The Nation Newspaper

Category: Arts & Life

  • Book festival targets children literacy

    Book festival targets children literacy

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

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

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

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

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

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

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

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

  • LABAF, PIN ARTHUB gather 30 poets for Soyinka

    LABAF, PIN ARTHUB gather 30 poets for Soyinka

    Nigeria’s leading spoken word poet, Sage Hassan, is set to lead a team of A-list performance/ spokenword poets in honour of Prof. Wole Soyinka@90 to the 26th edition of Lagos Book and Art Festival (LABAF).

    Over 30 poets will grace the stage. In the team are the foremost Comrade Poet and curator of AJ House of Poetry in Lagos, Dagga Tolar; award-winning storyteller and poet Toby Abiodun; celebrated artist/performance poet, Evelyn D’Poet; winner of several performance and spoken word poetry contests, Kemi Bakare (aka Kemistree); Adigun Olushola (Solaspeaks) and performance/spokenword poets, Bold Seth, Tirwister Tiwistar, Solutionist Clementina and Jacob Sukpa respectively.

    According to the founder/curator of Poets in Nigeria, Eriata Oribhabor, this event offers an opportunity for cross-generational poets to share the same stage and lend their voice to the gamut of celebrations in honour of the global Icon, Prof Wole Soyinka. He stressed that the overall idea is to promote the ideals of justice and equity that the Nobel laureate represents.

    Read Also: Soyinka’s The Man Died returns home

    Also, an anthology of poems in his honour, titled Decades of Nine Hills and Thrills will be unveiled and presented to the Nobel laureate. Featured poets are expected to read their poems from the book. 

    I am Indomitable, Gabriel, Favour, Michael and Treasure Obi are rising spokenword poets that are bound to establish their feet on the acclaimed LABAF stage. 

    The event hold by 5pm on November 12 at the Freedom Park, Lagos Island, Lagos.

  • Pentland Energy hosts supply chain leadership summit

    Pentland Energy hosts supply chain leadership summit

    Pentland Energy Limited recently hosted the 2024 Supply Chain Leadership Summit (NSCLS) at the Movenpick Hotel in Ikoyi, Lagos. 

    The event’s Convener and CEO, Mr. Emeka Eboagwu, highlighted its significance as a pivotal force driving innovation within Nigeria’s supply chain industry.

    He said: “I am truly thrilled to see each of you here as we embark on this collective journey of transformation.

    “We aim to foster collaboration, drive sustainability, and champion leadership excellence across all sectors.

    “Our theme: “Leading Nigeria’s Supply Chain Transformation”, signifies a commitment to pioneering advancements that will drive efficiency, build resilience, and inspire innovation.

    “The significance of this summit reaches far beyond this room. By enhancing Nigeria’s Supply Chain landscape, we can improve efficiency, reducing costs and increasing productivity across industries, enhance competitiveness, empowering Nigeria businesses to excel on the global stage, generating jobs, creating employment opportunities and nurturing talent, Drive economic growth, blustering Nigeria’s development, and attract foreign investment, providing a vital boost to our economy.

    “The supply chain sector globally is undergoing rapid transformation, driven by technological advancements, evolving trade dynamics, and the growing demand for sustainability.

    “In Nigeria, the supply chain industry faces unique challenges such as infrastructural deficits, regulatory hurdles, and fragmented logistics systems, which have hindered its full potential.

    “Several attempts have been made to improve the efficiency of Nigeria’s supply chains, but these efforts have often been siloed and short-term,” he said.

    Eboagwu noted that the summit aims to shape the future of supply chain management in Nigeria

    “This summit, however, aims to bring a holistic and strategic approach to addressing these challenges.

    “By gathering industry leaders, experts, and key stakeholders, the Nigeria Supply Chain Leadership Summit seeks to foster collaboration, drive innovation, and chart a clear path towards creating resilient, efficient, and sustainable supply chains that will support Nigeria’s economic growth and global competitiveness.”

