. The result was announced at a ceremony at Bradford Grammar School, the former school of artist David Hockney.

    Works by all four shortlisted artists are currently on show at the Turner Prize exhibition at the nearby Cartwright Hall gallery, which will run until 22 February 2026. The other nominees were Rene Matić, Zadie Xa and Mohammed Sami, who will receive £10,000 each. The Turner Prize has been the UK’s most coveted and controversial art award since it was founded in 1984. Past winners include Lubaina Himid, Jeremy Deller, Grayson Perry, Steve McQueen and Damien Hirst.

    • Culled from BBC

  • The Pounding Widow: Simple, powerful story that stays with you

    The Pounding Widow: Simple, powerful story that stays with you

    Ngozi Uma has made a beautiful entrance into the world of children’s literature with her captivating book, The Pounding Widow. Though short and written in very simple language, the story carries deep emotions, strong lessons, and moments that young readers will not forget.

    The book follows the life of Efere, a young widow whose husband dies only a few days after their wedding. Her grief is so heavy that it affects her mind and her daily life. She stops eating, refuses to bathe, and spends hours crying at his grave. At night, she pounds away at something in her mortar, making loud sounds that disturb the entire village. No one knows what she is pounding, and this mystery keeps readers curious.

    The turning point comes when a brave little girl pretends to be possessed by a spirit and runs into Efere’s room, determined to find out the truth. This moment pushes the story forward and keeps children eager to turn the next page.

    Ngozi Uma writes with clarity and purpose. She uses simple words, clean narration, and vivid descriptions that make the scenes easy for children to imagine. One touching moment in the book describes Efere remembering how she had once hit her head on a mud bed during one of her episodes  a memory that shows both her pain and her strength without being too heavy for young readers.

    Each chapter ends with questions to help children understand and remember what they’ve read. This makes the book not just entertaining but also educational.

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    With 86 pages of simple, relatable storytelling, The Pounding Widow is perfect for young readers. Many have described it as short, engaging, and straight to the point. Beyond the mystery and emotions, the book teaches important lessons about loyalty, promises, and staying true to one’s word.

    Ngozi Uma is a Mass Communication graduate from the Nigerian Institute of Journalism and has spent over a decade as a professional journalist. She writes for Daily Independent Newspaper as a columnist, relationship counselor, and a reporter.

    In 2025, she won the Diamond Excellence Award as the Top Female Media Performer of the Year. She is also a content creator who uses her communication skills to produce meaningful and engaging content for a wide audience.

    With The Pounding Widow, she adds “children’s author” to her growing list of achievements and she does it with grace, heart, and simplicity.

  • NCC presents Moses Ekpo prize to Evelyn Osagie’s family

    NCC presents Moses Ekpo prize to Evelyn Osagie’s family

    The Nigerian Copyright Commission (NCC) has posthumously conferred the maiden Moses Ekpo Prize for Innovative Copyright Reporting on Evelyn Osagie, former Assistant Editor (Arts) with The Nation Newspaper. The award honours her outstanding commitment to Nigeria’s creative sector, her distinctive and incisive reporting style, her sustained support for the Commission’s enforcement initiatives, and her exceptional courage in exposing the dangers of piracy while deepening public understanding of copyright.

    The presentation of the prize was held on Monday, 22 December, in the premises of The Nation Newspapers and it coincided with the birthday of Mr. Moses Ekpo, MFR.

    Presenting the prize, the Director-General NCC, Dr. John Asein expressed the hope that the award, comprising a commemorative plaque and a cash prize, would inspire a new generation of journalists to pursue excellence, curiosity, and courage in telling Nigeria’s copyright story. He described Evelyn Osagie’s journalism as thoughtful, accurate, and people-centred, noting that her work consistently amplified the voices of creators and translated complex copyright issues with clarity, integrity, and empathy.

    According to him, the Prize also affirms the indispensable role of responsible journalism in shaping public understanding and informing policy outcomes within the creative economy.

