The Nation Newspaper

Category: Arts & Life

  • Badagry to the world concert holds December 22

    Badagry to the world concert holds December 22

    The organisers of the Badagry to the World Concert 2024 has announced the date for this year’s event.

    The event which holds as the inaugural edition, will bring together music, culture, and community pride on December 22nd, 2024, at Eddies Event Centre, located along Agric Road, near Gbenopo Primary School in Ajara Topa-Badagry.

    With the backing of music enthusiasts and cultural aficionados alike, the concert promises an immersive journey through the rhythms, flavors, and stories of Badagry.

    This concert is not just about music; it’s a grand homage to the cultural richness and historical heritage of the Badagry Kingdom, showcasing Nigeria’s diverse artistic landscape. Audiences can expect an electrifying lineup featuring both established and rising artists, offering sounds that resonate across genres, and bridging the old with the new.

    Complementing the musical performances, the event will feature cultural displays, traditional performances, and unique vendor stalls offering local cuisine and handmade crafts. For artists, sponsors, and community members alike, the concert will provide a space for connection, inspiration, and collaboration.

    At the helm of this landmark event is Babalola Kareem Babatunde better known as Scope The Entertainer, a celebrated Nigerian musician and proud son of the Badagry Kingdom. Speaking about the inspiration behind this initiative, he shares, “Badagry is a kingdom rich in history, heritage, and culture, and I believe it deserves a platform to shine on the global stage.

    The Badagry to the World Concert is not just a music event; it’s a celebration of our identity, our stories, and our future.” His vision is clear: to bring the treasures of Badagry’s culture into the national spotlight, fostering pride among locals while enchanting a wider audience.

    Scope-the-Entertainer and his team are calling on both private and public sectors to join in making this event a success through sponsorship. Partners will gain exposure to a diverse and engaged audience while supporting a project dedicated to enriching the cultural fabric of Badagry. With a range of sponsorship packages, businesses of all sizes have an opportunity to be part of an event that promises not only visibility but also the chance to give back to the community.

    The Badagry to the World Concert 2024 is poised to be an unforgettable experience for attendees of all ages. It’s more than just a concert; it’s a gathering of spirit, culture, and community, reflecting the beauty of Badagry and the strength of its people. As the countdown begins, the people of Badagry invite you to join them in this one-of-a-kind celebration of music, heritage, and unity.

  • Ladepo Duro-Ladipo’s Play, Oluweri: A Journey into the Spiritual Realm

    Ladepo Duro-Ladipo’s Play, Oluweri: A Journey into the Spiritual Realm

    Penultimate Saturday at the ancient Obisesan Hall, Dugbe Ibadan, I had the privilege of watching the thought-provoking stage play written, directed and produced by Ladepo Duro- Ladipo, a renowned and prolific theatre director and producer. The captivating production explores the rich realm of Yoruba mythology, delving into the concept of mythical creatures and the inevitability of one’s chosen destiny.

    The title is Oluweri, a mythological play set in the spiritual realm of Oluweri and the physical world. The play opens in the spiritual realm of Oluweri, where four individuals—a woman, a farmer, a hunter, and Oshawunmi—choose their destinies. Oluweri seals their choices, granting each their desired path.

    In the physical world, the characters become precisely what they choose: the woman (Adeoti) bears many children, the farmer prospers, and the hunter excels. Oshawunmi becomes a powerful woman skilled in charms and herbal medicine but childless despite her enterprise.

    Oshawunmi’s desperation drives her to challenge Oluweri. On her journey, she confronts powerful spirits and demonic forces. When she finally arrives at Oluweri’s realm, she demands why she had no child. Oluweri reveals that Oshawunmi chose her path herself, leaving her perplexed.

    Defiant Oshawunmi refuses to accept her fate, but Oluweri rebukes her and returns her to the world. As she re-enters the world, she’s transported into the womb of Adeoti, her husband’s second wife.

    In the final scene, Oluweri appears to the audience, emphasizing the Ifa corpus message: “Destiny has no cure”. The play concluded with a thought-provoking reflection on the nature of destiny and free will.