  • Cultural diversity fuels growth in African markets – Kehinde Fafiyebi

    Cultural diversity fuels growth in African markets – Kehinde Fafiyebi

    In Nigeria, where over 200 ethnic groups shape a vibrant mosaic of traditions, languages, and perspectives, cultural diversity is proving to be a key driver of business success. Dr. Kehinde Fafiyebi, founder of FAFKAY Integrated Services, asserts that embracing this diversity can unlock a wealth of strategic opportunities for companies, particularly in dynamic markets like Nigeria’s.

    Fafiyebi said, “Cultural diversity is essential for business expansion, especially in Nigeria and other African markets, which are rich in cultural variation. With over 200 ethnicities in Nigeria alone, this diversity should be seen as a strategic asset for companies looking to grow. The core benefits of embracing diversity include boosting creativity and innovation, improving financial performance, and accessing a broader talent pool.”

    According to Fafiyebi, understanding and incorporating local cultural nuances is crucial for businesses seeking to thrive in competitive markets like Nigeria. He believes that businesses who understand the value of cultural diversity are positioned to drive innovation and tap into new markets, ultimately leading to greater success.

    In recognition of his efforts, Fafiyebi was named Entrepreneur of the Year at the 2023 PERA Awards, an accolade he believes reflects the impact his company has had in the industry. “Winning the Entrepreneur of the Year Award in the Tourism category at the Nigerian Journalist Award and the Pera Award in Oyo State was a huge honor,” Fafiyebi shares.

    “I was truly shocked, and it’s hard to put into words what it means to me. It feels incredible to be recognized by the Nigerian Journalist Oyo State Chapter, especially when I think of the innovators and trailblazers who have been honored before me.”

    Fafiyebi, who has dedicated the past nine years to building FAFKAY Integrated Services, views the award as a recognition of his company’s unique approach. “Over the years, I’ve poured my heart into building FAFKAY Integrated Services, and this award is meaningful because it acknowledges not just our services but our commitment to providing strategic counsel to our clients,” he says. “We have consistently gone beyond the typical offerings of a Tourism and Technology agency, and I’m proud of this recognition. It motivates us to continue delivering excellence in all we do.”

  • “A Decade of Restless Vision — In Conversation with Kikelomo Solomon-Ayeni (2011–2024)”

    “A Decade of Restless Vision — In Conversation with Kikelomo Solomon-Ayeni (2011–2024)”

    Kikelomo Solomon-Ayeni has been called a “restless visionary,” a Nigerian-born visual artist whose lens dwells on maternity, womanhood, and resilience, often blurring the line between abstraction and social commentary. Her journey from Lagos to international platforms has marked her out as one of the strongest visual voices to emerge from Nigeria in the last decade. In this exclusive conversation with The Nation’s Samuel Oamen, Arts & Culture Desk, she reflects on her practice, her global exhibitions, and her mission to use photography as a tool for advocacy and family bonds.

    1. You’ve been described as a restless visionary whose lens dwells on maternity, womanhood, and resilience. How do you see your work?

    For me, photography has always been more than documentation. My goal is to use my art as a voice, to encourage child protection, safeguard women, promote family bonds, and contribute to the fight against sexual and gender-based violence. Sometimes my images lean toward abstraction, but they always speak directly to these urgent social issues while celebrating resilience and humanity.

    2. Let’s go back to where it all began. How did your journey start publicly?

    My first major public showing was in 2011 with the X-Perspective collective at the Goethe-Institut Lagos, curated by Yetunde Ayeni-Babaeko. That platform gave visibility to emerging women photographers and set the tone for my career. I exhibited three images, but one titled Door to Her Soul stood out, attracting attention and even making sales. It was validating; it told me my work had a place in the larger conversation.

    3. In 2014, you returned to the Goethe-Institut with Battle Scars, a breast cancer awareness exhibition. What did that mean for you?

