The Organising Committee of Life In My City Art Festival (LIMCAF) has listed members of the jury panel and curator of the festival’s grand finale exhibition.
A statement from the Art Director, Dr. Ayo Adewunmi, said the list of the jury panel was agreed on after a meeting of the committee in Enugu. This is in keeping with the committee’s policy to protect jury members from possible pressure during the conduct the jury process.
The members are Prof. Blaise Gundu Gbaden of the Federal University of Lafia, Nasarawa State, as chairman, Prof Gundu Gbaden hails from Benue State, but was born in Ilorin, Kwara State. He attended Primary School in Vom, Plateau State and secondary school at the Boy’s Secondary School, Gindidri also in Plateau State.
Prof Babásèhìndé Augustine Ademuleya is an artist, art historian, and art educator. He graduated from Adeyemi College of Education, Ondo with a B.A.Ed. (Fine Arts) degree in 1991 and obtained his M.A. and PhD in African Studies (Visual Arts) from the University of Ibadan in 1997 and 2002 respectively. He joined the Federal College of Education (Tech.) Akoka in 1993, and later moved to Obafemi Awolowo University, Ile-Ife in 2004. Also on the jury panel is Obioha Onyebuchim Nwaegbe (Obi Nwaegbe) is a Nigerian multimedia artist with a bachelor’s degree in Painting from the University of Nigeria, Nsukka. He is the Founder and Executive Director, Artstier Company Limited, an Art Production and Consulting company based.
Earlier, the Board of Trustees of the festival has also approved new key appointments into its strategic management team, according to a statement by the Art Director, Dr. Ayo Adewunmi. They appointees are Adaora Oji-Ngwu as Programme Manager, Chichetam John Okoronta as Art Manager of the festival.
Dr Ayo Adewunmi explained that approval for the new appointments was given at the meeting of the Board a few days ago, noting that Oji-Ngwu will bring to the position her expertise in fundraising, project management and organizational transformation.
“With a strong background in business development and strategic partnerships, Adaora has demonstrated the ability to drive LIMCAF on the path for sustainable future growth and deliver impactful solutions across various sectors in accordance with the vision of the Trustees. She joins LIMCAF at a time when the 18-year not-for-profit private charity is expanding its portfolio to include all areas of cultural expression through a demonstrated experience in resource mobilisation, building effective collaborations and managing complex projects, making her a valuable asset to LIMCAF.
“Oji-Ngwu will naturally work closely with the Board, in developing strong stakeholder relationships within the wider environment to ensure the success of LIMCAF’s programmes and long-term objectives within the culture sector in Nigeria,” he said.
He disclosed that Okoronta’s appointment followed his effective contributions in the past two years, and will take on new and expanding responsibilities as Manager of the Art Department reporting to the Art Director. “In addition to managing the various aspects of the festival’s art competition, Chichetam, himself a skilled visual artist with broad expertise that includes IT support, graphic design, social media management, and visual arts, will be a key asset in the drive to the future of LIMCAF,” he said.
Dr Adewunmi hinted that the festival week will begin with children workshop/exhibition from October 10 to 12 at the Alliance Francaise, Enugu, Art and Craft Fair on October 19th at IMT Conference Centre, Enugu, as well as opening of grand finale exhibition. A drawing workshop will hold between October 22 and 23 at IMT Art Dept, Campus 3, Enugu. This will be followed by an interactive session, tours and photo session with top 100 and the media representatives on October 25 and/26 at IMT Conference Centre, Enugu. But, there will the festival lecture October 25 at IMT Conference Centre, while the Award Night holds on October 26 at IMT Conference Centre, Enugu.
To many, age is a thing of the mind and mere numbers. But, the reality is that as people get older, it becomes more likely that they will need help with day-to-day activities like cooking, cleaning, getting dressed, moving around and self-care. This type of support, which is known as long-term care (LTC), is ideal for most men, especially nonagenarians. However, there are some exemptions, Assistant Editor (Arts) OZOLUA UHAKHEME reports.
In ancient times, men were reported to have lived up to hundreds of years while the women were left behind in the age race. Today, the tables have turned as men are now trailing the women. According to Statista, a global data and business intelligence platform, the life expectancy at birth in Nigeria in 2023 was about 61.79 years. Specifically, this figure equaled 59.93 years for men and 63.75 years for women. Life expectancy in Nigeria is among the lowest in Africa and the world, according to reports.
The figures serve as indicator of the quality of healthcare in different countries and are influenced by various factors, including the prevalence of diseases.
Experts identified harsh living conditions, poverty, illiteracy, corruption, stress, high rate of crime, insecurity and high unemployment rate as some of the factors responsible for low life expectancy ratio and untimely death ratio between men and women.
But in the midst of these disparities, there are some men who turned nonagenarian and still strong and fit. Some of these men who are 90+, still go about unaided, physically fit, strong and mentally alert. What could be responsible for this rare gift? The Nation gathered that beyond hereditary and grace of God, a combination of factors ranging from healthy life style to income level and regular medical care are responsible. Conversely, some causes of low life expectancy ratio and the untimely death ratio are linked to illiteracy, corruption, poverty, high rate of crime and insecurity, high unemployment rate, stress and harsh living conditions.
