Category: Arts & Life

  • Flyzone boss is ECOWAS ambassador

    Flyzone boss is ECOWAS ambassador

    The Principal Executive Flyzone Tourism, Mr. Awomoyi Ayodeji was among other professionals honoured as ‘Ambassador’ by the ECOWAS Youth Council in appreciation of his laudable antecedents of dedication, hard work and diligence in the area of service to humanity and commendable works as an advocate and relentless crusader of promoting development of the African youth. The event was held penultimate Sunday at the Oriental Hotel, Victoria Island, Lagos.

    Speaking at the sideline of the ceremony, Mr. Ayodeji said that the award was a deserved honour as it recognises his hard work, dedication and commitment in all read of works.

    “This is connected to my laudable antecedents of dedication, hard work and diligence in the area of service to humanity and commendable works as an advocate and relentless crusader of promoting development of the African youth,” he said.

    The honour is coming barely a year after he was honoured as Akwaaba Travel Personality of the year, and a member of the 100 Tourism Personality in Nigeria and a member of the 40 under 40 Nigeria.  

    He described Akwaaba African Travel Market as a strategic platform that continues to promote business opportunities for travel agencies, airlines, hotels, tour operators among others stakeholders, adding that Akwaaba brings different tourism boards, embassies, tour operators and travel agents together for business opportunities.

     “The first thing is that there is no business without connection. When you have a product and the people do not know about it, then am not sure you can do anything.  Even a bad product that is marketed well will sell more than a good product that is not well marketed. Akwaaba has helped travel agencies, airlines, hotels, tour operators to connect with one another.

    Akwaaba is a platform that brings different tourism boards, embassies, tour operators and travel agents together for good business connections and networking. I have been attending Akwaaba for a long time now,” he said. 

    Mr. Ayodeji stated that what Flyzone does is to connect travel agencies with countries as well for their visas, noting that applying for visas of other countries requires lot of documentations. 

    “We arrange many things for the tour operators to ensure they are fine, l because we have relationship with some of these countries based on our algorithms, friendship and business relationship, so is easier for us to connect with these countries and their tourism boards than for a travel agent to connect directly. So I will say we are like a middleman between Nigerian travel agents and tourism boards of other countries of the world,” he added. 

    Read Also: Flyzone chief honoured at Akwaaba

    He dismissed as rumour the wrong notion that Flyzone is taking over jobs of travel agents, saying that his firm will never take over the job of travel agents. According to him, his firm only serves an interface or middleman between countries’ tourism boards and travel agents. 

    “We are not taking over the travel agents business. What we are doing is business to business. Travel agents come to us and we go to tourism boards and supply the travel agents the travel products they need,” he said.

    Mr. Ayodeji identified visa processing as Flyzone’s unique selling point and niche, noting that he prefers to sustain that niche. He explained that because of ongoing business relationship between Flyzone and countries’ tourism boards’ visa processing and documentation is much easier to achieve. He also stressed the significance of trust and honesty, which he said, are the catchphrase at Flyzone. 

  • MUSON festival’s Revival excites Nigerians

    MUSON festival’s Revival excites Nigerians

    Last Sunday, this year’s Musical Society of Nigeria (MUSON) Festival of the Arts kicked off with a spectacular performance of Dido and Aeneas, an opera written by the English Baroque composer, Henry Purcell, with a libretto by Nahum Tate, as the opening concert. Also on the opening day, was an art exhibition and musical brunch held at the La Scala Hall, MUSON Center, Onikan Lagos. Sponsored by General Theophilus Danjuma, Dido and Aeneas, was performed by the Diploma School opera and orchestra, which was conducted by John Lucien Eclou.

    Chairman, Board of Trustees of MUSCON, Louis Mbanefo (SAN), said this year’s festival theme is Revival, which promises to be exciting. He recalled that in the past three years, the themes of the festival have been Resurgence (celebrating our emergence from the COVID pandemic), Resilience (celebrating the 40th anniversary of the founding of MUSCON) and now Revival (anticipating the revitalisation of MUSCON despite the adverse trends in Nigeria’s economy).

    “We tackled our objectives in two ways. First, we have held concerts with regularity since 1984, with performances of the highest quality by Nigerian and expatriate performers. And second we have developed two schools of Music-the Basic school, which provides musical education in the theory and performance of musical instruments for Nigerians of all ages, and the Diploma school. The former conducts graded exams, which mirror the Associated Board Exams in the U.K whilst the latter runs a two-year course in history, theory and instrumental performances, Mbanefo said. “It has a yearly intake of 45 advanced students and all students are granted scholarships by the MTN Foundation, which has provided considerable logistic support to the school. From humble beginnings, the school has now become Diploma Awarding institution which is accredited by the Ministry of Education and has produced over 500 Diploma graduates. Many of our graduates have continued their musical education in Europe, America and South Africa and have attained international recognition. Most of our alumni have made and are making very impressive contributions to the musical life in Nigeria and indeed, the world. They have raised considerably the standard of singing and musical performance in churches, in schools and at social events. Indeed, many churches are musical societies throughout Nigeria are borrowing from the templates established by MUSCON”.

