The Nation Newspaper

Category: Arts & Life

  • Ikenna Nwagboso to exit emPawa Africa January 2025

    Ikenna Nwagboso to exit emPawa Africa January 2025

    emPawa Africa has announced that co-founder Ikenna Nwagboso will step down from his role as Global Head of Label Services and Partnerships in January 2025.

    Nwagboso, who co-founded the company with Mr Eazi in 2018, has been pivotal in shaping emPawa’s impact on the African music scene, overseeing the careers of artists like Joeboy, Fave, and Tekno, while securing key partnerships with YouTube Music, Kobalt, and Beyoncé’s Parkwood Entertainment.

    Read Also: Tekno partners with Mr. Eazi’s Empawa record label

    Notably, Nwagboso was integral to the success of emPawa’s flagship programs, emPawa 100 and emPawa 30, which have launched over 130 emerging African artists. Joeboy, one of the program’s earliest successes, credits Nwagboso with playing a key role in his rise to international stardom.

    After his departure, Nwagboso will focus on his new venture, Image Ent./Exodus Music Group, which is already home to Canadian artist Chrissy Spratt and British songwriter Geo, alongside consulting on Rwandan artist Bruce Melodie’s debut album.

  • Emerging winner of D’banj’s Cream Platform competition was amazing, tasking – Dellfire

    Emerging winner of D’banj’s Cream Platform competition was amazing, tasking – Dellfire

    For Nigerian artist Dellfire, winning D’banj’s Cream Platform National competition was more than just a career achievement—it was a defining moment that proved his mettle in the competitive music industry. 

    “It felt amazing winning D’banj’s Cream Platform National competition. It was very tasking because one has to live up to the hype,” Dellfire recalls with a sense of pride.

    The victory not only catapulted him into the spotlight but also connected him with some of the most influential figures in the African music scene, providing invaluable exposure and mentorship.

    Dellfire, whose real name is Daniel Effiong, has since continued to build on his success, with the release of Loco Loco, a track that has earned significant acclaim, including a spot on the soundtrack of a Paramount Pictures blockbuster. 

    “Having my song featured in a global blockbuster has opened doors I never imagined,” Dellfire says, speaking about how the exposure has unlocked new opportunities in the music industry. 

    The song has quickly become a favorite among fans, propelling Dellfire into new realms of recognition and collaboration.

    Reflecting on the significance of this moment in his career, Dellfire explains, “Feelings like this shouldn’t be measured, it’s inexplicable. 

    Read Also: D’Banj only Nigerian man that gave me free money, says Toke Makinwa

    It’s opened other doors and made people want to work with me more since big names are now banking on my sound.”

    This newfound attention has led to a wave of projects and collaborations that promise to expand his reach even further.

    One of the key collaborations that helped elevate Dellfire’s career was Chairlady, a track featuring Nigerian hip-hop legend Ice Prince. This partnership allowed Dellfire to showcase his lyrical prowess and distinctive sound, gaining him a dedicated following. 

    The artist’s journey has also been marked by collaborations with international talents, including those from Trinidad, which has helped spread his music far beyond Nigeria’s borders.

    “Working with artists from different backgrounds has really helped me to get my sound across the shores of Nigeria,” Dellfire says. “Their audience gets introduced to my music, and my audience gets to hear them too. Artistically, it’s challenging, and I love challenges.”

  • Irie Vibes Fest revels music, cancer advocacy

    Irie Vibes Fest revels music, cancer advocacy

    By Omolola Yekini and Ifayinka Ajayi

    The organisers of an art and health initiative against cervical cancer, Irie Vibes Fest, are thrilled to announce the 7th edition of the festival. A part of the interesting lineups at the 2024 Lagos Fringe, Irie Vibes Fest is scheduled for Thursday November 21, 2024, at the Freedom Park, Lagos Island, by 5pm.

    A statement released on Saturday said the festival’s free health screenings will commence by 5pm to be followed by a series of breathtaking reggae music performances starting from 7pm till late in the evening.

    Founded by Lucia Ikediashi of Shimmers Services and Omotola Ibeh of 09.16 Enterprises, Irie Vibes is not just a celebration of Nigeria’s rich artistic culture, it is a transformative initiative dedicated to empower women through education and cervical cancer prevention campaigns.

    Founder of Irie Vibes Fest, Lucia Ikediashi said: “We will provide free screenings for all women attending the event, ensuring vital health services are accessible to the community. These screenings are crucial, as early detection significantly increases survival rates and provides women with the opportunity to prioritise their health”.

    Furthermore, Ikediashi enjoined the public to be part of the historic event while also laying emphasis on the importance of regular screening with a promise that attendees at the 2024 outing will be equipped with essential knowledge about their health and well-being.