Some Nigerian men who have gotten to the ninth floor and still very fit include Gen. Yakubu Gowon (retd), former Secretary-General Commonwealth, Chief Emeka Anyaoku, Nobel laureate Prof Wole Soyinka, artist Prof. Bruce Onobrakpeya, and journalist Comrade Jola Ogunlusi. These men are still seen in public places moving unaided. They even participate actively in discussion forums, a testament to the fact that they are not only fit, but also very alert mentally.
General Gowon (Retd)
The former military Head of State was born October 19, 1934 in Pankshin, Plateau state and served as military head of state between 1966 and 75. On his 90th birthday at the weekend, President Bola Tinubu described Gowon as a gentleman extraordinaire and one of the longest-serving Nigerian leaders. “He did a lot for our country and served meritoriously in various capacities within and outside the military. As a brilliant officer trained at Sandhurst and reluctantly became Nigeria’s leader at 32, his life story has inspired many Nigerians.
“As the nation’s head of state, he significantly contributed to nation-building and development and can be rightly called the father of national infrastructure. It is on record that after the country’s civil war, his philosophy of “No victor, no vanquished” helped promote national healing, peace, and reconciliation.
“His most incredible legacy was the Economic Community of West African States (ECOWAS) founded in 1975,” Tinubu said.
Gowon was founder of the national Youth Service Corps, the compulsory one year service for Nigerian youths among other major institutions. He was educated in Zaria and later became a career army officer. He was trained in Ghana and in England at Sandhurst and twice served in the Congo region as part of Nigeria’s peacekeeping force there in the early 1960s. After the coup of January 1966, he was appointed chief of staff to Maj. Gen. Johnson Aguiyi-Ironsi, the country’s new leader. But when the northern officers staged a countercoup in July 1966, he emerged as the compromise head of the new government. In an attempt to resolve the conflict that ensued, on May 27, 1967, Gowon declared a state of emergency and divided Nigeria’s four regions into 12 states. Three days later the Eastern region declared itself the independent state of Biafra, with Colonel Odumegwu Ojukwu as its leader, and armed conflict between Biafra and the Nigerian government began in July. The war however ended in January 1970, with no victor no vanquish declaration.
However, on July 29, 1975, Gowon’s administration was toppled by a military coup while in Uganda for an Organization of African Unity summit meeting. Gowon was exiled to Great Britain. However, he was later pardoned by President Shehu Shagari in 1981, and his rank was restored by General Ibrahim Babangida in 1987. Having earned a Ph.D. at Warwick University in 1983, Gowon became a professor of political science at the University of Jos in the mid-1980s and attained the status of an elder statesman in Nigerian politics.
Chief Emeka Anyaoku
Chief Emeka Anyaoku, born 18 January 1933, was the third Secretary-General of Commonwealth. He attended Merchants of Light School, Oba, and later went to the University College of Ibadan, then the University of London, from where he obtained an honours degree in Classics.
Anyaoku in 1959 obtained a London University Honours Degree in classics as a scholar and joined the Commonwealth Development Corporation (CDC) in Lagos. The CDC sent him as an Executive Trainee to its headquarters in London from where he went on a course at the Royal Institute for Public Administration in London.
In 1980, Chief Anyaoku was installed as the Ichie Adazie of Obosi, Anambra State to fulfill the duties of the office of a traditional Ndichie chieftainship in Obosi. He joined the Commonwealth as Assistant Director of International Affairs which later became the Political Affairs Division. He rose to become the Secretary-General of Commonwealth in 1989 in Kuala-Lumpur when he was elected by Commonwealth Heads of Government as the third Commonwealth Secretary-General. He was re-elected at the 1993 Limassol Commonwealth Heads of Government Meeting for a second five-year term.
Anyaoku was not pleased with the 1993 political impasse that rocked the Nigerian state. According to report, on the day after the annulment of the June 12 election, Chief Anyaoku issued a strident statement, saying that the annulment was a “severe setback to the cause of democracy, particularly at a time when all Commonwealth governments have pledged themselves to promote democratic rule in their countries”; he called it “a bitter disappointment” to all those who had been looking forward to the assumption of office of an elected government.
Worried by the state of the nation, in August this year, Anyaoku led The Patriots, a group of eminent Nigerians to meet with President Bola Tinubu seeking the President to send an executive bill to the National Assembly, proposing two measures namely:
“The convening of a national constituent assembly with the mandate to produce a draft people’s democratic constitution. The constituent assembly should be of elected individuals, on a non-political basis, from the 36 states of the federation, possibly three individuals per state, and one from the FCT.
“They should be assisted by seven constitutional lawyers, one drawn from each of the six geo-political zones and the FCT. The deliberations of the constituent assembly should take into full account the 1960/63 constitutions, as well as the recommendations of the 2014 National Conference and indeed of the various national conferences that considered the Nigerian constitutions.”
But, President Tinubu responded that retooling the economy for sustainable growth and development is the major priority of his administration and not working for a new Constitution. “I want to assure all of you that as I listened to your two major requests on the path to referendum and that should lead to constitutional measures that will fit our diversity and governance so that we avoid conflicts and break-ups,” he added.
Prof. Wole Soyinka
The last few months were dedicated to the celebration of Soyinka who turned 90 July 13, organised by Wole Soyinka International Cultural Exchange (WSICE ) under the platform of OpenDoorSeries. From US to London, Morocco, Lagos, Ibadan and Abeokuta, the poet and dramatist was celebrated by different groups and organisations.