    That project was deeply personal and socially urgent. One of the survivors I was assigned to was named Mabel. Mabel could not afford her medications, and the cancer was spreading fast. It was sad that the teaching hospital was often on strike, resulting in delays in chemotherapy treatment. Mabel eventually died before the exhibition date. Battle Scars wasn’t just about making beautiful images; it was advocacy. Proceeds supported the Sebeccly Cancer Care Foundation, and it carried a curatorial weight that merged art with tangible impact. That experience affirmed for me that photography can be a tool for protection, healing, and social awareness.

    4. You also built a photography brand, Red19 Photography. What inspired that?

    Red19 began out of a desire to celebrate families, maternity, newborns, and childhood milestones. Over the years, it grew into a trusted studio brand in Lagos. We participated in expos and community events, often offering free portraits that gave families cherished memories. That family-first ethos built loyalty and recognition.

    5. Beyond the family market, you’ve had activist collaborations. Can you talk about one that really shaped you?

    Yes. One that stands out is our work with the Lagos State Domestic & Sexual Violence Agency (DSVA) since October 2017. In 2022, we documented one of their major symposiums, and that gave my photography a new kind of weight: aligning my lens with survivor-centred storytelling and public education.

    6. Your exhibitions expanded internationally beginning in 2023. How did it feel to break onto the global exhibition stage?

    It’s been humbling and exciting. In London, I presented Teehi, Iya-Amo, Pregnant Talking Drummer, and Hello My Baby at The Holy Art Gallery, and I showed the African Preggy Ready to Party series at the Madeke Gallery Modern Art Exhibition. From there, my work expanded across Europe, with exhibitions at Cipriarte Venezia in Venice and Casa del Arte in Spain. These were not just isolated shows; together, they created a rhythm and momentum that connected my work with diverse audiences across borders.”

    7. In 2024, you presented at Black History 365 in London. What made that moment special for you?

    Yes, on November 2, 2024, with Our Heritage UK. I presented pieces from my Backing the Baby series, which celebrates the African tradition of mothers carrying children on their backs. For me, this was about reframing that practice not as vulnerability, but as power, a foundation of family bonding and resilience. The audience response was overwhelming. People spoke of déjà vu, of memories it unlocked. That was deeply moving.

    8. Some critics say your photography reframes maternity and womanhood as sites of power, duality, and cultural memory. What do you say about that?

    Kikelomo: I embrace that. For me, maternity and womanhood are not just cultural symbols; they are responsibilities, sites of protection, and continuity. If my work reminds society to value and protect women, children, and families, then I know I’m on the right path.

    9.  Looking back now more than a decade since your first exhibition, what stands out the most in this journey?

    Kikelomo: The consistency of purpose. From Lagos to London to Venice and Spain, my work has stayed centred on protection, bonding, and resilience. Each exhibition has been an opportunity to move people toward empathy and action. That, for me, is the restless vision I’ve carried since 2011.

    10.  And finally, looking forward, what should people expect from you in the next phase of your career?

    Kikelomo: I plan to expand red19 beyond photography. We will launch red19 global in the United Kingdom. We will provide global support for art creators so they and their work can get more international visibility and recognition, which will result in sales for them. Our photography services will still be a part of us. I also plan to exhibit my work in the famous New York art expo.

  • 25 Plays, international showpieces headline maiden Lagos International Theatre Festival

    25 Plays, international showpieces headline maiden Lagos International Theatre Festival

    • As SanwoOlu, Austen-Peters promise to wow Lagosians

    Twenty-Five stage plays, including three International showpieces, will headline the Lagos International Theatre Festival (LITF) 2024 which kicks off on Thursday, November 14, 2024.

    The festival, in its maiden edition, will run for four days between November 14 and 17 across four iconic venues in the sprawling Lagos metropolis.

    The four-day line-up is designed to celebrate culture, creativity and community, promising an immersive journey through the vibrant world of theatre, live performances, workshops, and more.