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

    Co-founder of Irie Vibes Fest, Omotola Ibeh revealed that Irie Vibes is more than a reggae festival. She said: “It’s a celebration of life and a constant reminder of the power of music and art to bring people together for one simple reason; the awareness of this disease plus the solution to reduce cervical cancer”. She added that the most beautiful part of it all, is that the music concert offers the much needed tests for free, right at the Irie Vibes venue.

    This year, the festival promises an inspiring lineup of artistic performances that will illuminate women’s stories, highlighting their struggles, achievements, and resilience while fostering a deeper understanding of cervical health.

    The general public is invited to attend Irie Vibes Fest 2024 as their presence is crucial in cultivating a supportive community that champions women’s health. The event is for friends, families and those ready to take advantage of this invaluable opportunity for health screenings and education.

    Irie Vibes Fest is a reggae concert for cervical cancer awareness. Free cervical cancer screenings are held at the event with results given on the spot. The goal is to use entertainment to reduce deaths from cervical cancer by providing these screenings twice every year. In May, Irie Vibes team visited some rural communities in Lagos. In November, Irie Vibes will be at the 2024 Lagos Fringe Festival.

  • Ogunlaja promotes Alaga art in UK

    Ogunlaja promotes Alaga art in UK

    “I want you to stretch your two hands and say, ‘everything I touch is blessed.’ I want you to touch your legs, and say, ‘my steps are ordered of the Lord.”

    These words, spoken by Oyindamola Ogunlaja, the Creative Lead of Ajoke Araloge, guide a bride through her traditional marriage ceremony. You might think she is the officiating clergy or perhaps even the hired singer after hearing her sing – roles she seamlessly embodies as an Alaga in Yoruba traditional weddings. As she directs the bride, Oyindamola moves fluidly between English and Yoruba, her voice weaving blessing after blessing.

    “Everything you do is blessed. Your children will arise, and they will call you blessed. Your husband will arise and call you blessed,” she continues, then addresses the audience in Yoruba with more prayers for the couple. Turning back to the bride, she concludes in English, “You will not bury your children. Your children will surround your table round-about, Jesu, Oluwa wa.”

    Under her guidance, the bride goes to her knees for the parental prayers, as Oyindamola, with warmth and tradition, keeps the ceremony flowing. This traditional marriage between Morenike Adeeko and Yomi Oloyede, held in August 2023 at Orsett Hall in Grays, UK, is one of many brought to life by Oyindamola’s masterful command of the Alaga role.

    Read Also: Enough is enough

    With her extensive knowledge of Oriki (eulogies) and songs from various Nigerian tribes, clans, and communities, Ogunlaja has made a profound impact on both individuals and society at large. She has presided over more than 200 traditional wedding events locally and internationally, and has trained over 150 aspiring Alagas. Her vision now is to see the Alaga art formally recognised within the United Kingdom’s Arts and Culture industry.

    The Alaga tradition, rooted in Yoruba culture, has gradually spread beyond Nigeria’s borders, resonating with diverse communities and enriching weddings worldwide. As globalisation bridges distances, our world becomes more and more a global village as predicted by Marshall McLuhan, and inter-racial marriages have further facilitated the spread of the Alaga tradition. The Alaga, with her unique blend of storytelling, prayer, and music, finds an appreciative audience among inter-racial and multicultural couples eager to incorporate rich cultural elements into their weddings.

    Like an oral historian, through her art and her training of the next generation, Oyindamola ensures that cultural values and traditions endure, passed from one generation to the next. Today, it has become increasingly fashionable for couples to honour their heritage in wedding ceremonies. The Alaga, such as Oyindamola, plays an essential role by not only compering these events but also guiding couples through traditional customs and ceremonies.

    Ogunlaja’s background is a blend of expertise in education, culture, and international affairs. A 2010 graduate of Tai Solarin University of Education, where she earned a Bachelor of Science in Mass Communication, she continued her studies with a Master’s in Public and International Affairs from the University of Lagos in 2019. In 2023, she completed another Master’s in International Management Operations from Teesside University, United Kingdom.

    Professionally affiliated with Skilled Alaga Certified Professionals and the Association of Professional Party Organisers and Event Managers of Nigeria, Oyindamola has also earned certifications in Wedding and Events Management and completed an Advanced Workshop on Alaga Iduro and Ijoko practices in 2019.

  • Irapada: Durodola’s advocacy tool for safer environment

    Irapada: Durodola’s advocacy tool for safer environment

    Nigeria’s multidisciplinary artist and environmentalist Yusuf Durodola has said there is nothing more challenging to humanity now than environmental pollution. He stated that indiscriminate dumping of wastes on the drainage systems across many cities of the world continues to endanger lives and properties in many nations. He noted that using his art as advocacy tool, peoples’ minds can be influenced to have a positive attitude towards the environment.