Soyinka, born in Abeokuta, and attended Government College, Ibadan before entering University College of Ibadan and later the University of Leeds, where, later, in 1973, he took his doctorate. During the six years spent in England, he was a dramaturgist at the Royal Court Theatre in London. In 1960, he was awarded a Rockefeller bursary and returned to Nigeria to study African drama. At the same time, he taught drama and literature at various universities in Ibadan, Lagos, and Ife, where, since 1975, he has been professor of comparative literature. In 1960, he founded the theatre group, “The 1960 Masks” and in 1964, the “Orisun Theatre Company”, in which he has produced his own plays and taken part as actor. He has been visiting professor at the universities of Cambridge, Sheffield, and Yale.
During the civil war in Nigeria, Soyinka appealed in an article for cease-fire. For this, he was arrested in 1967, accused of conspiring with the Biafra rebels, and was held as a political prisoner for 22 months until 1969. Soyinka has published about 20 works: drama, novels and poetry. He received the Nobel Prize in Literature in 1986.
Prof. Bruce Onobrakpeya
Founder of Bruce Onobrakpeya Foundation (BOF), Prof. Bruce Onobrakpeya who was born on August 30, 1932 in Agbarha-Otor in Delta State is son of a carver. He attended Western Boys High School, Benin City. After leaving high school, Onobrakpeya was hired as an art teacher at the Western Boys High School (1953–56). In 1956 he left for Ondo, where he taught at the Ondo Boys High School for a year.
In October 1957, Onobrakpeya was admitted to the Nigerian College of Arts, Science and Technology, now the Ahmadu Bello University, Zaria. Funded by a Federal Government Scholarship, he was trained in the Western tradition of representational art. At the same time, he began to experiment with forms in relation to Nigerian folklore, myths and legends. Much of his work uses stylistic elements and compositions derived from traditional African sculpture and decorative arts. The Zaria Arts Society, a discussion group which would later be called the Zaria Rebels, was formed on 9 October 1958 by a group of art students at the college led by Uche Okeke with the aim of “decolonizing” the visual arts as taught by expatriate Europeans. Onobrakpeya has said that the college gave him technical skills but the Zaria Arts Society shaped his perspectives as a professional artist. The society gave him the confidence to seek a personal expressive idiom that would project a Nigerian identity. He elongated his figures, ignored perspective and evoked the supernatural through ambiguous decorations. For over a decade, his annual Harmattan art workshop held at Agbarha Otor has been attracting artists from Nigeria and the West coast of Africa. Onobrakpeya is a recipient of the Living Human Treasure Award (2006) given by UNESCO, as well as recipient of Nigerian National Order of Merit (NNOM) 2017, the apex and the most important award for scholastic excellence in Nigeria.
When he turned 90 two years ago, Onobrakpeya linked his fitness level to hereditary that runs in his family, saying his father lived up to over 100 years before he died.
Comrade Jola Ogunlusi
When he started journalism in 1963, Comrade Jola Ogunlusi who turned 90 last September did so without forgetting his first love of medicine. To him, journalism was just a stopgap, pending his becoming a doctor. For several years after his first job as a reporter at Iwe Iroyin, the first newspaper in Nigeria, which was printed in Yoruba, Ogunlusi tried to become a doctor. He wrote the ordinary level examinations in chemistry and physics on many occasions to obtain the qualification to study medicine.
He sat for chemistry about seven times, and flunked the examinations each time. He then gave up and faced journalism. He left indelible marks after decades of service.
In a 20l3 interview with the Vanguard, Ogunlusi said: “I came into journalism in 1963 by accident. I needed something to do back then, so I took the job out of survival. My dream was to be a medical doctor. Even 10 years after my sojourn in journalism, I was still aiming to go into medicine. Sincerely, I would have left journalism if I had passed chemistry and physics. I failed chemistry more than seven times and I was in the profession till 1977 as an investigative reporter until I became fully the first National Executive Secretary of NUJ.” Three years before his exit, he had, in 1974, won a brand new Olympia typewriter prize for the best investigative reporter.
On September 25, the League of Veteran Journalists, Lagos State Chapter held a lecture in honour of Comrade Ogunlusi, a former National Secretary of Nigeria Union of Journalists (NUJ) when he turned 90. The lecture with the theme, Jola Ogunlusi: Life of a Journalist After Retirement, was held at Ladi Lawal NUJ House, Ikeja, Lagos State.
Temple Muse is thrilled to present Nubian Nature, an extraordinary exhibition featuring the works of renowned natural element artist, Dr. Lambert Shumbusho. This exhibition, curated by Avinash D. Wadhwani, offers an awe-inspiring glimpse into Nigeria’s natural landscape through Dr. Shumbusho’s unique and powerful artistic perspective.
Established in 2008, Temple Muse is West Africa’s leading luxury concept store, offering a curated selection of designer homeware, fashion and art. Known for its “gallery-like” atmosphere, it is a hub for contemporary African art, regularly hosting exhibitions that push the boundaries of creativity.
The exhibition which kicked off on the 20th of October and will run till the 17th of November, 2024, explores the profound beauty of West Africa’s natural environment, brought to life through Dr. Shumbusho’s meticulous use of found and organic materials. His artworks, sculpted from fallen tree trunks, unearthed roots and hardwood branches, including the sacred Iroko Tree, transforms nature’s discarded elements into stunning masterpieces. Every piece in Nubian Nature is a reflection of Africa’s environmental resilience and cultural heritage.