    With 25 plays lined up across the four venues at the Terra Kulture Arena, MUSON Centre, University of Lagos and Glover Hall, festival goers will also savour three international shows from the United States of America, South Africa and Zambia.

    At a ceremony to formally announce the festival on Tuesday, November 5, at the Lagos House in Marina, Lagos State Governor, Mr. Babajide SanwoOlu said the state was pleased and committed to partner with the Terra Kulture team to give Lagosians a beautiful experience throughout the four days of the festival.

    SanwoOlu said he nursed no hesitation in signing off as the lead sponsor of the festival, adding that he hopes the festival will assist the state in promoting the idea of an arts and culture calendar that will guide residents and visitors coming to the state on where to go and what to see.

    “Our hope is to use this brilliant initiative to support theatre practitioners and to encourage listing art activities ahead so that visitors to our state can have an idea of what each month offers for them.”

    The founder of LITF and celebrated film and theatre producer, Mrs Bolanle Austen-Peters, also said the festival would be an annual fanfare to celebrate talents, showcase authentic African stories and provide platforms for quality engagements.

    She added that the maiden edition of LITF coincides with the 20th anniversary of the founding of Terra Kulture Group by her.

    “After several world-class plays that we have promoted locally and internationally and after training more than 26,000 youngsters through the Terra Academy for the Arts, we are delighted to be using LITF to draw attention to live theatre, determined to continue to lead the charge that stage plays are alive and well in Nigeria.”

    ABOUT

    The LITF is a vibrant four-day extravaganza! Scheduled to run from November 14th to 17th. Four venues across Lagos will come alive with a diverse range of performances and each venue will be transformed into a theatrical hub, buzzing with vendors and interactive activities, making LITF a truly immersive experience.

    FESTIVAL MISSION

    The Lagos International Theatre Festival aims to celebrate and promote the richness of Nigerian and African theatre by providing a platform for local and international artists to showcase their talents.

    The festival seeks to bridge the gap between traditional and contemporary theatre, fostering cultural exchange and collaboration.

    A GROWTH CATALYST

    LITF amplifies the magic of theatre; drama, musical, spoken word, and experimental theatre, showcasing the best of Nigerian and African storytelling. LITF offers branded opportunities and experiences that delivers matchless impact and visibility:

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    i. Engage, capture and collaborate with target audience.

    ii. Build powerful brand love through engagements with the product.

    FOUNDER

    Bolanle Austen-Peters is a visionary lawyer and a celebrated stage and film director/producer. She has been featured in Forbes three times as one of the leading women in Africa and hailed by CNN as the “woman powering theatre in Nigeria”.

    She has received over 50 awards for her outstanding contributions to the arts.

    She is the founder of Terra Kulture, a world-class destination that showcases the richness and diversity of Nigerian arts and culture. She is also the creative force behind Bolanle Austen-Peters Productions, which has produced acclaimed plays that have captivated audiences across three continents. Some of her notable works include Saro The Musical, Fela and the Kalakuta Queens, Death and The King’s Horseman, and many more.

    As a filmmaker, she has also produced and directed some of the most successful and award-winning movies in Nigeria, such as 93 Days, The Bling Lagosians, Collision Course, Man of God, Funmilayo Ransome Kuti, and House of Ga’a.

    She is a passionate advocate for youth empowerment and education. In partnership with the Mastercard Foundation, she founded Terra Academy For The Arts (TAFTA), which provides free training for young people in various aspects of theatre production, such as lighting, set design, and sound design. The academy has graduated over 26,000 young adults with valuable skills.

    GOVERNING PATRONS

    Mr. John Momoh, Chairman/CEO Channels TV. Mr. Karl Toriola, CEO MTN Nigeria. Mr. Yemi Idowu, MD Aircom Ng. Ltd. Mrs. Yewande Zaccheaus, CEO of Eventful Ltd. Mr. Ron Kunene, South African Producer. Mr. Femi Tejuosho, Partner Helios Inv. Partners Africa Ltd. Mr. Donald Duke, Former Gov. Cross Rivers State. Ladi A Chinade. Mr. Chris Ubosi Radio Broadcaster.