    First and foremost, the cast delivered outstanding performances, particularly Ooshawunmi, played by Ayo Ewebiyi, whose desperation and determination were palpable. Adeoti, the second wife of Alao, played by Banke Solomon, brought depth to her character, navigating the complexities of polygamy and fate. Ronke Adewale, who played Oluweri, commanded authority and wisdom, embodying the deity’s Omnipotence. Ladepo Duro Ladipo, the producer, succeeded in weaving the mythological narrative seamlessly between the spiritual and the physical worlds. The pacing was well–balanced, allowing the audience to absorb the emotional intensity of each scene. Ladepo equally adapts Yoruba mythology impressively by staying true to the Ifa corpus while crafting a compelling narrative.

    The dialogue was rich and poetic, reflecting the cultural nuances of the Yoruba language.

    I was somehow disappointed when I did not see original Yoruba-speaking Nollywood stars such as Alapinni, Yinka Quadri, Iya Gbonkan, Abeni Agbon, and the like who would have brought the local flavour of the Yoruba language. These superstars would have brought more vibes into the language. However, the craft was more of emergent stars and upcoming actors trying their best to get the beauty of the Yoruba language.

    Technically, the special effects, particularly the thunder and lightning, added to the dramatic tension. The traditional Yoruba music and dance effectively enhanced the cultural atmosphere.

    It is recommended that the play be presented to audiences interested in cultural heritage and mythology, such as the association of traditional religion practitioners, perhaps as a commissioned piece for “Isese” Day rather than as a commercial show.

    I could see more young people and some invited personalities in the audience who, out of curiosity, just wanted to see a cultural play for entertainment and fun.

    In an interview with Ladepo Duro-Ladipo, the artistic director, about why he didn’t use many superstars, he replied that it’s all about finding the right fit for the role, regardless of fame or experience.

    He says, “Upcoming actors bring fresh energy, hunger, and dedication to their craft. They are more willing to take risks and immerse themselves in the character”.

    I also observed that the costumes and makeup of some characters did not blend well with the flashing colours from the lighting, particularly in the spiritual realm of Oosawumi’s journey to Oluweri’s abode.

    Everything should blend and be balanced to create an ethereal atmosphere and avoid visual overload. For example, characters like daemons who followed Ooshawumi, Aroni Gidigba, Akuko Orun, and witches were too elaborate.

    Again, the makeup of the actors lasted only a short time. By the time the cast did the curtain call, the makeup on the faces of most of the cast had faded.

    Conclusively, the play’s unflinching examination of complex themes and its stunning cultural display solidifies “Oluweri” as a landmark production in Nigerian theatre.

  • Uzondu’s journey in theatre and academia

    Uzondu’s journey in theatre and academia

    As a lecturer at the esteemed Alvan Ikoku Federal University of Education, Dr. Uzondu’s unwavering passion for theatre has defined her academic trajectory and forged a unique niche in the realms of education and performing arts. In this chat with SAM ANOKAM, Dr. Ifeyinwa Odua-Iyke Uzondu shares her inspiring journey into the academia, the driving force behind her theatrical pursuits, and the challenges she has overcome to become a leading voice in Nigeria’s theatre landscape.

    Please, share with us your journey into academia?

    I must frankly say that I never intended to be a lecturer because I found the profession quite challenging. In Nigeria, we often don’t have the luxury of making clear career choices. I was in desperate need of a job, and when I heard of an opening at Alvan Ikoku in 2009, my husband encouraged me to apply. To the glory of God, I got the position. I’ve always been a resilient person, and I wasn’t intimidated by what the profession would bring. I took the bull by the horns, and looking back now, I can say the journey has been both smooth and rewarding. I have no regrets because theatre has always been my passion, and I thank my husband for his unwavering support over the years.

    Now as a lecturer, how do you balance your academic responsibilities with your passion for acting and theatre?

    Theatre encompasses both academic and practical elements. You need to research and teach the theoretical side, while also engaging in the practical aspects as an extension of the learning process. These two are deeply intertwined, making my work both easier and more enjoyable. To function well in theatre, you must possess creativity and passion—two essential ingredients for survival in the field. I’ve managed to balance these aspects, and it’s been an amazing experience so far.

    What sparked off your interest in theatre, and how has it influenced your career both in and outside the classroom?

    By nature, I am quite flexible and don’t allow situations, no matter how difficult, to overwhelm me. However, I am naturally shy, and studying theatre wasn’t part of my initial dreams. In fact, I didn’t even apply for theatre arts in my JAMB form; I had wanted to study law. But when my scores didn’t meet the cut-off, I found myself in the Theatre Arts department at Imo State University. I decided to make the most of it and turn it into something worthwhile, and I’m proud to say it has been a fulfilling journey.