Dr. Shumbusho’s journey as a self-taught artist began over two decades ago when he witnessed the environmental toll of deforestation in the Niger Delta. His background as a petroleum lawyer deeply informs his creative approach, which blends industrial relics with natural materials to produce striking, symbolic pieces. A Harvard trained Petroleum lawyer by profession, Lambert is an autodidact artist who began developing his designs over twenty years based on his observation of the inhabitants of Niger Delta, the general disregard of people for the natural environment, the inexhaustible potential offered by nature in West Africa, and the mysterious beauty of these discarded and unwanted natural fragments. He’s the Leader in modern organic design in West Africa and Shumbusho Design Art Furniture collection comprises distinctive and original art furniture passionately hand carved by the artist himself from fallen tree trunks, unearthed roots and branches of hardwood (his trademark is the sacred Iroko Tree or Oba Igi (King of Wood in Yoruba language) found at the riverbanks and swamps of the West African coast.
The exhibition celebrates not just the beauty of nature, but also the balance between industrialisation and environmental preservation. Dr. Shumbusho’s process is a dialogue with the materials, guided by the natural forms and textures he encounters, resulting in breathtaking art furniture pieces such as coffee tables, chairs, and consoles.
The curator, Wadhwani, first met Dr. Shumbusho several years ago and was captivated by his dedication to preserving nature’s beauty through art. Wadhwani has closely followed the artist’s journey, spending countless hours in his studio and witnessing the transformation of found materials into awe-inspiring works.
The opening night of Nubian Nature was further elevated by Macallan, who generously sponsored the evening’s drinks, offering guests a luxurious experience in line with the elegance of the artwork on display.
“Nubian Nature is not just an exhibition, it is a celebration of Africa’s cultural and environmental heritage. We invite you to experience this captivating collection at Temple Muse, where art, nature, and sustainability meet in a powerful expression of creativity and consciousness,” Wadhwani said.
In a pulsating blend of tradition and modernity, Nigerian-born highlife artist Ju’life King, known offstage as Ige Olushoga Jacobs, is redefining the sound of highlife music for a new generation. Hailing from Abeokuta, Nigeria, and now based in the United States, Ju’life King’s latest single, “My Love,” showcases his passion for the genre while embracing contemporary influences. With a heart that beats in rhythm with the rich melodies of highlife, he aims to bridge cultural divides and connect with audiences worldwide.
“The inspiration for ‘My Love’ came from a deep appreciation for the rhythms of highlife music,” Ju’life King shared. “I wanted to merge those traditional elements with sounds that resonate with today’s listeners. The song captures the essence of love through uplifting melodies and heartfelt lyrics, making it both relatable and timeless.”
Reflecting on his blend of traditional highlife music with his experiences in the US, Ju’life King emphasized the unique fusion that characterizes his sound.
“Blending highlife with my US experiences means incorporating elements of jazz, R&B, and pop to create a fresh sound. It’s about maintaining the core of highlife while reflecting the cultural diversity of my environment. This approach allows me to create a musical expression that celebrates both my Nigerian heritage and my journey in the US.”
When asked about the personal influences behind “My Love,” Ju’life King shared that the song draws from a mixture of personal experiences and musical inspirations. “The song was influenced by personal emotions, the love and unity instilled by my family, and the works of iconic highlife musicians like Dr. Victor Olaiya, Orlando Julius, and E.T. Mensah. Their music laid the foundation for highlife, and I want to continue that legacy while bringing my own contemporary touch.”
Ju’life King also spoke about the challenges of being a highlife artist in the US and staying connected to his roots. “One of the biggest challenges is the cultural disconnect.It’s sometimes difficult to maintain the authenticity of highlife, especially with limited access to traditional instruments and collaboration with other highlife artists. However, I’m committed to introducing highlife to new audiences while staying true to my heritage.”
In 2019, the Nigerian Air Force (NAF), the Central Bank of Nigeria (CBN), and the Niger State Government received the prestigious African Public Relations Awards for Superior Achievement in Branding, Reputation, and Engagement (SABRE) at the annual African Public Relations Association (APRA) conference in Kigali, Rwanda.
The award-winning campaigns were executed in partnership with Image Merchants Promotion Limited (IMPR), the publishers of PRNigeria and Economic Confidential. Notably, Niger was the first state in Nigeria to receive a SABRE award, a testament to the outstanding efforts of Jibrin Baba Ndace, who was then the Chief Press Secretary to Governor Sani Bello.
Upon his appointment, Ndace navigated a landscape fraught with security information management issues, plagued by a lack of synergy and inter-agency conflict. In response, he founded the Forum of Spokespersons of Critical Institutions in Niger State (FOSCIN) in December 2017, facilitating monthly management of crises such as jailbreaks, pipeline explosions, and bridge collapses throughout 2018.
FOSCIN encouraged regular communication and collaboration among security agencies, crafting a coordinated approach to crisis management and employing effective public relations strategies. The forum not only ensured smooth interactions between security agencies and the media, but also tackled pressing security challenges both statewide and nationally.
With over 20 years of experience in journalism and public relations, Ndace is recognised as a public affairs commentator, media consultant, and advocate for youth and peace, particularly in combating violent extremism and hate speech on social media. He is a distinguished war journalist and the first Nigerian author of a trilogy on the nation’s counter-insurgency efforts.