    ADVISORY BOARD

    Mrs. Joke Silva, Producer/Veteran Actress. Mr. Samuel Perry aka Broda Shaggi, Comedian/Actor. Mrs. Chioma Ude, Founder AFRIFF. Mr. Femi Elufowoju jr. OBE, Creative Arts Practitioner. Mr. Jahman Anikulapo, Culture Curator & Communicator. Mr. Israel Eboh, National President, NANTAP. Ms. Kehinde Bankole, Award winning Actress. Ms. Osas Ighodaro, Award winning Actress. Mr. Kenneth Uphopho, Lagos Fringe-Festival Director. Mr. Teju Kareem, MD/CEO Zmirage Multimedia Limited.

    INTERNATIONAL PLAYS

    Satchmo at the Waldorf (United States)

    A one-man portrayal of jazz legend Louis Armstrong, reflecting on race, betrayal, and the price of fame in the final days of his life.

    METSI (South Africa)

    A spiritual and dramatic story of love and survival in a flood ridden community, exploring the challenges of life and the forces that shape human destiny.

    Without A Kiss (Zambia)

    A raw and powerful exploration of lost love, domestic violence, and the systemic struggles faced by vulnerable women in an unjust world.

    November 14 – Workshops

    Venue: John Randle Centre for Yoruba Culture

    Time:12:00pm – 4:00pm

    Kickstart the festival with engaging workshops designed to support and inspire creatives in the arts.

    Interactive workshops covering a wide range of topics- the role of insurance and finance in the creative arts, dramatic story telling reading workshop and the role of radio in theatre arts.

    November 15 – Opening Night Celebration

    Venue: Terra Kulture

    Time: 6:00 PM

    The festival officially opens at Terra Kulture with a grand evening of theatrical performance by BAP Productions. Expect an unforgettable showcase of Nigerian talent and artistry, setting the stage for an exciting weekend of drama, laughter, and cultural

    exchange.

    November 16-17 – Theatre comes alive at Four Iconic Locations.

    25 plays will be performed across four iconic Lagos venues: Terra Kulture, Muson Centre, University of Lagos and Glover Hall.

    From 12pm to 8pm each day, plays will run simultaneously, creating a vibrant hub of art and culture all over the city.

    Each location will have dedicated festival grounds with:

    Vendor Stalls for snacks, drinks, arts, and crafts.

    Sponsor Booths for brand activation.

    Face Painting and activities for kids and the young at heart.

    Drinks/Food Village where festival goers can sit and relax while they wait for their shows.

    Games and Interactive Activities for all ages.

    The festival promises a bustling, family-friendly atmosphere where audiences can

    engage with live theatre and Lagos’ local artisans alike.

    Closing Night – November 17

    Venue: Terra Kulture

    Time:7:00 PM

    Wrap up the festival with Broda Shaggi, who will bring his unique humour, celebrity guest appearances, and high-energy skits to the Terra Kulture stage, delivering an entertaining finale that celebrates the power of performance and laughter.

  • O’DA Art Gallery presents Idahor’s 
I See (Wo)men As Trees

    O’DA Art Gallery presents Idahor’s 
I See (Wo)men As Trees

    Stepping out with her first solo exhibition in Nigeria in a decade, Taiye Idahor’s I See (Wo)men As Trees, presented by contemporary art gallery, O’DA, is a poetic visual meditation on ancestry, identity and the feminine experience.

       The exhibition title, inspired by a biblical verse, echoes the words of a man whose healed vision, transformed, “I see men like trees, walking.” This verse affirms Taiye’s exploration of how women stand as enduring figures of strength and continuity, deeply rooted in their pasts while constantly growing towards the future.