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    Can you tell us about some of the notable acting or theatre projects you’ve been involved in?

    When I joined Alvan Ikoku University College of Education 14 years ago, we were pioneers, teaching a small class of fewer than 20 students. To make the lessons practical, we lecturers took on acting roles during command performances, and the students learned by watching us. My specialty then was in costume design and makeup, and I’ve worked on countless productions within and outside Imo State.

    What are your thoughts on the current state of theatre and performing arts in Imo State?

    There has definitely been a decline in theatre patronage in recent years, largely due to the proliferation of digital technologies and media platforms that people find more accessible and convenient. I’m currently writing an article on this very topic—the decline of theatre performances in favor of media presentations. Theatre, both in Imo State and beyond, is not receiving the attention it deserves. This is a global issue, not just a local one.

    How do you incorporate theatre and acting into your teaching methods at the university?

    Theatre is all about doing, and acting is a core part of that. I’ve found that engaging students through practical theatre exercises activates their sensibilities and helps them learn more effectively. It’s a hands-on approach that I believe truly enhances the learning experience.

    What challenges have you encountered while pursuing both an academic and acting career?

    One of my biggest challenges has been financial. In academia, you’re expected to publish or perish, and this requires resources. Over the years, I’ve had to earn additional degrees to stay competitive, which also costs money. I started my lecturing career with just a BA in Theatre Arts, and today, I hold a PhD. It hasn’t been easy, but with God’s help and staying true to my dreams, I’ve managed to overcome these challenges.

    In your experience, what are the major challenges facing theatre development in Imo State, and what solutions would you suggest to promote growth in the sector?

    The major challenge is the lack of patronage, largely due to economic hardship and insecurity. These issues have driven people towards media platforms for entertainment and information, reducing their engagement with live theatre. To revive interest in theatre, we need to address these larger societal issues—improving the economy and ensuring security.

    What role do you think theatre plays in addressing social issues in Nigeria?

    Theatre has always been a powerful tool for storytelling in Nigeria, preserving and promoting our cultural identities. As a playwright and researcher, I’ve tackled many societal issues in my work, using theatre as a medium to address concerns affecting our communities.

    Looking forward, what are your aspirations for both your academic career and acting?

    I’m passionate about playwriting and will continue to use my pen to push for positive change in our society. I have several manuscripts in the works, along with local and international conferences lined up. There’s so much to explore and achieve by the grace of God, and I’m excited about what the future holds.

  • From abroad, Omoboriowo escalates protest art

    From abroad, Omoboriowo escalates protest art

    Wherever a Nigerian is, home or abroad, there seems to be no escape from contributing to the issue of the current tough situation in the country. Everyone is affected directly or indirectly, so suggests U.K-based artist, Oluwafemi Omoboriowo’s protest art. Writes EDOZIE UDEZE.

    And when it comes to protest art, an artist as activist is rare to come across, as commercial and economic considerations are always on the frontline of creativity. But Omoboriowo has taken the critical route to capture what he thought represents the feelings of Nigerians, mostly those who chose to remain in the country despite the odds.

    In a collage piece titled Angry Nigerians, Omoboriowo satirises the situation, applying enraged faces matted on different cutouts of newspapers. The anger, as explained by the headlines of the cutouts newspapers are largely of tragedies such as murders, suicides, kidnappings, among others. The satirical aspects of the visual parts of the artwork is the artist’s distortion of the faces that make them look like those of some raging animals.

    Between visual artists and other professionals in the Nigerian entertainment industry such as musicians and filmmakers, the visibility of using creative works as parts of national discourse is not exactly in favour of the former. The elitist characteristics in art appreciation always shield artists’ critical commentary on national issues from the extended society. On the contrary, it takes less than days, even under 24houurs to escalate music or movie contents of national issues among the populace. It should be of interest, for example,to see how Omoboriowo’s Angry Nigerians would touch some chords if the artwork were exhibited on Nigeria.

    “In this artwork, I skilfully blend four faces—each twisted with emotions of suffering, anguish, effort, and misfortune—within the lines of Nigeria’s map in this art piece,” Omoboriowo explained. “The way the faces are distorted to resemble the country’s shape effectively conveys the suffering that its citizens are going through collectively. The profound emotional wounds caused by a constant environment of misfortune are captured in every stroke in the artwork.”