    “And at the end of the day these same people will be calling on government for help. But, who are the government? Who are the people that are abusing the environment? They are the same people that are begging for help,” Durodola said.

    Durodola, who spoke at a preview session of his solo art exhibition tagged Irapada: Re-Interpretation of Discarded Materials opening tomorrow at The Nike Art Gallery, Abuja, noted that waste becomes waste ‘when we don’t know what to do with it.’

    “When flood is damaging lives and properties why are we complaining? We don’t need to complain because we impregnated the earth and that is the way I see it. We polluted the environment by our actions,” he added. 

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

    Irapada is a Yoruba word meaning to revive something or in this context means recycling or up-cycling. It is also a way to revive a used item and give it a second chance to live. The solo exhibition, which will feature 16 discarded materials artworks and a 2016 video performance, (five drawings generated from the pre-production of the performance Ominira), captures the symbiotic relationship between man and his immediate environment. It also projects the power of mindset and possible transformation in recycling/upcycling our wastes in harnessing environmental sustainability.

    The Lagos-based artist uses found objects from auto mobile gadget, electronics, day to day items from phones and computer sets to give life back to found objects.

    He recalled that his love for recycling started in 2014 while at the University of Lagos working on a project that bothers on Guinness world record. This, he said, he later shelved due to financial constraint. “I decided to think of something else, which led me to documenting the vice chancellor of the varsity then. I told myself then that if I can use this skill to create massive and amazing works, it will change people’s minds including their orientation. Then I began to understand the definition of trash. What we call trash or waste is not the action, it is in the mind. When the mind see’s something and says this is a waste you will never see anything good coming out of that thing. The same way as am producing the object, I am relating it to human life because I see life through those objects. Now, when we talk about God, as human beings, we are the extension of God because God created us in his own image. Now, when we create some of these waste items they are our extensions because they carry our imprints.” 

    “As we are dropping things on the floor we are impregnating the earth and the earth will give birth and so if the trash is what we put into the pregnancy, what kind of baby are we expecting?” he asked.

    Some of the works are for display include Treasures in disguise, Knowing unknown, Eleyinju ege, The dream, the joy and the passion, Pensive IV, Beyond the look, Morayo, Culture ambassador, Precious,  They think I did not see them,  and Symbol of joyful mind.  

    In a foreword to the exhibition brochure, founder Nike Art Gallery International, Chief Nike Okundaye said Durodola’s mastery extends beyond repurposing discarded materials as it challenges how ‘we approach exhibitions and everything that surrounds them.’ She notes that the exhibition represents not only his continuous ascent in the recycled/up-cycled art world but a shift in perspective for all who engage with his collectibles.

    According to her, Ìràpadà: Re-interpretation of Discarded Materials, symbolizes a kind of rebirth and invites viewers to shed old ways of seeing, sparking within us fresh insight and creative possibilities. “The transformative power of this exhibition lies in its ability to inspire, to remind us that nothing is beyond reach if we are determined to achieve it. This, and so much more, is what Yusuf Durodola continues to prove through his art and vision,” she added.

    On Day 2 of the exhibition, the artist will be handling 30 students in pet bottles recycling workshop and also reactivate their minds in the cordial connection that they have with the space they live. The workshop tagged:  “Creative exploration of discarded materials as a medium of visual expression” is organised by Nike Art Foundation in collaboration with Artegun Foundation.

  • 117 photographers for Uncover Naija

    117 photographers for Uncover Naija

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

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

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

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

    Read Also: Enough is enough

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

  • When spirituality of love blossoms in colours

    When spirituality of love blossoms in colours

    By Samiat Oyedeji

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

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

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

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

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

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

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

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

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

  • Rollercoaster of romance, secrets and suspense

    Rollercoaster of romance, secrets and suspense

    Title:  Dangerous Intimacy

    Author:  N. Viktoria

    Publisher: Alpha Zuriel Publishing

    Reviewer: Ozolua Uhakheme

    Pagination: 195

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

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

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

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

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

    Suspense and pacing

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

    Read Also: Enough is enough

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

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

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

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

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

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

    Character development and emotional depth

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

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

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

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

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

    Literary devices and themes

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

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

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

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

    Dialogue and prose

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

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

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

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

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

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

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

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

  • MOWAA: Inspiring next generation of cultural stewards

    MOWAA: Inspiring next generation of cultural stewards

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

  • Making the artist central to curatorial process

    Making the artist central to curatorial process

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

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

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

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

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

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

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

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

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

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