       The exhibition, which kicked off on 26th October and will run till the 30th of November, 2024 at the gallery, consists of four distinct series: Wade in the Water, I See (Wo)men As Trees, Emancipated but Not Free and Hairhythm. Each series draws on Taiye’s personal reflections and broader cultural narratives, forming a cohesive yet complex narrative centred around the metaphors of trees, water and hair.

       These natural elements symbolises resilience, growth and the ongoing tension between freedom and confinement. The harmonious blending of the women’s soft brown skin with the reddish ground and wooden beams, their earthy tones evoke stability and inner strength, while the translucent figures express the ongoing journey of emancipation. This exhibition reminds us that women’s stories, much like trees, are ancient, enduring and ever-evolving, testaments to the power of growth and the strength of shared history.

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       In Wade in the Water, Taiye builds on themes from her earlier solo show Hairvolution, where hair served as a central symbol of heritage and identity. Here, hair transforms into a vast sea that women must navigate, symbolising the often turbulent journey through lineage, history and self-discovery. The title references the spiritual hymn, “Wade in the Water,” signifying survival and the pursuit of freedom. Taiye envisions women as floaters or swimmers in a sea of hair, their heads emerging like islands in an ocean of memory and ancestry. The ambiguity of their direction underscores the ongoing search for identity, home and belonging. Through this metaphor, she delves into themes of migration, displacement, and the often elusive quest for rootedness.

        The titular series I See (Wo)men As Trees, portrays women as embodiments of rootedness and strength. Their long, dark hair trailing across the ground like tree roots, serves as a powerful visual symbol connecting them to the earth, each other and their origins. Hair becomes a conduit, a tangible link that speaks to interconnectedness and shared histories. The partially constructed spaces in each piece suggest incompletion, reflecting the women’s ongoing journeys, whether personal, spiritual, or communal. The expansive green landscape offers a sense of openness, potential, and freedom, reinforcing that their growth is still unfolding.

       Emancipated but Not Free, delves into the complex realities of womanhood, particularly the notions of freedom, autonomy and restraint. It captures the tension between external liberation and internal entrapment, portraying the nuanced and often paradoxical journey of women navigating spaces of independence while still tethered by societal, cultural, or personal constraints. The open, endless landscapes evoke the potential for boundless movement, yet the focus on meticulously tangled, expansive hair suggests a simultaneous limitation, as if freedom itself has boundaries. While hair traditionally symbolises autonomy, beauty, and identity, in this series it becomes a symbol of both liberation and confinement.

  • DO YOU KNOW WHO I AM?

    DO YOU KNOW WHO I AM?

    The Honorebu* Who Slapped the Law

    SNAPSONG 237    

    The Honorebu’s first question

         Was preceded with a very Honorebu slap

    So loud his neighbours thought

         It was a thunderclap

    “Who are you, wretched driver;

         What madness drove you

    To disturb my Honorebu leisure

         In the middle of an empty day?

    In my Honorably acquired mansion

         Where, between booze and boast,

    I churn out the bills which beget those laws

         That have turned Nigeria into a Paradise”

    The second slap came with an imperial swagger:

         “How dare you! Do you know who I am?”       

    Then a frightening combination of raw power and magic blustering:

         “I will make you disappear, and nothing will happen”

    King-size ego, consuming conceit

         Vintage Lawmaker of a lawless Republic

    Who “monkeys” the people and “rats” their worth

         Standing so tall on the grave of assassinated dreams

    So carefully curated 

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         This poignant parable of Nigerian imuniti**

    Its powerfool protagonist, its convoy of clowns

         Who bluff and strut beneath their tinsel crowns

    “Do you know who I am?”

         The Honorebu asked his “stupid-idiot” driver

    Challenging us, dear readers,

         To read this poem and answer his question.

    *Imuniti un-arrestability. A Yoruba coinage from a conflation of “immunity” and “impunity”

    **For a peculiarly Nigerian meaning of this word, I recommend a quick journey to Honorebu, Akeem Lasisi’s rip-roaring video.