    Art as a form of protest, in Omoboriowo’s ‘Angry Nigerians’, comes at a period of challenges in the country just as dissatisfied citizens are on the increase. What’s however more of interest is that those who see light at the end of the tunnels are also on the increase, criticising others for focusing on only the ugly stories of Nigeria. Promoters of ‘Love thy country’ always argue that there are quite some daily occurrences in Nigeria worth celebrating compared to the bad stories.

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    For obvious reason, protest art that highlights security, social and economic challenges of Nigeria would always have more than enough materials to escalate art’s activism contents. Omoboriowo has enough of such contents in creating this critical collage piece. “The artwork’s backdrop is piled with newspapers, their headlines shouting about suffering, insecurity, and governance failures. This choice of background heightens the narrative by placing the emotional distress of the depicted faces in real-world circumstances. One newspaper displays a rope, implying the depths of despair, including suicidal ideation—a grim monument to the population’s psychological burden.”

    Still picking the artist’s thoughts on the artwork, it’s of interest to feel the passion of Nigerians in the diaspora from Omoboriowo’s narrative. “This artwork offers a moving commentary on the current state of society and politics. It is an image of sorrow, an appeal for reform, and an unwavering depiction of the unsaid pain that permeates many people’s lives. The human cost behind the headlines is starkly brought to light by this work, which challenges the audience to face the terrible truths that are frequently hidden by the passing of time.”

  • At Cambridge, Omatseye reappraises art of renewed hope

    At Cambridge, Omatseye reappraises art of renewed hope

    At the University of Cambridge a few weeks ago, Sam Omatseye of The Nation Newspapers, Lagos, went back in time about the art of governance and the genesis of reforms instituted by President Bola Ahmed Tinubu aimed at putting Nigeria on the path to progress. Omatseye, a Historian, author and prolific writer relied on verifiable records and evidence to situate his address. EDOZIE UDEZE reports.

    It is never in doubt that the primary responsibility and preoccupation of a Historian is to document history. History is usually recorded based on verifiable records, whether in oral, written or archeological forms. And when this is done, facts and figures are made to come into play to make the story or record or archival material authentic. This was exactly what Mr. Sam Omatseye did a few weeks ago at the University of Cambridge where he addressed a teeming population of intellectuals and eggheads on the updated economic and political reform of Bola Ahmed Tinubu presidency.

    Themed: Redemption or Perdition, what now for Tinubu reforms, the issues he addressed pointedly have to do with the genesis of President Bola Tinubu’s thorny, tortuous recourse to Aso Rock. Omatseye, Chairman of the Editorial Board of the Nation Newspapers, was clear as he marshaled out various stages of the journey and what they portended for president Tinubu until he finally emerged the winner of the election in 2023. No journey in life is ever known to be easy. But Omatseye started by paying tribute to the late Nigeria’s firebrand journalist, columnist, editor, publisher and avatar, Dele Giwa.

    Giwa was assassinated via a letter bomb on October 19, 1986. That was exactly 38 years ago and Omatseye in his candid but meticulous way of articulating history and sequence of events, traced the agonies of that day. What the death of Giwa represents still reverberates in the annals of the journalism profession in Nigeria. The usual refrain and the last words uttered by Giwa, “This must be from the president”, still resonates in the minds of many. However, Omatseye made serious references to those who were in position to Tinubu’s APC presidential candidacy and how they cooked up all manner of malicious issues to tarnish his image. Their intention was to scuttle his chances. In the face of all that Tinubu, a master political strategist, well-schooled as a heavyweight in matters of political intrigues stood his ground. In the end however, he did not only win, he was also able to convince the entire nation that he is the right man for the job.

    But the question now is: can Bola Tinubu presidency redeem and turnaround the economic fortunes of Nigeria with his rather difficult but plausible policies meant to right the wrongs of the past? This was why Omatseye themed the topic of his address as: Redemption or perdition, what now for Tinubu reforms. It is a germane question, poignant and provocative. Yet it is clear that if Nigeria follows the free and loose style of running the economy as enunciated by previous administrations, Nigeria may never get is right. And consequently the country will continue to wallow, rolling round the same apocalyptic circle. In other words, Tinubu’s economic remedies are here to stabilize the economy.