    Speaking via telephone, Moses Ekpo, MFR, in whose honour the prize was instituted, thanked The Nation for its longstanding support of the Commission and its consistent promotion of copyright awareness. He noted that the award reflects the enduring partnership between the media and the copyright community in advancing respect for creativity and the rule of law. Mr. Ekpo is the immediate past Deputy Governor of Akwa Ibom State and the pioneer Director-General of the NCC.

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    In her remarks, the Director of the NCC Lagos Office, Lynda Alphaeus, commended Evelyn Osagie’s contributions to copyright education among children, particularly her support for the strengthening of Copyright Clubs in schools. She expressed appreciation to The Nation and the Osagie family for what she described as “the gift of a soul like Evelyn to the Commission,” and prayed for the peaceful repose of her soul.

    Responding on behalf of the newspaper, the Editor, Adeniyi Adesina, thanked the Director-General and the NCC team for honouring their late colleague and reaffirmed The Nation’s continued support for the Commission’s mandate and programmes.

    In accepting the Prize on behalf of her family, Evelyn’s sister, Ms. Patience Osagie thanked the NCC for the noble gesture and for demonstrating its love for the creative writers and showing that her sister’s efforts were not in vain.

  • Nigerian Breweries, Terra Kulture partner to celebrate women resilience

    Nigerian Breweries, Terra Kulture partner to celebrate women resilience

    Nigerian Breweries Plc has hosted industry leaders, partners, creatives, and cultural stakeholders to an inspiring and thought-provoking theatre experience tagged An Evening with Thibaut Boidin, featuring the premiere of the new stage play Dear Kaffy – The Diary of a Single Woman in Nigeria, held recently at the Terra Kulture, Lagos.

    The play, written and directed by Bolanle Austin-Peters, Managing Director Terra Kulture, presents a multi-layered narrative that interrogates identity, womanhood, resilience, and the often-ignored struggles faced by women who are judged by societal marital timelines rather than personal fulfillment.

    Managing Director, Nigerian Breweries Plc, Thibaut Boidin highlighted the significance of hosting the evening in a theatre, noting that the initiative mirrors the ecosystem within which the company operates, where collaboration, discipline, and creativity come together to create shared meaning.

    “Art is one of the most powerful forms of communication because it transcends boundaries and speaks directly to the soul. As we enter the festive season, we wanted to connect differently – with heart, with culture, and with the creativity that makes Nigeria so special. I hope tonight touched you the way Nigeria has touched me in my first five months here,” he said.

    Austin-Peters expressed profound gratitude to Nigerian Breweries for their unwavering support of the arts, noting that their partnership has sustained and expanded the creative economy for over two decades.

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    She stressed that the company’s immeasurable contribution to culture has helped elevate Nigerian theatre to international stages, from London to Egypt, enabling thousands of young people to build sustainable creative careers.

    “I am deeply grateful to Nigerian Breweries and Amstel Malta for their unwavering support over the years. Their commitment to the arts has enabled thousands of young creatives to find their voice and build sustainable careers. This partnership continues to remind us that when organisations invest in culture and storytelling, they invest in the soul of a nation. For us at Terra Kulture, Dear Kaffy is more than a stage play; it is a bold reflection of the silent struggles, resilience, and emotional journeys that many women face in our society. We wanted to tell a story that is honest, relatable, and empowering, especially for women who are constantly judged by timelines that are not their own,” she added.

    The event brought together an ensemble cast in a production that explores the realities, stereotypes, and emotional journey of unmarried women navigating societal pressures in contemporary Nigeria.

  • LAWMA: Pushing for a cleaner Lagos

    LAWMA: Pushing for a cleaner Lagos

    Recently, Lagos State environment has been dotted with garbage heaps. This is contrary to the environmental policy of the state to achieve a beautiful or smart city in the near future. To help in achieving this environmental policy, the state had empowered private sector participation (PSP) operators with Compressed Natural Gas (CNG) compactors and licensed new ones across the state with smaller equipment to access inner streets. Against those who contravene this policy that aims at making Lagos clean, the government has declared war on offenders, reports OKWY IROEGBU-CHIKEZIE.