    Read Also: MTN MUSON School of Music restates resolve to upskill young musicians 

    The society is the owner of MUSCON choir, which has won gold medals at international competitions. It also has a symphony orchestra, which is conducted in regular concerts by visiting German Maestro, Walter-Micheal vollhardt. It also has an open department, which has programmed highly acclaimed performances of many well-known international operas under the direction of John Lucien Eclou.

    According to Mbanefo “the MUSCON project is one that all Nigerian’s should be proud of. It has demonstrated what could be achieved by Nigerians when we pool our resources, talents and energies towards a common goal. The founding fathers and mothers deserve the gratitude of Nigerian society for the very considerable personal sacrifice of their time and skills. Whereas the arts are heavily subsidised by government in other parts of the world, the MUSCON project has been funded entirely through generous donations by individuals and major companies in Nigeria.”

    Chairman, MUSON Festival Planning Committee, Kitoye Ibare-Akinsan, said that the event which kicked-off on Sunday, with a musical brunch/art exhibition at the La Scala Hall, MUSON Center will end on October 27th, with a Gala-The Creation.  Other events lined up for the festival include, Muson Day concert, Musiquest, My Kind of Music, Jazz party, among others.

  • Redefined Consult wins best educational consultant agency award

    Redefined Consult wins best educational consultant agency award

    Redefined Consult Ltd has been named Best International Education Consultant Agency of the Year at the 11th edition of the Scream All Youth Africa Awards 2024.

    RedefinedConsultLtd, which specialises in helping Nigerian students access global academic opportunities, was recognised for its outstanding services in international education as well as its contributions to the entertainment industry.

    This award highlights the hard work and dedication of the Redefined Consult Ltd team, who have spent years guiding students toward successful placements in top universities across the UK, Canada, Australia, and Ireland.

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    Through personalized counseling, university matching, application support, and interview preparation, they have built a strong reputation for making the overseas study process smoother and more accessible.

    “This award means a lot to us. It’s a reflection of the trust students and their families place in us, as well as the passion our team puts into every aspect of our work. We’re committed to empowering students and making sure they have the best possible experience when pursuing their dreams abroad,” said Sheriff Braimah, Founder of Redefined Consult Ltd.

    The Scream All Youth Africa Awards are known for spotlighting young leaders, innovators, and brands making waves across various industries. Redefined Consult Ltd’s win is seen as a testament to their growing influence, not only in education but in entertainment as well.

  • 300 exhibitors to ink business deals at Beauty West Africa Trade Show

    300 exhibitors to ink business deals at Beauty West Africa Trade Show

    Over 300 exhibitors across the continents and 5,500 professionals in the cosmetic/hair value chain will be exploring opportunities to find new trade partners and build on existing business relationships as the continent’s largest trade show tagged ‘Beauty West Africa berths in Lagos.’

    To drive its success, the Federation of West Africa Chambers of Commerce and Industry (FEWACCI), is already providing support by mobilizing players to create access to market within the sub region.

    Besides FEWACCI, which will be speaking at the trade show, many countries, including China, Turkey, Pakistan and Korea have secured pavilions for their participants with  strong exhibitor delegations expected from Egypt, Europe, the United Arab Emirates, and the United States, which will utilise the event to showcase new products and trends in the beauty eco- space.

    Speaking in an interview, Senior Group Exhibition Manager, BtoB Events, Ken Baber, organisers of the trade show, said the exhibition will place a spotlight on local entrepreneurs promoting Nigeria’s small and medium enterprises (SMEs), which will also leverage opportunities through seminars, demonstrations and tutorials, seminars, demonstrations and tutorials to showcase new products and highlight beauty trends and techniques to participants.

    According to Baber, as the trade show expands into the fourth edition In November at the Landmark Centre, Victoria Island, Lagos. 

    Baber expressed delight at the show’s  annual growth in popularity among exhibitor and visitors.

     “We are looking forward to welcoming the huge number of participants to this year’s Beauty West Africa. 

    “The extensive range of SMEs, importers, distributers, retailers and beauty and hair professionals all contribute to the success and popularity of Africa’s leading beauty, cosmetics and hair trade event. 

    “The consistent increase in demand each year has meant we have now had to expand into the fourth hall at the Landmark Exhibition Centre.

    “With so many new products and businesses on display, we know our visitors from Nigeria and across West Africa will really appreciate the opportunities to find new trade partners and build on existing business relationships with our many repeat exhibitors.”

    Read Also: Forum on beauty regulation coming

    To assist exhibitors, whether new or returning, Baber said BtoB will be offering a range of support packages.

    “We will help you every step of the way. From visas to hotels, from SIM-cards and Wi-Fi to stand build and design.

    “We want you to be able to connect with the region’s largest importers, retailers and distributors who are looking for new suppliers to represent.”