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    It takes a bold and courageous leader to spell out harsh but futuristic economic policies to steer a society away from more ills for the future. This is what, in the reckoning of Omatseye, a prolific and committed columnist, that Bola Tinubu’s tenure has come to achieve for the nation. In the end when the battle is fought and won, the younger generation will have an economically buoyant country. He also made references to some campaign promises made by all the presidential candidates who also promised to remove subsidy on oil. The PDP, the Labour and the APC presidential candidate saw subsidy on oil as a big joke. What may perhaps have triggered the reaction by many was the manner in which president Tinubu announced the removal of oil subsidy. He simply intoned during his inauguration, ‘Subsidy is hereby removed’. But hasn’t that simple but concise proclamation shown how foolhardy the economy had been all along?

    It is no longer business as usual, those moments of pretenses concerning the economy have gone. Indeed the wind has blown and people have seen the anus of a fowl. It is clear that although it is painful, subsidy had to go in order to strengthen the basic components of the economy. If therefore the reforms her given time to mature and yield results, Nigerians will smile again. The youths will jubilate within this APC renewed policy of a renewed economy. To this end, Omatseye said again, “This brings to mind the story of Exodus of the people of Israel in the Bible. When Moses arose and said he was going to take them away from the clutches of Pharaoh, they followed. Hoping to get to the Promised Land that flowed with milk and honey, they eagerly defied their whipmasters and followed him through the Red Sea. But when they reached the other side of the water, they began to complain. They could not see what they hoped for and suddenly they started saying it was better where they came from. It’s like Ted Hughes book on the United State of America called A Culture of Complaint”.

    But Tinubu made it clear from the beginning. “Yes”, Omatseye clarified, “he Tinubu inherited a nation that was borrowing to support a meretricious lifestyle. With 97 percent of revenue going to debt and maintaining government and ways and means that ran to about 100 billion dollars and with interest of about another 50 billion dollars, the country could only continue on that path hooting towards perdition…”. So Tinubu needed to turn away from such horrendous and silly way of running government and ruining a people and their future hence these current policies to bring succour to the masses.

    It is easier for president Tinubu to achieve these economic policies because he grew up in two worlds. He was a grassroots boy bred by a wealthy market women leader named Abibatu Mogaji. He later went abroad to school and then worked with Mobile Nigeria as an accountant. So he has seen both ends of life and he understands the logic of governance and how to treat all manner of people. Omatseye gave detail to detail accounts of how Tinubu has effected positive changes in the core areas of the economy so far.

    In the Stock Exchange market there is tremendous leap forward. There is an increase in trade surplus from 6.5 percent to 6.945 billion naira. There is an increase in consumer credit loan scheme. In the area of remittances from the diaspora, it has risen astronomically to 600 million dollars. In all, these are true figures. But it is still work in progress as the number of bandits and kidnappers arrested or killed has risen. In fact, Tinubu is on the right track. The nation only has to give him more time to berth. “Tinubu is going ahead and redemption beckons”, Omatseye said finally as the audience gave him a rousing ovation.

  • Singing with poems of love

    Singing with poems of love

    Title: Unify

    Author: Esther Oriyomi

    Reviewer: Edozie Udeze

    Esther Oriyomi Eriwayo is a committed poet, no doubt. She comes with those rare messages of hope that some other poets may not be comfortable with. This is even more the reason she has titled her latest collection as Unify. The title may sound a bit common but it fits into the types of poems she has written for the sake of humanity. Unify is a collection that has chosen love, compassion, equality, and such other enduring themes as the main anchor of her works.

    These poems explore issues that should unite the people. Eriwayo is explicit when she says in her introductory note: “These are an invitation to look beyond the surface differences and then embrace the deeper commonalities that unite us. Therefore Unify is not just a title but a call (Clarion call if you will), to action”. In other words, it is an appeal for solidarity. It is an appeal for equality, an appeal for collective growth as well as building a future where the strength of our togetherness far outweighs the forces that will pull us apart as a people, as a society with the same commonalities and semblances.

    The lines flow with the shared experiences of a people bound together for the purpose of unity or unification. It is usually more expedient when a poet looks inwards before rendering her verses. Eriwayo is deeper and more profound in this regard. Her words and lines emanated from her purpose in life. And this is why the likes of Maya Angelou, one of America’s greatest novelists, writers and poets has inspired her recourse and excursion into the foyers of poetry. Yes, “We are more alike, my friends, than we are unalike”.  This and more have helped to inspire the verses and messages within Unify. So the world must grapple with the voices of whisper within and without. In Identity, chapter one which is the opening poem of the collection, Eriwayo did not mince words.