It was no surprise to many when President Bola Ahmed Tinubu appointed Ndace as the Director General of the Voice of Nigeria (VON) on October 19, 2023, following his tenure as Minister of Information’s Special Adviser. Founded in 1961 as the External Service of the Nigerian Broadcasting Corporation (NBC), VON broadcasts in multiple languages, reflecting Nigeria’s perspectives.
Ndace, a Council Member of the Nigerian Institute of Public Relations (NIPR) has not merely occupied the DG role, he has been showcasing the country on various platforms and has urged VON to develop programs that foster national unity and highlight our diverse society. In the past year, the news agency has created content that aligns with Nigeria’s foreign policy and shapes its international narrative.
I can attest that the strategic goals of VON are in tandem with the Five Pillars of the Minister of Information and National Orientation, Mohammed Idris Malagi: expanding global reach, promoting Nigerian culture, supporting national unity, enhancing global image, and leveraging technology while fostering strategic partnerships.
Ndace has forged partnerships with the Voice of America (VOA) and the U.S. Agency for Global Media (USAGM), alongside renewed collaboration with the Tanzania Broadcasting Corporation (TBC). This includes an exchange program that trains VON’s Swahili reporters to improve reporting in one of Africa’s most spoken languages. The DG has also expanded cooperation with public and private organisations, significantly increasing the agency’s visibility.
Under Ndace’s leadership, VON has improved its transmission capabilities and bolstered its digital platforms. While the station promotes Nigerian culture through public engagements, Ndace propagates cultural diversity through education and awareness initiatives. He has been a guest speaker at NIPR-sponsored and military/security-related events, among others, to promote the concept of peaceful co-existence.
Ndace has prioritised regular interactions with staff, including interns and corps members, to boost morale and productivity. He has revitalised VON’s social media presence, achieving verification and elevating the station’s credibility for better audience engagement. Currently, engineers are working to restore a transmitter that had been off-air for over seven years. This project will revive a critical component of the broadcasting infrastructure.
Additionally, Ndace has introduced dedicated program slots for government parastatals to showcase their activities, further increasing the agency’s relevance among key stakeholders. He launched an innovative radio talk show, “VON CEO’s Guest”, which celebrates role models by spotlighting outstanding Nigerians excelling in various fields.
While these achievements so far are commendable, I recommend the address of other seeming challenges, such as upgrading existing transmitters and introducing new programs that tackle regional, national and global issues. It is also crucial to generate more content that resonates across Nigeria and the African continent.
Yushau Shuaib is the publisher of PRNigeria & Spokesperson’s Digest
The rise of Vixteau Couture as one of Africa’s most promising luxury fashion houses has been nothing short of poetic. The brand’s 2024 collection, “White Noise”, debuted to critical acclaim and commercial success, a refined body of work that has boldly marked a turning point in designer Victor Adewole’s creative journey. But behind the elegance of the silhouettes, the precision of tailoring, and the purity of concept, lies a story of vision, support, and impact notably through the African Centre Foundation’s Ambassadors Collective Sponsorship Program.
In January 2023, Vixteau Couture was one of the fashion brands selected to receive financial and developmental backing through the African Centre Foundation’s Ambassadors Collective, a program designed to empower emerging African creatives through strategic funding, mentorship, and international exposure.
The sponsorship enabled Victor Adewole to expand his atelier, scale up sustainable fabric sourcing, and work with top-tier production teams — resources that would later shape the high-concept and high-craftsmanship essence of the White Noise collection.
“The support from African Centre Foundation was more than just financial — it was a stamp of belief in my voice as a designer,” Victor Adewole shared in a recent interview. “White Noise wouldn’t have found its shape or scale without that early push.”
With its minimalist palette and maximalist emotion, White Noise explored the tensions between silence and chaos, clarity and confusion — mirroring both the inner landscapes of post-pandemic Africa and the global push toward reclaiming quiet luxury.
From sculpted ivory blazers to fluid white organza dresses that moved like wind through architecture, the collection was a masterclass in restraint and release. Every stitch spoke to purity, disruption, and identity themes that echoed powerfully in a world saturated by noise, literal and metaphorical.
Thanks to the groundwork laid by the sponsorship program, the collection debuted during La Mode Green October Event 2024, Pieces from White Noise were later stocked at Fazal Luxury Boutique, RJ4, Regalio,and Maison d’Afrique, and were worn by cultural tastemakers including stylists, artists, and celebrities.
The success story has set a new benchmark for African fashion partnerships showing that when bold creativity meets strategic support, magic happens.
As Vixteau Couture prepares to launch its 2025 capsule later this year, the ripple effects of the Ambassadors Collective Program continue to inspire a new generation of designers across the continent. The triumph of White Noise is not only a win for Victor Adewole, but a shining case study in what intentional investment in African fashion talent can achieve.
White Noise may have been the name of the collection but its message is loud and clear: African luxury is here, it is intentional, and it is unstoppable.
When Dr. Abdul Kareem Oloyede, son of the retiring Prof Is-haq Olanrewaju Oloyede walked up to the stage to thank everyone who had made it to the two-day ceremonies organized in honour of his dad, his speech almost turned out to be a character sketch of the honouree. “Daddy would give you an assignment… Once he begins to feel that you’re not likely to be prompt with timing, the next thing is a call from him. That call is to inform you that he has done the same job.” Dr Abdul Kareem however wished his retiring dad a good life and hoped he would make the best of it. “He is a most loving dad. One that would do his best to offer excellent support, advice and guidance. Always there…”
The strongest reinforcement to Prof Oloyede’s character of relentlessness was the pleasantly surprising announcement by the Sultan of Sokoto, Alhaji Muhammadu Sa’adu Abubakar III. The Sultan had encountered a most daunting experience trying to make it to Ilorin. His flight was arbitrarily rescheduled even as the notice of rescheduling was rather short. Making it to Ilorin for Oloyede was a task that must not only be done but timeously too, he had resolved.