    Commenting on the event FEWACCI said: “By supporting Beauty West Africa 2024, FEWACCI can promote the beauty and cosmetics industry as a key sector in the region’s growing economy. The event aligns with FEWACCI’s mission to enhance trade relations within ECOWAS and across the globe, allowing exhibitors and participants to access a lucrative market.”

  • The pill to give vitality to the arts

    The pill to give vitality to the arts

    Thirty-three years after The National Endowment for the Arts Act was established, the dreams of the artists community remained unfulfilled no thanks to lack of political will of the government to walk their talks. Last Thursday in Lagos, the Federation of Registered Guilds and Associations in Nollywood led by Dr. Victor Okhai renewed the call for amendment of the Act establishing the National Endowment for the Arts as well as a comprehensive review of the National Film Policy to reflect today’s realities and the dynamic nature of the industry, Assistant Editor Arts OZOLUA UHAKHEME reports.

    • Stakeholders revive plans for billion naira Endowment Fund

    Representatives of 18 registered guilds and associations in Nollywood, under the auspices of the Federation of Registered Guilds and Associations in Nollywood, have called for the establishment of Endowment Fund for the Arts to provide financial backing for ambitious projects and emerging talents in the industry. The federation also called for the comprehensive review of the national film policy to reflect today’s realities and dynamic nature of the industry.

    Its Chairman, Dr. Victor Okhai who spoke in Lagos, said to attract investment and grow the industry, policies that will promote a conducive environment for growth must be implemented. He disclosed that the federation will, among others, advocate for tax holidays from government, making it easier for new and existing productions to thrive.

    “Imagine a Nollywood where every talent, from actors to directors, from scriptwriters to set designers, can thrive and reach their full potential. A Nollywood where our stories are told with authenticity, where our culture is celebrated and where our industry is recognised for its excellence on the world stage. This is the vision of the federation,” he added.

    Continuing, he said: “We are not just here to celebrate our unity, but to pledge our commitment to work in harmony. To quote Barack Obama, “Change will not come if we wait for some other person or some other time. We are the ones we’ve been waiting for. We are the change that we seek.” With The Federation, we will seize every opportunity, transform our dreams into reality, and shape the future of Nollywood.”

    He noted that the federation will intensify efforts in engaging government and financial institutions on pertinent challenges within the industry, pledging the federation’s commitment toward repositioning the industry. He added that the federation is not just coming on board to celebrate ‘our unity, but to pledge our commitment to work in harmony.’ 

    According to Okhai, the federation is more than a name as it is their opportunity to work closely with government bodies and organisations both locally and internationally. By forging these partnership, he said, the federation will enhance ‘our creative economy, secure better opportunities for our members, and establish Nollywood as a global powerhouse.’ He stressed that the unity of the federation will drive job creation, foster innovation and creates opportunities that were once unimaginable.  

    He observed that the industry has faced numerous challenges, but it is in ‘our challenges that we find our strength. Together, we will overcome obstacles, advocate better conditions for all our members, and ensure that the world recognises the brilliance of Nollywood. We will leverage our diverse talents and experiences to create a more robust and dynamic industry.’

    “Let us move forward with determination and purpose, knowing that our unity is our greatest asset. Together, we will write the next chapter of Nollywood’s story, a story of collaboration, innovation, and success,” he said.

    Responding to questions on film distribution, Okhai noted that the industry did not have enough distribution outlets and platforms that enhance abundance space for appreciation of the movies. According to him, the easiest way to reflate the economy is to fund movie making.

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    On quality of production, he said: “Ife we are not good, we won’t be accepted by the different platforms showing Nollywood films. In fact, there is room for big and small movies that provide jobs for the people. The small filmmaker of today, will be big filmmaker of tomorrow.”

    He recalled that Nollywood, which has grown to become a global phenomenon, was born out of a small-scale grassroots movement, ascribing the feat to the power of determination and unity. 

    “A true-life story that epitomises our potential is the international success of The Wedding Party. This film, produced by a diverse team of talented individuals from various parts of Nigeria showcases how collaboration within Nollywood can lead to groundbreaking success. The Wedding Party not only broke box office records but also put Nollywood on the global map, proving that when we come together, we can achieve extraordinary feats,” he added.

    The National Endowment for the Arts Act was established in 1991 to support creativity and creatives for the promotion of cultural heritage and knowledge in Nigeria. Ever since then, the Fund never witnessed practical efforts at the implementation. Instead it has been one promise after the other by subsequent administration.

    Recalled that the Ex-Minister of Information and Culture Alhaji Lai Mohamed had assured the artists community of government readiness to amend the act establishing the fund.

     “We have decided to amend the Act establishing the National Endowment for the Arts so it can better meet the demands of the sector, which has been greatly impacted by the pandemic,” he said. According to a statement by his spokesperson, Segun Adéyemí, the minister said the move is to support every medium and area of creative activity in the art, culture and heritage sector as well as to foster professional excellence in the sector in the age of pandemic. He said the government would work with the National Assembly for early amendment of the Act to mitigate the effects of the pandemic on the sector.