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    “I stand, a brown skin girl, amidst the storm/my voice, a whisper, yet to be formed/witness to the pain that lingers still/ my heart a canvas longing to fill…”. This is a tale indeed, dripping with inmost feeling of a black girl left to fend for herself in a world full of all the vagaries of life. Yet, as a dogged fellow, imbued with love, the poet never whimpers. The beauty of poems is that the verses draw you into the realities of life-bitter, sweet and with all sorts of colorations. Eriwayo goes on and on, hammering on Unifying themes, themes that hinge on the series of journeys of life. And so she chooses to divide the poems into chapters not just for an accelerated read, but for the verses and their heavy contents to sink into the hearts and souls of readers.

    In Shades of love, she says thus: “Together we shall stand so tall/and weave a world where love enthralls/I ponder as I gaze upon my skin/a hue that draws both love and sin…”. It is therefore not a crime either to stand tall even with these shades of love shared in this simple but graceful space. As a lover of poetry, one is tempted to flow with the poet, somewhat deeper assimilating the contents. And that is why in chapter three, A quest for freedom, so titled draws the cloak of ebony, golden faith. Yet, let the poet still beg to roam. “I long to roam without a care/to walk in freedom without despair/to dance with joy and feel life’s thrill/my spirit yearns for dreams fulfilled…”. It is clear that the briefness of the stanzas and the lines are done on purpose just to assist for easy comprehension. Or like the poet says: or to break the chains and let love clasp… in unity and freedom.

    In the same way, the pulse of unity stuffed with so much innuendos and allegories, situates more issues beneath the stars. Eriwayo comes thus: “beneath the stars, beneath the sky/no colours rules when shadows lie/for deep within where hearts reside/we beat as one, we are unified… our skin a mask a fleeting shade”. She insists then that Beyond colours as it is stated in chapter five, “So let us walk hand in hand/the same red life, the same warm hand/no matter what the surface shows/inside a single river flows”. And then when you Redefine identity: “When people say black I lift my head high/for I am proud but brown am i/nor the black of night that swallows the sun/but the shed of earth where life’s begun”.

    These verses provide deeper foods for thought. They provide the world the basis to rethink the status quo and bring in new moments of unity that unifies. In Hues of humanity, it is clear why unify beckons seriously. But can the word black be cast away in the face of all these? It is not so however because “Every heart finds in friend and then the black will exclaim in a loud voice I am brown-skinned and I am proud. It is in the process that you can then break the chain from hate to hope. “This seed of hate planted long ago/its roots entwined in a history of love/passed down through generations/call the racism’s complication”. And when this hate is dismantled, a parent whispering words of disdain will be diluted by love and then this reign of bigotry will disappear to usher in kindness and togetherness.

    In chapter nine, you have Threads of healing just as chapter ten deals with The story unfolds. In chapter eleven Yearning for light, we have no immigrants to walk freely here”. But why? “Each step weighed down by rising fear/the shadows loom as whispers grow/in a land where hate and anger flow”. The similes and consonants in this collection of poems are repetitive, they sing like a sing-song, hovering around the same theme. And so in chapter twelve, walking in shadow, chapter thirteen, a Shattered hope, the poet bemoans. But the message of The power of love of chapter fourteen “where love had been taught every day”, has come to make a whole world of difference. Here you have a call for equality, Rekindling love and hope, in a tapestry of togetherness, where Rising together and lots more co-habit.

    In all these, the poet is teaching humanity lessons of love. “So let us each from now, today/that love fairness pave the way/in our children plant the seed/of empathy not hate or greed… for if we raise them with this grace/a future bright will take its place/no more protests, no more fights/just justice shining in the lights”. It is like building a united world within the verses of this collection. The poet is emphatic, because for her, love paves the way, reconciles… so cherish love and let it flow…”.

    So in forty chapters and with verses that breed hope, humanity has to enjoy the legacy of struggles and hope, struggles and endurances, the pain in the vision, echoes of equality, turning the tide, so that together towards tomorrow and with the timeless thread of love, and radiance of love, the journey will end with light and vision of unity. In the end love will lead. “So here’s to the journey to the path we will weave/let love guide us all and no love believe/together we rise in light we will tread/as I drop my pen here I say let love lead”.