According to the Sultan, he had watched with relish Oloyede’s relationship with Prof Olaolu Ali, SAN,who, not a few will readily conclude is Oloyede’s alter ego. Until this occasion however, Sultan confessed, he had never seen Ali wear a turban. It was Ali’s style of announcing his new status as, Kuliya Ngeri of Ilorin. Never in want of wit, Ali had reiterated to the Oloyede festival audience packed full in the University of Ilorin’s biggest auditorium that he would like to self-indulge by being the only one that could casually pronounce Oloyede’s name without any of his earned titles. He went to emphasize loudly that he was also at the event representing the Emir of Ilorin, thus wearing, according to him, two mega caps. Ali’s messages sank in well into the audience.
The Sultan’s turn to talk was yet another twinning opportunity for Oloyede and Ali. He promised to attend the turbanning ceremony of Ali to the loud applause of the entire auditorium. He then went on to express his personal appreciation of Oloyede’s integrity, industry and all, largely the live version of the words of commendation in the unusually long presidential tribute from President Bola Ahmed Tinubu to Prof Oloyede.
Beyond the tributes, the Sultan also prayed for Oloyede and stated how proud he had always been associating with Oloyede. To crown it all, His Eminence personally announced the title of Kuliya of Sokoto for Oloyede. Loud shouts of surprise and praise for both the Sultan and Oloyede suffused the hall immediately. Suddenly, two Kuliya in the same hall, both soulmates!
Earlier in the year, like a bolt from the blues, Ali, most deservingly, had also been announced as a professor of practice to the profound delight of the mutual friends and admirers of both Oloyede and Ali for which many congregated at Ile-Ife for a grand reception.
The entire stretch of the two-day Oloyede Festival put together by all the universities in Kwara State otherwise referred to as KU8+ was as bounteously colourful as it was punctuated by poetic timing. The flier announcing the programme had stated that the second leg of the ceremony would feature the public presentation of the book written in honour of Prof Oloyede. Initially conceptualized as one volume comprising two parts, the project was so heavily oversubscribed that the organisers were compelled to settle for two volumes, one containing tributes and the other containing scholarly works. The event was scheduled for the 10th hour on the 10th of October, the birthday anniversary of the man of the day.
Prof Olaolu Ali with all of his numerous capacities managed the public presentation of the two volumes. In addition to the vitality of the Naira rain, almost everyone expected to launch the book was either physically present or well represented.
The 10/10 event had a keynoter that came all the way from Ghana in person of Prof Olusola Bandele Oyewole, Secretary General of the Association of African Universities, AAU, Accra, Ghana. It was another colourful tribute Prof Oyewole presented. He recalled how Oloyede, serially sacrificed his own status for others to rise. He did not forget to announce in clear terms that he remained a great beneficiary of Oloyede’s selflessness.
Further to Prof Oyewole’s claim on Oloyede, the Vice-Chancellor of African School of Economics, Prof Mahfouz Adedimeji posited that one leadership lesson derivable from the retiring don’s career was the need to be like coffee in hot water. “If hot water is applied to potatoes, eggs and coffee they react differently…coffee dominates and changes the challenging environment and its rich aroma fills the place. We can all feel this aromatic coffee as Prof Oloyede has mastered the art and science of converting daunting challenges to opportunities”,
Although a distinct volume was dedicated to tributes, event 10/10 induced almost as many tributes as may be published in another volume. Indeed the height of it all was the call for yet another publication. That call came from the governor of the home state of Prof Oloyede, Prince Dapo Abiodun, of Ogun State represented by Senator Salis Shuaib incidentally representing the senatorial constituency of Prof Oloyede. In a most outstanding appreciation of Oloyede’s successful career and public conduct as an inimitable icon of integrity, Gov Abiodun, according to Senator Shuaib had requested that Oloyede should please commence the writing of his memoir for the upcoming generations to inspire them to greatness. So much really, to learn from Oloyede.
The previous day, he had given a special lecture, another in the series of University Lecture. Oloyede’s scholarly adventure and administrative acumen have always been such that revealed rare versatility often reflective of borderlessness of knowledge. The professor of Islamic Studies spoke on Artificial Intelligence and the Future of Humanities. He was as magisterial as he was demonstrative and even didactic. He betrayed a most serious concern for the moral degeneracy of his fellow scholars of Islamic studies waxing lyrical to register his message: “Eni kewu akelo, l’oni kewu, eni kewu akelo, l’oni kewu…”
He alerted the entire audience to the danger of over reliance on AI which may often vomit garbage fed it either ignorantly or mischievously. According to Oloyede, the quality of the response you get from AI will always be dependent on the quality of your pre-existing knowledge on the subject of your enquiry.