    Since the global public health crisis (COVID-19) hit Nigeria in February 2020, businesses around culture and creative production have been the worst. Cinemas, pubs, social gathering outlets have been forced to close or comply with the physical distancing guidelines in a bid to contain the pandemic.

    The minister said with social distancing, ban on mass gathering, and travel restrictions globally, the sector has become the worst hit because the entire industry is audience-centred. He said in Nigeria, the impact has been particularly devastating due to the importance and the relevance of the sector to the national economy.

    “The Nigerian creative industry is large, diverse, dynamic and critical for economic growth, development and diversification,” he said.

    “It is the biggest job creator after agriculture, with particularly great opportunities for women and the youth.”

    “The Industry also contributes between 2.5 and three per cent to the nation’s GDP. “I have no doubt that the measures we are putting in place will yield positive results in sustaining the creative industry in Nigeria in the days to come,” he said.

    But today, the amendment to the act is yet to be done by the government. Worst still, not many stakeholders got the federal government palliatives meant to cushion the pandemic hardship.

    Okhai who was in company of representatives of some guilds and associations  said: “Today, we make history. Today, we become pioneers of a movement that will contribute to the growth of our nation’s creative economy. With The Federation, we are not just participants in an industry; we are leaders, visionaries, and champions of our culture.”

  • MOWAA strengthens partnership with UI, UNIBEN to advance heritage management

    MOWAA strengthens partnership with UI, UNIBEN to advance heritage management

    The Museum of West African Art (MOWAA) has joined forces with the University of Ibadan (UI) and the University of Benin (UNIBEN), two highly prestigious universities within Nigeria.

    The partnership, which has been formalised through a Memorandum of Understanding (MoU), is a significant step towards enhancing academic and scientific partnerships in Nigeria; and driving a dynamic exchange of knowledge and expertise aimed at advancing archaeology, heritage management, and cultural preservation throughout Nigeria.

    The Director of the MOWAA Institute, Ore Disu, explained that MOWAA’s commitment to fostering groundbreaking research and building regional capacity is at the core of this initiative. 

    In March 2024, the Benin-based institution announced a five-year partnership with the University of Oxford linked to the development of its archaeological science laboratories.

    By strengthening its relationship with two leading Nigerian universities, MOWAA underscores its broader mission to serve both local and regional cultural practitioners, linked with global expertise.

    The new partnership facilitates access for UI and UniBen researchers to the advanced laboratories and upcoming archival resources at MOWAA Institute, with opportunities to pursue joint research, targeted facility upgrades and technical training.

    This partnership builds on prior work to establish the foundations for transformative change in the heritage management sector – such as pioneering work in pre-construction archaeology and digital mapping of historic monuments at the city level in Benin City undertaken in partnership with the British Museum, the German Archaeological Institute and the National Commission for Museums and Monuments.

    These initiatives promise an advanced approach that brings Nigerian practice in line with global standards. MOWAA’s ultimate ambition herein is to protect heritage, promote scholarship, and expand viable career opportunities in archaeology, heritage management, and conservation.

    Professor Aderemi Ajala of the University of Ibadan said: “We are very proud to partner with MOWAA in promoting cultural heritage, artistic innovation, and scholarly collaboration. The Department of Archaeology and Anthropology, University of Ibadan looks forward to more joint research initiatives, faculty and student exchanges, and community engagement activities. Together, we look forward to advancing knowledge and cultural exchange within Nigeria and abroad.”

    The vice-chancellor from the University of Benin further expressed: “This partnership fosters a renewed pride in Benin’s rich history and its significance on the global stage. Our collaboration with MOWAA marks an exciting new chapter in advancing archaeological research and heritage management, which should increasingly be led by Africans.

    “Through the Unearth graduate fellowship program alone, our students have already gained hands-on experience in heritage management, with MOWAA becoming an extension of our campus. By combining our academic expertise with MOWAA’s innovative approach to cultural preservation, we are confident this partnership will empower the next generation of scholars and practitioners here in Benin City.”

    MOWAA Director Ore Disu relayed her comments: “This milestone signals a promising new era for how heritage is regarded in the region, with exciting new possibilities for more rigorous scientific work and innovative practice to be undertaken from here in Nigeria. Together, we can revamp these crucial vocations, provide jobs and work experience, and amplify the accomplished scholarship evident in the country and region at large.”

    Read Also: Oxford varsity, MOWAA partner to boost archaeology

    MOWAA, it was noted, is planning the Futures of Archaeology seminar in November.

    The event is set to be a thoughtful convening of MOWAA’s new university partners, who will be in discussion with representatives from the German Archaeological Institute (DAI), the British Museum (BM), the National Commission for Museums and Monuments (NCMM), and the Archaeological Association of Nigeria.

    It will serve as a showcase for ongoing research and conservation initiatives, including community exchanges and workshops available to the public.