  • Lush hair unveils new ‘hair treatment’ line

    Lush hair unveils new ‘hair treatment’ line

    In a groundbreaking move at Lagos Fashion Week 2024, Lush Hair Nigeria, a major player in the African hair care industry, introduced its newest product line, “Hair Treatment.” 

    Designed to offer nourishment and essential care to African hair, this launch aligns with Lush Hair’s mission to empower women through beauty, self-confidence, and community.

    Omoruyi Bello-Osagie, Brand Manager at Lush Hair Nigeria, expressed excitement over the product launch: “Our Hair treatment range is formulated to address various hair care needs, from nourishment to anti-dandruff solutions. We believe healthy hair is foundational to beauty and self-confidence. 

    With our Hair treatment, Nigerian women now have a product they can trust to achieve their desired hair goals.”

    Reinforcing the brand’s commitment to African beauty, Bello-Osagie noted the significance of the launch during Lagos Fashion Week. 

    “Being part of Lagos Fashion Week allowed us to showcase this innovation on a stage that celebrates African creativity and fashion. The Lush Hair treatment is made with quality ingredients that support hair growth, so our customers can experience both immediate and lasting results.”

    Marketing Manager Vivian Obiano also highlighted Lush Hair’s alignment with the event’s theme, “COMMUNE,” which celebrates community. “We’re thrilled to be associated with a platform that promotes African fashion and unity. By introducing Hair treatment range, we’re delivering on our promise to support African women in their beauty journey, offering products that reinforce confidence and healthy hair care,” Obiano said.

    The new Hair treatment line received an enthusiastic response from the community, with consumers praising Lush Hair for continually innovating in response to their needs.

    “My trust in Lush Hair gives me confidence that these Hair treatments will be just as excellent as their other products,” said Joy Adebayo, a regular customer. “I’ve been looking for a product that not only nourishes my hair but also helps with dryness, and I think the Hair treatment is exactly what I need.”

    Another customer, Amina Sulaimon, expressed her excitement, saying, “I’m so happy to see a Nigerian brand address specific hair care needs. Lush Hair has always delivered on quality, and I can’t wait to try the hair treatments. It’s great to know I can trust this brand to keep my hair healthy.”

    A Lagos-based fashion enthusiast, Ifeanyi Nwogu, shared his expectations for the product, stating, “The fact that Lush Hair launched the Hair treatment range at such a prestigious event speaks volumes. They’re committed to African beauty, and I’m confident this new product will live up to the brand’s standards. I expect the Hair treatment to keep my hair well-nourished and make styling easier.”

    With a legacy of quality and innovation, Lush Hair Nigeria’s “Hair Treatment” line sets a new standard in African hair care, providing solutions for hydration, strength, and scalp care. As the brand continues to support African fashion and beauty, Nigerian women can look forward to more products crafted with their unique hair needs in mind.

  • Filmmaker promotes Adire fabric on global stage

    Filmmaker promotes Adire fabric on global stage

    A United Kingdom-based Nigerian filmmaker and entrepreneur, Oluwapelumi Olayinka has stated that she is promoting Adire fabric globally to celebrate and preserve Nigeria’s rich cultural heritage. 

    As the founder of Ektaktos Collectibles, Olayinka said she wanted to elevate this traditional textile by transforming it into a modern fashion statement that resonates with diverse audiences.

    She explained that her mission is to connect people worldwide with the stories and craftsmanship behind Adire, making it accessible and appealing to markets, particularly in the United Kingdom and Canada, among others.

    Over the past four years, Olayinka said she has dedicated herself to showcasing the beauty of Adire through her brand, which offers a variety of ready-to-wear clothing. 

    She noted that she has been able to integrate traditional designs with contemporary fashion trends to foster an appreciation for Nigerian culture beyond its borders.

    The entrepreneur who is also a member of the Association of Nigerian Theatre Arts Practitioners said, “Adire is more than just a fabric; it is a symbol of our rich cultural legacy. 

    “I am driven to make this traditional craft accessible and fashionable for a global audience.  

    “The art of making Adire dates back centuries and is steeped in history, reflecting the creativity and craftsmanship of Nigerian artisans. Each piece tells a story, showcasing the skills passed down through generations while serving as a canvas for cultural expression.

    “For me, it is not just about promoting sales, it is about sparking conversations around our heritage and inspiring others to embrace it.”

    Speaking further, Olayinka noted that her brand, Ektaktos Collectibles, has received significant praise for its beautiful range of Adire-inspired ready-to-wear clothing.