According to Oloyede, AI is trans-disciplinary, indeed as applicable as to the sciences as it is to the humanities. In his usual didactic manner, the JAMB Registrar listed up sets of recommendations for users of AI as well as for those who may be mandated to formulate policy on AI given that the novel and bourgeoning technology has come to stay. Oloyede concluded his presentation on the dot of 12:12 pm! How much more poetic can timing be?
In what seemed a full affirmation of “charity begins at home” foremost Ogun State politician with local and international rating who is Nigeria’s immediate past High Commissioner to the United Kingdom, Alhaji Sarafa Tunji Ishola sat in for the entire duration of the lecture. He later announced that in addition to his own personal presence, he was standing in for the Alake of Egbaland, the traditional ruler of Oloyede’s roots in Abeokuta.
The Oloyede Festival was nothing short of a 10/10 bouquet of congratulations for the one presidentially declared “an uncommon scholar…”
Tunde Akanni is an associate professor of journalism at LASU. Connect with him on X:@AkintundeAkanni
There is something disarming about how Babalola Kazeem paints a face. It is not just portraiture; it is confession by colour. Both Mercy (A Gaze of Mercy) and Yellow Clothing is Innocent are, on the surface, studies of young Black girlhood, but look closer and you will see the quiet rebellion of softness. Kazeem’s oil on canvas work does not shout; it hums, it lingers, and it stares back at you as if to say, “I know you are looking, but do you see?”
Mercy (A Gaze of Mercy), painted in 2018, greets you first with warmth that is not quite warmth. The burnt oranges, bruised purples, and unexpected blues flicker like candlelight on brown skin. The girl’s eyes are alert, and her face is painted with emotion rather than light. With each stroke bearing the weight of empathy, the brushwork has an intimate yet alive quality.
This is not just a portrait; it is an encounter. The audience is allowed to observe a vulnerable moment without being bothered. Kazeem’s colour palette creates a symphony of contrasts, cool shadows pulsing beneath hot tones, as though the skin itself is translating feeling into pigment. The background dissolves into abstraction, soft, muted, and ghostly, allowing the figure’s presence to dominate. There is something profoundly African about that composition, a refusal to fade into the background.
The title Mercy (A Gaze of Mercy) becomes a whisper of spiritual irony. Is the gaze merciful, or is she the one offering mercy to the world that sees her? Her expression balances fragility and resistance, and that tension is what makes Kazeem’s work magnetic. It is not sentimental. It is truthful.
Yellow Clothing is Innocent (2023) follows, which is more colorful, audacious, and purposeful in its provocations. Yellow Clothing is an assertion, whereas mercy is introspection. Her hair is arranged in gentle, round knots that evoke childhood as the girl leans diagonally across the canvas. However, the scene is complicated by the maturity in her eyes. She looks up, not to get away but to inquire. A still life arrangement with bottles and leaves behind her suggests order and tradition through its serene domesticity. However, everything is interrupted by that striking yellow fabric.
That yellow is a protest in pigment form, not just a decorative accent. It is the color of light that is unruly. It spills, bleeds, and challenges the observer to confuse brightness with innocence. The phrase “Yellow Clothing is Innocent” feels loaded in the context of Black childhood and Black femininity; it could be interpreted as a critique of the way colonial color lenses interpret purity or as a reclamation of joy in its purest form. Despite the world’s doubts, Kazeem seems to be telling us that innocence, like art, exists.
This artwork reveals an understanding of composition. In the still life on the upper right, the bottles, plants, and flowers represent growth and containment. They stand in contrast to the wide flow of the yellow fabric, which shines freely and refuses to be contained. It feels like a gentle dance between being grown and still holding on to childhood.
What binds these two works is Kazeem’s unapologetic use of colour as character. He does not use it to beautify; he uses it to narrate. Each hue carries its own emotional frequency: ochres for memory, cobalt for questioning, vermilion for defiance.
I appreciate how Kazeem portrays Blackness as a kaleidoscope rather than a single tone. Mercy’s strokes are intimate, like disclosing a secret. While in Yellow Clothing, they seem more expansive and free, as if the artist has exhaled. From tenderness to self-assurance, from quiet grace to bold affirmation, the paintings collectively create a timeline of artistic maturity.
And let us not ignore the subtle feminism in this work. Kazeem’s portraits of women do not pose for the viewer’s pleasure; they exist within their own agency. Their gazes, direct, defiant, or distant, are never passive. These are not muses; they are mirrors. They force us to confront how we perceive Black women and how often we project narratives onto their stillness.
There is a line between realism and reverence in Kazeem’s art that few artists manage to tread without tripping into sentimentality. He paints with affection, yes, but also with honesty. His brushwork tells the truth, and truth, when rendered in oil, becomes almost sacred.
Viewing these two works side by side, one feels the artist’s evolution not just in technique, but in trust. Mercy (A Gaze of Mercy) looks like it was painted by someone asking questions, while Yellow Clothing is innocent like someone who has found some of the answers. Yet both remain open-ended, like good stories; they do not conclude, they continue to breathe.
To look at Babalola Kazeem’s paintings is to feel seen, even in your unspoken corners. His art understands that mercy and innocence are not states of being; they are acts of endurance. In his colours, we find not just beauty, but becoming.
https://muckrack.com/kikelomo-solomon-ayeni Kikelomo Solomon-Ayeni is a multi-skilled, award-winning artist (visual and written), Art Curator and Jury, Art Reviewer whose work has been featured on Vanguard Nigeria, Daily Trust Nigeria, The Daily Independent Nigeria, The Nation Nigeria, The Nigerian Tribune, and others.