  • Osague’s journey through art

    Osague’s journey through art

    Gift Osague, a talented artist specializes in the use of recyclable waste fabric in creating stunning artworks. After completing her HND at the Auchi Polytechnic in Edo State, she became a full time studio artist, focusing on collage art pieces. In this interview with Ojochenemi Priscillia, she shares insights into some of her artworks.

    The Solitude series 1 and 2 is a signature work by Osague that was a part of the symbol of the exhibition show. Solitude is a personal story about the childhood experience of the artist which talks about her not having much exposure into her culture and her loneliness. The painting describes a young girl dressed in her Edo attire with a painting brush in her hand and a sense of longing to belong. Osague was able to express herself using acrylic, fabric and patches of paper in this artwork.

     In her words, “It is way deeper than just childhood; there are some parents who would withdraw their children from having certain experiences about life because they feel like they’re protecting them. However, it is also good for kids to make mistakes so as to have experiences to learn from and grow with of which my father prevented me and my brother from having.”

    The residency programme was a chance for her to show the world what she had been going through and those things she did not have the opportunity to learn.

    This artwork is a mixed media painting comprising of acrylic and fabric, which is a representation of her late father, portraying an elderly man, seated alone on a yellow couch. The artwork pictures a man who is deep in thoughts, reflecting the past and contemplating the future- particularly the future of the children he will leave behind.  This piece of artwork suggests that there comes a time for everyone to sit and ask themselves questions about life: What will be the end of their journey? What was the beginning? Have they fulfilled their purposes?

    “The Climax is a conclusion of the series that explores how I was raised by my father, highlighting the observations and lessons I gathered from him as a child. As with “Quiet Time” and “Solitude”, the yellow couch reappears, symbolizing a moment of reflection,” she said. The Climax also highlights a symbol of the Edo culture as the man in the artwork has a traditional bead on his wrist

    Just a regular Day series 1 and 2 is another artwork. In this series, there are five kids, some in their regular attire and others in their uniforms. These series describes a regular day for children; a time where they play, fight, quarrel and settle in a moment.

     This mixed media painting comprising of the use of acrylic, newspapers and fabric on canvas depicts a set of boys hunting for a particular ‘thing’, all dressed up and representing different identities. Just a regular day is a representation of life’s routine and stability, friendships, lesson and growth by learning from mistakes and reflecting back with a mix of longing and appreciation for the journey. Children playing outside the artist’s window and experiencing life inspired this series.

    Through this artwork, the artist also passes across a message of financial scarcity, which was all over the world early last year. The technique or media used for this artwork is acrylic and fabric. The artwork comprises of three ladies in the Edo traditional attire adorned with Okuku.

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     According to her, “This artwork is talking about me as a grown up now whereby I mingle with some ladies and then we have conversations about life and how we just want to shine now that we are in our prime.”

    The artist named the artwork Sunny Girls because it portrays how children envision becoming adults and then when they become older, wish to go back to being kids again. The artwork also reflects the daily activities and trends of ouths today as in the painting; everyone is looking into the same direction of the person with a phone in her hands. It reflects how sometimes people tend to forget about themselves because they are so engrossed with their phones. Asides representing this piece of art in her culture, there are many stories hidden behind this artwork.

    In her words, “If you look deeply at this painting, you’d find out that everyone is having the same distraction though they may be gaining and passing information amongst themselves. But it still relates to the environment and what happens every day.”

    For this artwork, the artist makes use of three media such as lace fabric, sequence and Ankara. This artwork was inspired by how individuals especially parents are able to express themselves through their gaze.

    According to Osague, “We all have different gaze, there are a lot of kids that learn from their parents, and somehow, if our parents don’t want to discipline us, with their eyes they are able to pass across a message.”

    Through this artwork, she portrays that children have their own way of expressing themselves through their gaze. The artist compliments the green colour in the painting with red, her favourite colour to present danger, warning and love

    This particular artwork has a symbol of the Edo culture known as Okuku- a beaded crown worn to adorn the head and enhance the beauty of women. The artwork portrays three kids adorned with Okuku who have a culture they needed to learn but were not given the opportunity to do so. The artwork is a model example of the artist whose father did not give her and her brother the opportunity to mingle with people outside their home. He did not want to expose them to their culture and their language as he felt that their ability to speak English language was enough for them.

    Osague is an artist who wants her viewers to resonate deeply with colours when they come upon any artwork of hers, as she loves to work with bright colours. She wants her viewers to feel happy and feel that life is bright when they come across the placement of fabrics and colours in all her artworks.

    As she continues to push the boundaries of fabric art, her message remains clear: to celebrate cultural heritage and display the power of creativity. With upcoming projects, including a duo show with fellow fabric artists, Gift’s artistic vision will undoubtedly inspire and captivate audiences.

  • ‘How I fashion my designs’

    ‘How I fashion my designs’

    Wilson Onyilokwu, a tailor turned designer and monogramming specialist for schools and other personal brands, shares his story in this interview with Ojochenemi Priscillia.

    What inspired you to start up this business?

