Category: Arts & Life

  • Mara Mania goes to Alliance Francaise

    Mara Mania goes to Alliance Francaise

    Penultimate weekend in Lagos, the French Cultural Centre, hosted an exhibition titled Mara Mania. Mara is a dance movement being showcased daily by the youth. It has actually come to be seen as a mania, a street dance that intoxicates. The exhibition took art lovers through the different layers of mara and how it has developed overtime. EDOZIE UDEZE reports.

    Alliance Francaise De Lagos, otherwise known as the French Cultural Centre, Lagos, was agog penultimate weekend when it hosted an exhibition titled Mara Mania.  Mara mania is simply tagged street madness.  Mara is a street dance movement, fashioned by some set of DJs and musicians and which has taken over the waves ever since.  And mania means the madness, the intoxication it has brought to bear  on those who follow it and those who also indulge in it.  Indeed mara mania has come to stay.

    However, this madness is the positive one in which the dance pattern and style has truly eaten deep into the social and cultural fabrics of the youths.  The exhibition showed all the tendencies of mara, the stages, it has evolved over time to get to where it is today.  The mara madness or movement has seen a lot of DJs, musicians, smile their ways to the banks.  Mara is like an opium.  Once you attune yourself to it, you are hooked momentarily or forever.  So it was good that those who were involved in the exhibition, the organisers, the curators, and the French Embassy in Nigeria took their time to gather the necessary materials in very meticulous way.  They had eyes for details.  The show was a show stopper.

    Even as it is today, this street dance pattern that has taken over the social spaces in major cities in Nigeria and has also been exported to some countries in Africa, including Ghana and Uganda and more.  And it therefore became urgent and timely for the exhibition to happen so as to allow the public feel the impact, the importance, the pulse and the beat of this phenomenon.  It is a phenomenon with positive vibes that hit the young with true realization of what good music, good and peculiar dance style and so on, can do to their psyche.  It is also to remind music lovers about the role of DJs in ensuring that the vibes of mara and others are kept evergreen in the social memories of people.

    So November 29th was that special day in the lives of young and not too young people as they strolled into the foyers of Mike Adenuga Centre, venue of the show to savour and identify with the mara mania.  The boys were agog.  The girls were jolly.  Workers at the French Embassy in Lagos were in good moods.  All the lovers of good and crazy dance patterns were equally in attendance.  The colourful designs of the stages of mara, those DJs involved, other musicians in their own different worlds were there pasted on the walls.

    The total beauty of the curated works mostly in Lagos State colours appealed to the people.  It was like the positioning of the Keke NAPEP at the centre of the hall that proved the esoteric beauty of the outing.  It was simply classical.    In a statement by the Embassy of France in Nigeria in partnership with Alliance Francaise De Lagos and Improve Practice, “the real meaning of Mara mania was to present an immersive exhibition dedicated to the total emergence, evolution and creative force of the mara movement”.  It is a movement and one of Lagos’ most groundbreaking underground cultural and dance movements.  It is evocative.  It is hilarious; indeed infectious.  In his remarks, Tony Dike, one of the curators and brains behind the show simply coded mara as a genre, “more than a genre indeed”, he said.  “It is a living ecosystem of DJs.  It has also shaped a whole communities of dancers, young musicians who are easily ruled by the beauty and echo of the mara sounds”.  Mara is now a culture.

    In the social milieu of Nigeria, it is a new vocabulary.  For every day the young discovers their own pattern of social life style to fit in and to rule their own world.  This was why mara began at Lagos Mainland and within the heart of the city.  It has now spread like harmattan fires to parts of Africa.  As always, Lagos is the hub.  “Mara has spread far afield by young creators”, so says Dike who is of the Improve Practice.  While taking journalists round the stands, his attention was drawn to the implicit social relevance and value of this madness.  And he says in a way of justification.  “It is a fast paced pattern.  It is also heavily improvised to suit the deeply connection to everyday life in Lagos.  The heart of social life in Lagos beats faster every now and then and mara fits in conveniently. Even in makeshift studios, you see the pattern being displayed daily”.

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    The works were curated by Dike and Marianne Ournac.  Marianne is the cooperation officer at the French Embassy in Lagos and her love for African arts is clear and deep.  She was all smiles and helpful where necessary as the show went on.  Marianne has followed African cultural arts to some African nations before now and therefore her deep knowledge about all these tenets are clear and convincing.

    In his introduction of the exhibition, Laurent Favier, the Consul general of the Embassy of France in Nigeria said, “Yes, this exhibition captures the mara movement through a multi-sensory experience.  It combines sounds, videos, photos and movement based experience to achieve what we have here today.  The exhibition in all intents and purposes, offers intimate, exploration on layers of mara.  Its aesthetics, its codes, its other social nuances, its histories and emotional charge, the beats behind its frenetic energies are hereby displayed”.

    Favier, obviously at home with the rhythmical essence of mara and other cultural muses of Africa went on.  He said: “Therefore by supporting this exhibition, the Embassy of France reaffirms its commitment to amplifying youth-led cultural expression and fostering long-term cooperation between French and Nigerian creative ecosystems.  Mara mania also follows the momentum of the Nigerian delegation supported by the Embassy of France at the Nyege Festival 2025 in Kampala, Uganda.  It is an international platform where mara artists, DJs and dancers had the opportunity to present the movement to global audiences”.