    “What sets Ektaktos Collectibles apart is its unwavering commitment to quality and artistry. From elegant formal wear to stylish swimsuits and comfortable loungewear, each piece showcases the richness and vibrancy of Nigerian culture. 

    “My keen eye for detail and dedication to preserving the cultural significance of Adire has enabled my brand to stand out in the fashion industry. 

    “Whether it is a bespoke outfit for a special occasion or a statement piece for everyday wear, Ektaktos Collectibles’ offerings cater to diverse tastes and preferences,” she stated. 

    In addition to her fashion endeavours, Olayinka said she is the founder of a theatre company dedicated to African storytelling. 

    She explained that her first stage play titled; ‘Wives and Mothers’ produced in 2021, addressed complex family dynamics and reflects her commitment to cultural advocacy through the arts.

    “Wives and Mothers is a family drama that resonates with diverse audiences. It is about blending storytelling with cultural advocacy. 

    “The production was debuted at the Obasanjo Presidential Library auditorium in Abeokuta and it explored the complexities of family relationships in Africa.

    “I want to use my craft to tell African stories that resonate with global audiences, promoting cultural exchange and understanding through theatre and art,” she concluded.

  • Meet Kole Akintujoye, Nigerian-American filmmaker, philanthropist

    Meet Kole Akintujoye, Nigerian-American filmmaker, philanthropist

    Kole Akintujoye is a Nigerian-American filmmaker and philanthropist with a growing impact on Nollywood and African cinema.

    Known for his commitment to highlighting African narratives, he founded GUODB Cinematics in the U.S. to produce films with rich cultural depth and universal appeal. His latest film, Sambala: The Cost of Freedom, is a vivid exploration of resilience, identity, and African heritage, capturing global attention.

    Beyond cinema, Akintujoye’s philanthropic efforts through his non-profit, Give Us Our Daily Bread (GUODB), focus on tackling hunger and economic challenges in Nigerian communities. Through GUODB, he provides essential resources and opportunities to create sustainable change, aligning his cinematic vision with a mission to uplift communities.

    Akintujoye’s work reflects the evolving trend of African diaspora filmmakers amplifying African stories on international platforms like Netflix and Amazon Prime, helping to position Nollywood as a force in global cinema.

    His films bridge cultural divides by blending traditional African storytelling with Western cinematic techniques, and his efforts contribute to a deeper cultural understanding, empathy, and the elevation of African cinema on the world stage.

    In both his artistic and philanthropic pursuits, Akintujoye embodies a commitment to authentic storytelling and social impact, using film as a tool to advocate for cultural connection and to elevate African perspectives.

    His dual role as a filmmaker and philanthropist positions him as an influential figure shaping the future of Nollywood and the perception of African narratives globally.

  • Sheye Banks wins future awards Africa OAP of the year 2024

    Sheye Banks wins future awards Africa OAP of the year 2024

    In a night defined by brilliance, inspiration, and a celebration of young African excellence, Seyebomi Ogunsanya (Sheye Banks) was announced as the Winner of The Future Awards Africa (TFAA) 2024 Prize for On-Air Personality of the Year, solidifying his place as one of the continent’s most dynamic media voices.

    Hosted in Lagos, the prestigious ceremony brought together leading figures from entertainment, innovation, governance, and youth development. Among the exceptional nominees, Banks’ victory was met with thunderous applause, reflecting his undeniable impact on modern broadcasting.

    Widely recognized for his electrifying on-air presence and deep understanding of youth culture, Sheye Banks has continuously pushed the boundaries of storytelling and audience engagement. His work as an innovator in both digital and terrestrial media has redefined how young people consume content-blending traditional radio broadcasting with fresh, tech-driven communication formats including social media, that resonate across platforms.

    In his emotional acceptance speech, Banks thanked the Future Awards committee, his radio family, industry peers, and the listeners who have supported him throughout his journey. He spoke on the privilege and responsibility that comes with influencing public discourse, emphasizing the importance of authenticity and cultural relevance in today’s media landscape.

    Colleagues and media executives described his win as “well deserved,” noting his consistency, creative evolution, and leadership in shaping conversations within Nigeria’s entertainment and youth sectors.

    As the curtains closed on another edition of The Future Awards Africa, Sheye Banks’ triumph stood out as a defining moment – one that celebrates not just his voice on the airwaves, but his pioneering approach to media in a fast-changing digital age.