    I did not start it at first.  I had a family member who was already making sweaters and cardigans for schools and she had someone who would assist her with the monograming of such wears after she was done making them but she experienced delay, a lack of consistency with him and also realized that he was not organized. Therefore, she decided to get the monogram machine herself. Then shortly after, I came to Lagos and started working first before taking over management in 2017 and in 2020, I fully took over the business. I was actually into sewing of uniforms too but I decided to focus fully on Monograming,

    Do you have exclusive contracts with schools or do you work with multiple schools simultaneously?

    Well, I work with multiple schools. I do have some schools that I have a contract with and a few of them, It’s been years now since we started working with them and it’s been nine years since we started working with one of those schools. Because we have a contract with them, individual parents cannot bring uniforms to us, it has to be the management. Then there are many other schools we do not have a contract with.

    Can you share the percentage of commission you have with those schools?

    What we do is, we have a pricing system for schools and we extend this same pricing system to tailors. Somehow, some of these schools have to go around making these uniforms, which is usually expensive, and we have a way of giving an incentive of 15% to these schools. Therefore, the school gets to lower the cost of their uniforms. Then the quantity of uniforms brought to us by these schools determines how much, or how many times these schools get the incentive. However, we only do that for a few schools.

    Can you share your experiences?

     I will talk about the experiences first. Working here, especially in Lagos, taught me a lot about being an Entrepreneur. There was a time when we worked 20 hours a day; we had 2 shifts and only 4 hours to rest. That helped me manage the time I had until we broke even and had a single shift a day and then, we tried as much as possible to meet up.

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    That also helped me schedule. I learned how to schedule jobs. Someone does not just walk in and say, oh, we have something to do. You have to place everybody in a queue. It is a first-come, first-served basis. This really gave me practical experience on how to run an entrepreneurial business. Most importantly, how to run a production facility because I refer to this place as a factory since we produce here. Therefore, that has been my best experience here

    Are there any challenges you face in this line of work?

    The biggest challenge we face in this business now is the economy because you get to a stage where things get expensive. Your production materials get expensive. There is only that certain level you could be within your reach. You cannot be insensitive to your customers. Yes, they are going through the same thing we experience especially with the increase in the price of fuel. I mean, we need electricity for at least 4 to 5 hours a day to make production possible and this involves us getting fuel. They are also buying products that are expensive so naturally, we should be sensitive towards them but there has to be a limit. There are times when the schools complain about how we charge them and there is nothing we can do to stop it from happening. This most times leads us to only making 25-30% profit. Therefore, the biggest challenge is the economy.

    How have you been able to cope with the economy and every other concern?

    Well, it has been tough but I think one of the major ways of being able to scale through is being able to understand that things change. Like, two weeks ago when there was this fuel scarcity announcement. I was able to get fuel for 1,200 Naira per litre and I had to buy 25 litres. Now it is lower. I bought for 910 per litre last week.

    The challenge here is how are we going to cope with this? For the week I bought fuel at 1,200 per litre, someone who is in my line of work might increase his or her price rate, which can lead to loss of customers. Once you lose customers, you hope new customers come in and pay the new price. Then, in this business, your customers are not just the people walking through the door. Your customers are the people who have not heard about you yet, they are those who will hear about you from people you have already worked with before. In my own case, I do everything possible to keep the customers that I have. Even if I have to spend a few more months denying myself of extra profits.

  • O’DA Art presents ÀWA

    O’DA Art presents ÀWA

    O’DA Art is pleased and honoured to present, ‘AWA’, an exhibition featuring works by Visual Artists, Simon Ojeaga and Daniel Olumide. This show marks the very first exhibition of artists represented by  O’DA Art Gallery.

    ‘AWA’ is about “Us”. It offers a layered exploration of youth in contemporary Nigeria, delving into various characteristics and personalities found in local communities. Through the work of visual artists, Simon Ojeaga and Olumide Daniel, we see the individuality and independence of being young, while revealing how cultural traditions, particularly those derived from African heritage, can be a thread that connects various customs and lifestyles across the world. Here, art becomes a visual link portrayed through figuration and portraiture..

    Inspired by the everyday life of young adults in Lagos, Daniel Olumide’s work is a celebration of growth and empowerment, portraying youthful characteristics, personalities and emotions in liminal spaces. In “Hopeful eyes”, Olumide presents a close-up of a boy gazing intently at the viewer. With light and shadow playing across his face we are drawn to the intensity and vulnerability in his eyes. His expression is intense and contemplative. The use of bold brushstrokes and earthy tones create a feeling of rawness and introspection adding an almost tactile quality to the work and allowing the viewer to get a sense of the weight of his thoughts and emotions. “Ambivalence” also portrays a young man with a more enigmatic gaze, looking slightly away from the viewer. The strong contrast between the highlights on his face and neck emphasising the angularity of his face plays to his youthful exuberance and energy. The shadow cast behind him, sharp and defined, adds a layer of mystery and complexity while suggesting a deeper narrative. Cumulatively, we see the quiet strength and introspective nature of the subject. Olumide demonstrates his ability to convey depth and vulnerability, using the power of portraiture to connect with the viewer on an intimate level.