    The Lagos Waste Management Authority (LAWMA) has intensified its enforcement operations across the state, cracking down on indiscriminate dumping of garbage, black spots and persistent environmental violations that threaten public health and urban resilience. Speaking on the latest operation, Managing Director of LAWMA, Dr Muyiwa Gbadegesin, revealed that what is driving the recent pile-ups at specific corridors such as nuisance spots along Apapa–Mile 2–Oshodi, Ikotun–Ejigbo–Egbeda, Iyana Ipaja, LASU–Iyana Iba and around large markets reflect localised pressure points, not a system-wide failure.

    He refuted some unfounded rumours peddled by uninformed critics who may not have the details of what the agency is currently doing to minimise indiscriminate refuse dumping on our streets.

    He noted that three major factors dominate the seeming neglect of the metropolis.

    In an interview with The Nation, the LAWMA boss stated that night-time illegal dumping on medians and setbacks is carried out by residents or unlicensed collectors trying to avoid PSP service fees.  However, he said that the Lagos State Government has increased penalties that defaulters would pay toN250,000 or three months’ imprisonment for illegal dumping and littering, even as he said enforcement is active and ongoing.

    He also said that market-area surge waste as a result of high, continuous inflows from traders and non-traders who bring street waste to market frontages, overwhelming day-time loading windows amid heavy traffic.

    According to him, LAWMA has repeatedly cautioned against using medians as collection points and backs up PSPs with targeted “intervention” clearances. He also lamented the return of banned, illegal collectors and cart pushers in some districts, who typically dump at night into canals and road medians, creating the very eyesores residents decry.

    Gbadegesin stressed that LAWMA and partner agencies have undertaken arrests and prosecutions for these offences with over 700 people through day and night surveillance with Lagos State Environmental Sanitation Corps (LAGESC).

    On what  LAWMA is doing to create sanity, he stated that they are undertaking hotspot clearance and night operations, intensified “intervention” sweeps on the named corridors, including Apapa–Mile 2–Oshodi; Ikotun–Jakande Gate; LASU–Iyana Iba, with night evacuations to prevent daytime re-accumulation, paired with targeted enforcement.

    Others are PSP performance management, including ongoing route reviews, backup services where private capacity is thin, and directory transparency so residents can reach assigned PSP operators.

    He said: ‘Beyond day-to-day clearance, Lagos is executing structural reforms to remove the root causes of highway pile-ups and improve long-term service quality, decommissioning legacy landfills and building modern infrastructure.

    “Lagos is transitioning Olusosun (Ojota) and Solous III (Igando) away from open dumping towards a network built around Transfer Loading Stations (TLS) and Material Recovery Facilities (MRFs)—with timelines publicly stated and preparatory works ongoing. This shift shortens haulage; speeds turn-around for PSP trucks and keeps markets and highways clear.”

    “As part of the end-state system, the state has outlined waste-to-energy capacity (for instance, Epe) to handle residuals after recycling/composting, reducing landfill reliance and methane emissions.”

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    To stop medians from becoming de facto dumps, he said that LAWMA has advanced plans to introduce compact/mobile TLS that will relocate loading off the roadway and into controlled nodes—especially around large markets and dense corridors.

    He further disclosed that 90 per cent of the waste disposed of in the state is worth about $2.5 billion. He also reaffirmed his agency’s commitment to maintaining a cleaner environment. He urged residents to desist from dumping refuse on the roads and in canals, warning that anyone caught in the act of dumping refuse in unauthorised places will face the full wrath of the law. He advised all residents to embrace waste separation, adding that we must all stop throwing everything away and start sorting as it is done in advanced countries.

    “Ninety per cent of what you throw away has value to the tune of $2.5 billion. We must start sorting that waste, collecting it and giving it to those who are in need of it. Waste to wealth is the key to the survival of Lagos. When you go to Olusosun and Solous 3, you will see it,” he stated.