  • Fola David floats EVVDEE Academy to bridge knowledge gap in arts

    Fola David floats EVVDEE Academy to bridge knowledge gap in arts

    In fostering creative and artistic excellence, Nigeria’s Guinness World Record Holder for Largest Drawing by an Individual, Dr Fola David has established EVVDEE Art Academy to bridge identified gaps in art. 

    The academy sited in Lekki, Lagos is positioned as a community for artists within and across the globe to learn, relate, exhibit works, share ideas,  collaborate, access mentorship opportunities and develop. 

     Minister of Arts, Culture, Tourism, and Creative Economy, Hannatu Musawa, who was at the launch,  hinted on moves by the government to partner with the academy in a bid  to produce more talents in arts. 

    She identified skills gap in this space while commending David on the bold step to bridge the gap towards enhancing Nigeria’s arts market.

    “We shall be leveraging this template to improve the art and creative sector by investing in  talent skills development   and avail them  necessary opportunities to become full -fledged artists,”she said. 

    Speaking on the Initiative, David stated that  the idea was inspired by observed disconnection amongst artists, noting that Evvdee’s  setting was such that promotes family like bonding among learners and professionals in Nigeria and beyond. 

    According to him: ” Certain things are key for artists such as exhibition and sense of family bond, i feel these things are lacking which was a major challenge for me in my journey.  

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    “These and many more are what we aim to address with this academy. In addition to training,we want to mitigate some of the social challenges faced by artists by  bringing them together under one umbrella where they can meet like once in three months to brainstorm on industry and trends as well as personal issues”.

    David added the academy will offer art events, short term courses and masterclass sessions, with provisions also made for art exchange programme and residency for those outside Lagos and Nigeria to be equipped with world -class  knowledge and superior skills. 

    He said trainings will be delivered by renowned art enthusiasts and  accomplished academics, including Dotun Popoola, Ken Nwadiogbu, Oscar Nkonu, The Tobbinator, Ozuma Patrick, Mr Waduud and Abisola K Gbadamosi who is also the Academy Director, amongst others. 

    He informed arrangement has been sealed with the National Gallery of Arts (NGA) for exhibition opportunities and to invite visiting art lecturers from abroad as part of preparations for the academy opening in 2025.

    The academy will also be offering certification from the NGA for courses in painting, dawing, sculpture, photography, videography, animation, digital art and designs, amongst others. 

    Special Assistant to the President on Art, culture and creative Economy Ayo Adeagbo commended David’s step, stating that it reflects the commitment of present administration to put Nigeria’s art in the global map.

  • Sculptors interrogate identity, spirituality of Ori

    Sculptors interrogate identity, spirituality of Ori

    Ori: The Reinterpretation of Spirits, an international exhibition of sculptures by 16 emerging and established sculptors from Nigeria, Ghana and Cameroon backed by eight guest artists was a rare show. Held at Quintessence Gallery at Parkview Ikoyi, Lagos, the group exhibition was an interrogation of the philosophical essence of Ori (head) in diverse sculptural forms by the artists. The works rendered in different media did not only uncover the spiritual essence of Ori in humanity, but also transcend the literal meaning of Head, thus revealing the essence of leadership and collective identity. It is a first of its kind thematic show birthed by the collaboration between Quintessence Gallery and ArtO Studio led by Ato Arinze. It was declared open by ace sculptor Matt Ehizele.  Essentially, the partnership is to facilitate conceptually and thematically curated exhibitions in conjunction with various art spaces. 