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    Simon Ojeaga explores the complex inner workings of a living being, delving into the journey of self-discovery, identity and generational dialogue. Using a technique coined as “Fractellations”, a painstaking process of painting repeated singular patterns of acrylic to create a detailed visual balance, his process combs through one’s personality where minuscule dots of distinct features, mannerisms and becoming an expansive composition. “Wacko, Sleight of Hand” depicts a single figure in four different positions, reflecting the multifaceted nature of adolescence–fluid and unpredictable. Much like the skillful precision of “sleight of hand”, the work hints at the delicate balance required to navigate growing up in a seemingly chaotic world held together by the unnoticeable thread of collective/communal strength and guidance.

     In “Warm Hands”, featuring a group of male figures with bodies melting into one another in a unified green hue and their hands painted in a distinct brown, he not only symbolises togetherness and interconnectedness between the figures but the hands are a constant reminder of divine touch—purification, judgement, and power transfer, emphasising a sacred bond that unites them. With deep-rooted belief in the interconnectedness of all things and the inherent beauty found within the complexities of human existence, Simon Ojeaga celebrates the diversity of human experiences while emphasising the common threads that connect us all. He presents a philosophy of interconnectedness and exploration, inviting viewers to explore the depths of their humanity.

    Visually, Ojeaga and Daniel create a seamless juxtaposition, where their distinct techniques and themes converge in a cohesive dialogue. ‘AWA’ reveals how, despite our differences, we share commonalities in our experiences. This exhibition is an exploration of how the diverse elements of our existence come together in a beautiful, shared movement—a community where we understand connection, and the essence of what it means to be human. The exhibition lasts till 6pm everyday

  • Olaku’s Odyssey goes solo

    Olaku’s Odyssey goes solo

    From October 19th, all roads will lead to the National Museums and Monuments, Onikan, Lagos, where Biodun Olaku will be opening his solo art exhibition.  Titled Odyssey: A retrospective of Olaku’s drawings and paintings it will end on November 3rd.  The  exhibition promises to be a master stroke because it has over 50 works done over five decades by Olaku as a master artist whose remarkable brand cuts across drawings, pencil works, landscapes, figures, images, pointillism and more. Edozie Udeze paid a studio visit to him for a closer look at his works meant for this show.

    IT is a well known fact that Biodun Olaku is one of the third generation Nigerian master fine artists.  Art for him is already a second nature in words, actions and deeds.  He is one of the foremost master artists whose signature on canvas is not just verbose, intimidating but distinguishable, distinctive and all encompassing.  All his young and adult life he has devoted all his energy to painting, drawing and designing fantastic pieces of art works.  His ideas that attract coveted attention for painting come from all the things-landscapes, images, figures, cultural elements, institutions, more, that he encounters on a daily basis.

    And now that he wants to embark once more on a solo exhibition, he has deemed it imperative to invite journalists to his studios at the Universal Studios of Arts (USA) Iganmu, Lagos, to have a closer glimpse of the works for the exhibition.  The exhibition,  aptly titled Odyssey: A Retrospective of Olaku’s Drawings and Paintings draws from the idea to have a cursory look at the genesis of his works as an artist.  The solo show is being organized by Red Heritage.  It will open on the 19th to end on 3rd November at the National Museums and Monuments, Onikan, Lagos.

    The works come in different sizes and medium spanning over a period of fifty years.  With over fifty works on display, Olaku has come to manifest his mastery of the scene and how his Odyssey overtime has indeed overwhelmed in all spheres.  In an encounter after viewing his works in his studios, he opened up on the reasons for this glorious solo outing.  He began: “This is Universal Studios of Art (USA) National Theatre, Iganmu, Lagos where I have had my studios over the years.  It is part and parcel of my studio life.  This is where I cut my teeth as a studio artist.  This was some forty-three years ago.  I landed here in 1982 soon after my youth service year.  I got here through the Federal Department of Culture.  I was then posted to the National Gallery of Art.  That was where the whole story started.  Then the consciousness of the story crept into my being, into my artistic life.  That is the background of my being here.  “As I was growing up that ability, that rare consciousness to draw, to paint, to see in all objects and scenes things to draw or paint was uppermost in my life.  So, I grew up with that love, that zeal to turn things into art.  Then to draw things were my best forte.  That is the background of how I got the inspiration to go into full time studio practice.  I got here and met some older artists like Francis Osague, late Bisi Fakeye and others. Fakeye was also quite instrumental to my studio practice here.  In the beginning he was very helpful and his advice helped me to fit in almost immediately. Soon after, some of my friends and colleagues joined us here.

    “Almost everything about me as an artist began here.  It is here I have been able to establish my career, myself in all areas of my visual art works ever since.  I have had several group shows.  But this is one of my few solo shows.  It is important for me to make a statement, to contribute seriously to the body of work in the sector.  It is time for me to showcase my career over the years and the types of visual art pieces I have been able to produce all these years.  This is the reason, more or less, the show is themed my odyssey.  It is clear from the works that these are art pieces that cut across decades, years and periods done by me.  They come in different sizes, medium, colours, shapes, images, figures, landscapes, all symbolizing my signature in time past and at this moment.