    He said:  “In Lagos State, we must move to a point where we ban landfill sites, and that is what we are moving towards as a state government. We have commenced the process of decommissioning Olusosun and Soluos 3 within the next 18 months. We have already gone two months out of those 18 months. Just give us an allowance for plus or minus. We are committed to decommissioning them.”

    Gbadegesin reaffirmed his agency’s commitment to maintaining a cleaner environment, urging residents to stop dumping refuse on the roads and in canals, warning that anyone caught disposing of refuse in drainage channels and unauthorised places will contend with the provisions of the state sanitation laws.

    He advised all residents to embrace waste separation, adding that “we must all stop throwing everything away and start sorting things as is done in advanced countries.

    He disclosed plans to recruit 377 environmental health officers, aka wole-wole, as part of the new drive of the government to tame the waste challenge in the state.

    He said they will be empowered by law to arrest and prosecute offenders.

    He said recruitment will begin from January 2026, and the officers will be deployed to each ward in the state.

    “Mr Governor granted us approval to engage 377 environmental health officers.

     “That means we are going to have one in each ward. And if you are familiar with the environmental law, the environmental health officers, alias wole-wole of the olden days, have a lot of powers. They can take you to court; they can prosecute and put you in jail if you violate any of the environmental laws.

    “By the time we have one in each ward, we now empower them so that we go back to those old systems. That’s the kind of enforcement system I think you are asking for,” he said.

    The LAWMA Chief said the state requires at least 2,000 tricycle compactors to tackle the waste challenge, especially in the hard-to-reach areas of the state.

    According to him, the state generates between 13,000 and 15,000 tons of waste daily, out of which 4,000 to 5,000 tons are collected by 450 Private Sector Partnership (PSP) operators.

     “The balance is going into the drains, canals, lagoons and wetlands, among others.

     “We have about 12 per cent of wetlands in Lagos, and people have been dumping waste on the wetlands,” Gbadegesin said.

    Gbadegesin stated that about 22 PSP operators had been fired for inefficiency in the collection of waste.

    The LAWMA boss described infrastructure as the biggest challenge in the state’s waste management system.

     “The biggest issue right now in waste management is the infrastructure.

     “When I talk of infrastructure, I am talking about the equipment and facilities that we will use to collect, transport, treat and dispose of the 13,000 tons of waste generated daily in the state.

    “The infrastructure includes the whole logistics chain from the bins. Risk management begins from the containerisation, the households, the business and the industry.

     “We don’t have enough bins. Right now, we have 80,000 smart bins that we are rolling out, and we need a lot more,” he said.

    Gbadegesin added that the agency has been working closely with the council chairmen across the state to take charge of waste management and street trading in their areas.

    He said at least 25 councils have already created waste management task forces as part of the synergy with LAWMA.

    He pledged that LAWMA would continue to work with relevant stakeholders to ensure a cleaner Lagos.

    He also stated that as part of measures to ensure a cleaner city, the Lagos State Government is committed to a 10-year development plan under which 100 new CNG compactor trucks would be procured for use next year.

    According to him, to keep Lagos clean, we still need compactor trucks. Altogether, we need about 2,000 trucks; 1,000 for the day-to-day fleet and 1,000 for backup.

    “This is a long-term investment package that would be supported by a statewide billing system. We will undertake an enumeration of every household and billing by the state government. Through automation, you will now get a bill from the state government. When you pay, we confirm that the PSP operator has done the job. We pay them.”

    Gbadegesin reiterated that what LAWMA is working towards is to have transparency and accountability in the system.

    “We believe that Lagos residents are ready to pay for waste collection if they get good service, and that is what we will ensure going forward.

    “LAWMA is in advanced stages of procurement of additional compactor trucks for PSP waste collectors. This will improve service delivery and reliability statewide when coupled with the introduction of the new Transfer Loading Stations (TLS) that will reduce turnaround time, enabling the PSP operators to evacuate waste more rapidly from the doorsteps of Lagos residents,” he said.