A literary magazine, Afapinen, has called for entries for review of Ever Obi’s ‘Some Angels Don’t See God’.
The novel follows Peter Idenala, an ambitious young banker, whose life is disrupted when he comes across a book, published as fiction, recounting the torrid experiences he lived through during his days in the university. He is shaken because the writer is Neta Okoye, a girl who broke his heart and dumped him six years before. Peter is forced to revisit his past, to relive his once complicated relationship with Neta and the mistakes that marred their years in school; the friendships they found and lost.
When the book leads him directly to her, they are faced with a difficult decision: Continue with their emotionally-empty lives, independent of each other, or be together again and confront the trail of past misfortunes that binds them. For Neta, accepting Peter again comes with a promise of happiness, but it also carries the risk of uncovering the secrets she has carried throughout her life. Secrets involving a brother she used to sleep with.
Their relationship faces a battle against this past blighted by pain and loss, by youth and stupidity, by unprotected sex and incest, by betrayal and heartbreaks, by manslaughter and suicide.
Entry regulations
The competition is open to all writers.
Entries should not be less than 1,800 words and not more than 3,000 words.
Entries must be submitted via this Google form.
Deadline for submission is 16 November, 2024, 23:00 WAT.
The winners will be announced on Afapinen on 30 November, 2024
The winners’ reviews will be published in Afapinen.
Reviewers are encouraged to post excerpts of their reviews on Goodreads before they submit. But this does not affect the prize process in any way if you do not.
First prize: N150,000
Second prize: N50,000
Third prize: N30,000
The entries will be judged by:
Carl Terver, who holds a BA in English from Benue State University, Makurdi. He is the author of the photobook, Glory to the Sky and founder of Afapinen. Terver writes about film, literature, and photography.
Tope-EniObanke Adegoke, a literary theorist and critic. He has a Wawa Book Review-Goethe Institut certificate in literary criticism and has written dozens of book reviews for Wawa Book Review and Africa in Words.
Ever Obi’s Some Angels Don’t See God is available via PAGE Bookstore, Roving Heights, Bookville World, Ouida Bookstore, Mosuro Booksellers, Terra Kulture, Bookpeddller, Blackwells Store (UK), Porto Bello Bookshop UK, Amazon.
Lagos State Commissioner for Tourism, Arts and Culture, Mrs. Toke Benson-Awoyinka has described the Quramo Festival of Words as not just a festival but a movement that brings together people from diverse backgrounds to celebrate the art of storytelling in all its forms.
She said this year’s theme of the festival, The Shifting: Empowering Voices… Inspiring Minds aligns with the dynamism of Africa’s creative landscape in arts, tourism, and culture. “As we will be witnessing the power of storytelling and its potency in transforming societies, empowering voices, and connecting minds, we will also be reminded of the significant role that culture, art, and creativity play in shaping our identity and future,” she added.
Mrs Benson-Awoyinka who spoke on Friday at the 5-day festival held at the Eko Hotel and Suites, Victoria Island, Lagos stated that from the engaging master classes that equip young creatives with practical skills to the panels, film screenings and cultural exchanges, the festival provided a platform for expression, growth and connection. She noted that festival is a truly remarkable celebration of storytelling, arts, and culture.
“In Lagos State, we recognize the invaluable contribution of arts to our social and economic development. At the Ministry of Tourism, Arts and Culture, we remain committed to creating an enabling environment that fosters creativity, empowers artists, and promotes cultural exchange. The creative sector has always been at the heart of Lagos, and we are proud to continue supporting initiatives like QFest that bring people together, inspire creativity, and tell our stories,” she said, urging participants to participants to fully engage in the various sessions, learn, share, and collaborate.
“I implore us all to embrace the shifting dynamics of our world, where creativity and storytelling are powerful tools for driving social change. Children, you own and will shape our future. There are no glass ceilings to shatter, the limitation of the mind are creation of our imagination. So the choice is yours to make and I know that your being here is a testament to our/your greatness,” she added.
Convener of the festival and CEO, Quramo Mrs Gbemi Shasore said that the festival has over the years celebrated the interconnectivity of Africa’s creative markets and highlighted the challenges that exist for African creative. She stated that the festival continues to reflect ‘our mission to showcase African talent and expand our stories’ reach.’ According to her, this year’s edition of the festival is particularly significant as it mirrors the global and continental changes being experienced.
“Across Africa we are witnessing cultural, political and economic shifts that call for fresher approaches to stewarding creativity. The landscape for creative expression is evolving, from the rise of new media platforms to political changes in regions like West and East Africa. Now, more than ever, we must embrace these shifting and harness their power to drive innovation and transformation…The world around us is changing and so must how we nurture creativity. I encourage you to engage with this year’s theme and explore how your creativity can contribute to shaping the future of African storytelling,” she said.
Last Friday, Vivian Fowler Memorial College for Girls, Lagos emerged winner of the QCommand Challenge that also featured Dowen College and St Gregory’s College, Lagos. Miss Azima Davies of Vivian Fowler Memorial College for Girls won the most outstanding individual award. The school presentations were judged by Bimbo Oloyede, Ms. Sola Alamutu and Adenike Oyetunde Lawal.
The event also witnessed interactive session with Oluwalanu Agusto, author of The People of Nigeria, bookchat Covik One Nine with Quramo shortlisted writers and Q short film screening.