    “I have learnt a lot from the older artists.  I have learnt to follow my mind, to make my statement and establish my own style in this career.  It is not time to quarrel or argue.  Most times you have to toe your path, follow your mind, to achieve your aim.  This is what my art has been over the years.  I have been able to show that distinctive path. Yes we can have our different views on issues.  But after that what next?  I just felt it is time to let out what I have had, what I have contributed since in the visual art industry.  I felt I should contribute something which is in retrospect, which is also the core essence of this solo show.  It is for people to understand clearly where the brand comes from.  The show will help people to view, probably for the first time, those early years of my career when my works were still fitting in gradually.  Even as a secondary school student, you can see one or two works I did then.  These are moments in time, moments in history and they all are coming out in the open as part of my odyssey as an artist; as a tested studio art practitioner.

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    “Of late, it is like the younger generation of artists are in a haste to justify their kind of art.  They seem to be in a hurry to hit the headline.  They do not seem to understand that this is a journey that takes time, that matures from stage to stage.  Part of this show is to let them know where I am coming from and this seems to be a journey of a thousand miles that starts with a first few steps.  This is part of the informed perspective and view I have to give in this regard.  Here also, we have been training and retraining young artists.  Most of them come here for their usual industrial training and we deem it expedient to teach them comprehensively what art means and how to attain the best professional height.  So we have been able to assess the standard coming from the schools and how the students are being taught.  Also some of them we taught here would go out and establish their own studios.  Many have been able to hit the headlines and some have gone on ahead to become big boys and big girls.

    “We have had conversations around the profession with those young ones.  All things have motivated me to say okay, things are taking a different shape.  We need to let them know that being a reputable brand needs some time.   You need to ferment.  You need to grow stage by stage before you can reach that enviable stage where your brand is not only glorious but iconoclastic.  Not too much attention is being paid in this regard.  Everywhere you go all you hear is young and emerging artist.  How?  In what sense? Emerging from where, from what?  For the young ones, they do not understand that this is a journey to mastership.  The journey is gradual; it takes time.  It is never done over night.  We the older ones have done this journey to get where we are today.  We still keep the standards high and thoroughly professional.

    “These are some of the things that inspired me to go back in time to unearth some of my older works, works I did when I was a teenager, to teach the younger ones how it has been all along.  There were older artists we believed in their philosophies, characters, styles and resilience on the job that helped us to be. Even though we did not meet the likes of Aina Onobolu and others, there were others like Ben Enwonwu, some great masters we met on the way that have inspired us thus far.  Also we were taught by some giants in the profession like Professor Yusuf Grillo of blessed memory and then people like Bruce Onobrakpeya, whom we have learnt a lot at his feet.  But it is not the same thing that is happening today.  That realm of mentorship is rare these days.  Everyone is in a hurry to be an emerging artist.  Some of them do not even understand it.  On the internet I encountered a word that describes it as apprenticeship.  An artist has to be an apprentice to be able to learn well before setting out to be!

    So, we did not grow overnight.  We had a lot of experiences on the way.  I also brought works that the contemporary market needs.  All are put into one fold to make this comprehensive solo show.  Some are drawings.  Part of what troubles the younger ones is ignorance.  Some of them do not know and they do not want to know either.  Do you know a gallery owner was asking me, is it necessary for an artist to know how to draw?  It was then I knew the problem is really big and we need to show a lot of things to people who ought to know but do not known.  If an artist cannot or does not know how to draw why is he an artist?  What is even the basic concept of an artist?  Is it not to draw and then paint or sculpt?  The most basic qualification of an artist is to know how to draw”.

    All these series of ignorant encounters and bad excursion into time have necessitated Olaku to get to this stage of the exhibition.  So the materials are more basically to redraw attention to what needs to be done to become a perfect artist, a master, if you like.  This was why in the process of the studio visit he went back into his archives to bring out mostly old pieces of works to display for viewing.  Works around masks, masquerades like adamma, eyo, ekpo, some from the south-east, others from south-south and south-west.  There are pencil works, pointillism, some on scavengers, seaside views, landscapes of both local and foreign scenes, all embody this remarkable outing.  In it all, you see Olaku bristling with colours, eulogising nature, celebrating the ecosystem, as well as pontificating the environment, making the skies drip with rainbow colours, moonlight and electric light amidst squalor and opulence.

    From the works you could see how Olaku has slowly but steadily graduated into the master he is today.  Some of the works early look amateur.  Yet, they portray a sort of resilience that attain perfection with time.  “Any work you see signed by me, anyhow it looks, I can defend why it looks the way it looks.  I tell all kinds of stories through my works.  You see while growing up a lot of things also motivated me particularly some works done by European masters and so on and so forth.