    Setting the record straight, he said that Lagos’ scale is unique in managing 13,000 tons per day in a megacity of over 20 million people, which requires continuous upgrading of assets and rules and not a one-time fix. That upgrade is underway and publicly documented.

    “Eyesores are preventable; where residents bag waste, keep bins, pay their assigned PSPs and avoid illegal collectors, medians do not become loading points—and enforcement will continue against violators under the updated penalty regime.

    “Enforcement is real, arrests and prosecutions have increased; penalties are stiffer; surveillance now targets night-time dumping, when most infractions occur,” he added.

    The bottom line is that Lagos is not returning to “the bad old days.” The city is tightening enforcement against illegal dumping, clearing hotspots, and most importantly, building the next-generation system.

    In the latest operation, Gbadegesin acknowledged the waste management challenges experienced in key areas in the state, reiterating the authority’s firm commitment to ending all forms of reckless disposal habits.

    He said: “The state’s coastal geography made enforcement very important to prevent environmental hazards. A bag of refuse tossed into a drain anywhere in the metropolis does not disappear. It blocks culverts, worsens flooding, exposes households to contaminated water and sends plastics and debris into our canals and lagoon systems. Illegal dumping has consequences far beyond the act itself.”

    He revealed that LAWMA has moved from episodic crackdowns to a steady, intelligence-driven enforcement model that links surveillance, community reporting and swift prosecution.

    The LAWMA boss said the state is considering reintroducing the monthly sanitation exercise.

    He added that the state government would soon roll out smart bins with notifications for all houses, stressing that the chips attached to the bins would notify LAWMA when the PSP Operators fail to pick up wastes at the appropriate time.

  • UNIZIK Alumni focus on future, cultural heritage at convention

    UNIZIK Alumni focus on future, cultural heritage at convention

    The International Alumni Convention of Nnamdi Azikiwe University (UNIZIK), Awka, held at the Welcome Centre Hotels, Ikeja, Lagos, brought together members of the university’s alumni association from across Nigeria and the diaspora for an engaging discourse on the future of alumni collaboration and national development.

    The event, themed “The Future is Now,” explored how different generations of graduates, Gen X, Gen Y, and Gen Z, can collectively harness their strengths to impact their alma mater and contribute to national progress.

    Speaking at the convention, Global President of the UNIZIK Alumni Association, Professor Ikechukwu Ubeh, emphasized that the gathering was more than a reunion, it was a strategic platform for rethinking the future of alumni engagement.

    “This convention is our annual event, and this time around, we are focusing on the future of the alumni. Our university has produced thousands, if not millions, of graduates, and now we are looking at how to harness the potential of the new generation, the Gen Zs, alongside Gen X and Y,” he said.

    He said that the association is transitioning into a more digital and globally connected network, with over 2,000 registered members and more in the diaspora.

    According to him, the goal is to strengthen the link between past and present students while fostering mentorship, innovation, and institutional growth.

     “Participants will go home with a renewed understanding of what alumni truly represent at this point in time, a force for institutional greatness. We are harnessing our members, students, and affiliates to make our alma mater greater,” he added.

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    Beyond academic and professional goals, the convention also spotlighted the role of culture in national development, with attendees proudly dressed in traditional Nigerian attires.

    “We are proud of our culture and heritage. Nobody here is wearing foreign attire. We are Nigerians and proud of it. That pride is part of what we are promoting even in our dress,” he said

    Chairman of the Lagos Mainland Branch and host of the convention, Kenneth Kenechukwu, underscored the need for intentional planning in an increasingly unpredictable world.

    “The focus of this convention is to encourage ourselves to plan our lives, our resources, our families, and our future. The economy globally is not encouraging, so we need to be proactive. The theme, The Future is Now, reminds us that if we don’t plan, we are already planning to fail,” he said.

    Kenechukwu also highlighted the importance of unity, social interaction, and shared learning among members, stressing that such gatherings strengthen professional networks and preserve the cultural values that define the Nigerian identity.

    “When we come together, listen, and interact, we make meaningful headway toward our various achievements. This convention gives everyone a reason to move forward and thank God for new opportunities,” he said.