    The artists include Luke Osaro, Chris Ekuafeh, Davcid Adeogun, Uchenna Eugene, Endurance Omoloja, Sodiq Odugbola, Oghenetega Ekpokpobe, Emeka Nwali, Kingsley Ebunyebe, Obafemi Philips, Daniuel Elias, Paul Okon, Joseph Olabisi Oluwadamilare, Adegbenro Joseph Oluwadamilare, Vincent Uzoma, and David Obeng Adane. But the guest artists are Prof. Lasisi Lamidi, Prof Kevin Samuel Damden, Djakou Kassi Nathalie, Odogwu Fidelis, Dr. Adeola Balogun, Ato Arinze, Okezie Okafor and Matthew Ehizele. Curated by Uche Obasi, Ori, a concept that is represented by the head, symbolises Ori as both the biological center of consciousness and the spiritual center of awareness. This concept is treated with different media- wood, metal, ceramics and clay- and styles of each artist, which expands the links between head and spirituality. It also engenders dialogue while balancing cultural nuances about Ori and spirituality and identity.

    According to the CEO of Quintessence, Mr. Jude Oni-Okpaku, the group show, which closes on November 9, aims to ‘to link spirituality and authority of the ‘head’ to the human condition, engaging viewers to contemplate the intricate connection within our essence; a connection that constantly seeks to unite and reconcile our place with divinity.’ By exploring the intersections of our experience with the higher power, it reveals multifaceted emotions embedded in the sacred relationship between material and immaterial life.

    “With more than 30 sculptures on display, the artists demonstrate a mastery of diverse mediums, including assemblage, mixed media collage, and repurposed found objects. This exhibition combines the works of sculptors from Ghana, Nigeria, and Cameroon, featuring a diverse range of talents. These include esteemed academic artists, who teach fine art in Nigeria’s prestigious art schools, alongside established practitioners with extensive exhibition histories and decades-long careers, as well as emerging artists in the early stages of their practice.

    “The works on display feature an array of artistic approaches, combining assemblage techniques to produce striking relief works using found objects, alongside mixed media collage. They encompass diverse stylistic forms, techniques, and movements—both representational and non-representational—ranging from realism to semi-abstract stylization, and extending to minimalism and cubism, expressed through geometric forms,” he added.

    Artists such as Adeola Balogun captures scarf-wearing women through realistic style.

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    Others push boundaries: Lasisi Lamidi’s conceptual but expressive mask reliefs, Djakuo Kassi Nathalie’s glazed dog of jarred mouthed faces, Obafemi Philip’s semi-stylized wood heads, and David Obeng Adane’s geometric circular full-breasted faces. Kingsley Nnaemeka Ebuneybe crafts anthropomorphic sculptures, while Fidelis Odogwu works with metallic contemplative-shaped masks that lean upward in rectangular lines. Sodiq Odugbola’s elongated metal scraps wear mask-like faces, and Ato Arinze’s mystical masks blend simultaneously in curvy, joined lines. Together, these artists along with their fellow exhibitors converge, overlapping with the multi-faceted cartography of exhibited works so extensive that it transcend the core tradition of sculpture from past to present.

    To the facilitator, Ato Arinze, it is ideal to have a mix of the young, the old, and the masters in such thematic show. This initiative, he said, is actually what he wanted when he registered a business venture.  “We organize thematic shows. We also handle art class.  We are working on Ayobo Art Festival.  For instance, there are lots of exhibitions and art fairs holding across the state this weekend.  ” he added.

    Reacting to the increased number of arts events held in Lagos at the weekend, Arinze said it is good for the sector because the artists created the synergy despite the economic hardship in the country. He however noted that naturally, hardship should be a greater motivator. 

    “But if we miss the opportunity of creating masterpieces now, we will never create masterpieces. There is a saying that in the middle ages, there was 13 years of war, which gave rise to great artists such as Michael Angelo and Leonard da Vinci during that period of hardship. But during centuries of peace in Switzerland, the only thing they could produce are wristwatches,” he recalled. 

    But, Dr. Deola Balogun reasoned that the current hardship is capable of bringing out the creativity in artists.  “Beyond that, when you lack certain things, either material or funds, there is tendency to seek ways to improvise. At the same time, some artists irrespective of the state of the nation are producing works in order to boost their profiles. To remain in the market matters because if the artist is there, it is an indicator that he is dedicated and serious,” Balogun added.