    The UNIZIK Alumni Convention concluded with a renewed commitment to digital transformation, mentorship of younger graduates, and the continuous promotion of Nigeria’s cultural heritage as a cornerstone of national development.

  • Yoruba community marks cultural day

    Yoruba community marks cultural day

    The Yoruba Community in Enugu State has celebrated its 2025 Cultural Day with a strong call for deeper cultural integration and national cohesion among Nigeria’s diverse ethnic groups.

    Held at the Federal Neuropsychiatric Hospital, New Haven, Enugu, the event, anchored on the theme Cultural Integration and Exchange: A Veritable Tool for National Unity and Cohesion, attracted traditional rulers from Imo, Anambra, Ebonyi and Enugu states, Yoruba cultural associations, students, community leaders and political stakeholders.

    The celebration featured colourful cultural dances from various Yoruba age groups, traditional music, and displays that highlighted the rich heritage of the Yoruba nation.

    Leader of the Yoruba Community in Enugu State, Oba Engr. Isiaka A. Salmon, Ilufemiloye I, said the gathering was not just a cultural display but a reaffirmation of Nigeria’s unity through diversity.

    He described culture as the “memory and value system that shapes collective identity,” adding that meaningful cultural exchange builds bridges and eliminates suspicion among ethnic groups.

    “In a land blessed with over 250 ethnic groups… we are a masterpiece designed by God’s own hands,” the monarch said. “When cultures meet in mutual respect, a nation finds its soul and direction.”

    Citing national icons such as Nnamdi Azikiwe, Chinua Achebe, and Obafemi Awolowo, Oba Salmon stressed that unity must go beyond rhetoric.

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    He also congratulated the beneficiaries of the community’s scholarship scheme, which expanded from five recipients in its first batch to 20 in the current cycle.

    “Kindly make use of this rare opportunity with all seriousness. Our partners increased the slots because the first batch performed excellently,” he said.

    The royal father praised Governor Peter Mbah for what he described as “innovative, inclusive and transformative governance,” while commending President Bola Ahmed Tinubu for steering the country with “bold and futuristic reforms.”

    Chairman of the occasion, Hon. Justice Anthony Onovo, described the cultural celebration as an opportunity for the Yoruba community to reconnect with its heritage while strengthening ties with their Igbo hosts.

    He highlighted the importance of cultural pride, community service and integration.

    “Today, we gather to celebrate our heritage and the unity that binds us. From the rhythms of dùndún to the elegance of àdìrẹ, our culture speaks of beauty and resilience,” Justice Onovo said.

    Quoting an Igbo proverb, “Ebe onye bi ka ọ na-awachi” (It is where you reside that you must protect), he urged Yoruba residents in Enugu to contribute actively to the progress of the state.

    The state caretaker committee chairman of APC in Enugu State, Dr. Ben Nwoye, hailed Yoruba community for their peaceful coexistence in Enugu, which is a testament to their community’s values and their unwavering commitment to harmony.

    “During these decades, your contributions to the development of Enugu State have been nothing short of immense and multifaceted.

    “From the bustling marketplaces to the quiet corridors of academia, the indelible mark of the Yoruba community is evident. We have observed, with admiration, your entrepreneurial spirit and your dedication to excellence across various sectors,” he said.

    Nwoye urged the Yoruba community to take advantage of their growing population in the state by participating more actively in local politics.

    “As we enter the election year, please get your PVCs and influence decisions. We look forward to the day a Yoruba man will become a councillor or member of the Enugu State House of Assembly,” Nwoye said.

    He recalled that a Hausa man served as the first Mayor of Enugu before independence, stressing that diversity has always enriched the Coal City.

    The ceremony also recognised distinguished Nigerians with meritorious awards for contributing to national development, while the scholarship segment provided financial support to deserving undergraduates of different ethnic backgrounds.

    The event closed with a renewed pledge by the Yoruba community to deepen cultural exchange, promote peaceful coexistence and support development efforts in Enugu State and Nigeria as a whole.