    But at every point, Lagos is recognized as the bridgehead of mara.  Some of the DJs in the forefront of mara include: Odogwu Mara, DJ Khalipha, Zenny B, Azzi, Kadima, and others.  The show ended with dances and other displays.

  • Oamen, Fasan emerge winners at 19th NMNA Awards

    Oamen, Fasan emerge winners at 19th NMNA Awards

    The Nation Newspaper recorded two major victories at the 19th edition of the Nigeria Media Nite Out Awards (NMNA), as two of its online journalists emerged winners at the prestigious event held in Lagos.

    Senior Reporter Samuel Oamen was named Business Reporter of the Year, while entertainment reporter Yewande Fasan clinched the Entertainment Writer of the Year award at the ceremony.

    Oamen was recognised for his in-depth and balanced reporting across key sectors, including Visa migration and policies, oil refineries, and technology. His coverage also extended to major international technology events involving global firms such as Google and Zoho.

    Fasan was honoured for her speed, accuracy, and consistency in breaking entertainment stories, qualities that have distinguished her work within Nigeria’s competitive entertainment journalism space.

    Beyond the wins, The Nation also recorded strong representation at this year’s awards, with six of its journalists nominated across various categories.

    Read Also: The Nation’s Igbowelundu, Oamen, Fasan, others nominated for 19th NMNA Awards

    Established in 2006, the Nigeria Media Nite Out Awards has grown into one of the country’s most respected platforms for recognising outstanding contributions to journalism and the media industry. Now in its 19th edition, the annual event continues to celebrate excellence, professionalism, and innovation in Nigerian media practice.

    For The Nation, the latest honours underscore the newspaper’s enduring commitment to editorial integrity, factual reporting, and journalistic excellence. Over the years, the organisation has remained focused on informing, educating, and inspiring its audience, while setting high standards in storytelling and investigative journalism.

    The award ceremony drew leading figures from the media, corporate, and public sectors, further highlighting its status as a major gathering for stakeholders in Nigeria’s media industry.

  • Chude Jideonwo and the power of conversation

    Chude Jideonwo and the power of conversation

    • By Michael Stevens

    Across Africa, few interviewers combine depth, insight, and influence like Chude Jideonwo. At a time when much of the media cycle is driven by speed rather than depth, he has established himself as Africa’s number one interviewer by consistently delivering conversations that matter.

    His approach is simple yet powerful: research meticulously, listen intently, and create a space where honesty thrives. The result is a body of work that informs, challenges, and inspires millions of viewers.

    Chude’s rise in media is rooted in a strong foundation in public relations, youth engagement, and political communication. He played key roles in high-profile political campaigns across Nigeria, Ghana, Senegal, and other African countries, helping craft narratives and strategies that resonated with voters. These experiences sharpened his skills in understanding people, context, and messaging; qualities that now define his interviewing style.

    Over the years, Chude has hosted conversations with some of Africa’s most influential voices. Nationally, he has interviewed former Nigerian President Olusegun Obasanjo, actors Joke Silva, Damilola Adegbite, Ireti Doyle, Tonto Dikeh, and singer Tiwa Savage. Comedians and entertainers such as Bovi Ugboma, AY Makun, and Falz have also shared their stories with him. Internationally, he has also welcomed a globally recognized personality, acclaimed author Chimamanda Ngozi Adichie.  Many of these guests have acknowledged the rare space of trust and authenticity he creates, often sharing personal information they had never revealed before.

    His interviews are not only about entertainment, but they set the agenda for conversations on culture, social change, mental health, and politics. Viewers, journalists, and analysts alike note that his interviews frequently trend across YouTube, Instagram, Twitter, and other platforms, reflecting both reach and resonance. Unlike many shows that chase virality,on #WithChude, the focus is not noise or headlines, but sitting with people, listening deeply, and choosing to be human together.

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    Consistency has also been key to his influence. For five years and counting, Chude has maintained a presence that blends storytelling, factual analysis, and human connection. In a media environment where shows often struggle to retain audiences, he has built loyalty by staying true to substance over spectacle.

    Chude’s ability to draw people into open conversations does not come from technique or strategy. It comes from years of showing up for people. Long before #WithChude, he was quietly mentoring young people in media, listening, encouraging, and offering guidance without seeking recognition, even while leading Red for Africa.

    In conversations, including the Communiqué interview and moments during the Joy retreat, what stands out is how present he is. Chude listens. He creates a calm, gentle space that makes people feel at ease. There is no performance and no pressure. He allows people to speak plainly and honestly.

    He carries an affirming presence that makes it easy to talk. In his listening, he reflects the simplicity of being human, without pretending or trying to shape the moment. That is why people trust him with their stories.

    He has worked on campaigns that required strategic messaging, audience engagement, and crisis management. These skills translate directly to his interviews, allowing him, on and off camera, to navigate sensitive topics without compromising depth or integrity.

    Today, Chude Jideonwo is more than an interviewer. He is a cultural force, shaping national and continental conversations while setting a benchmark for quality storytelling in African media. As audiences increasingly seek authenticity and insight, his influence shows no sign of slowing down.

  • Imose: Blend of lifestyle, women’s empowerment

    Imose: Blend of lifestyle, women’s empowerment

    Barely six months after its maiden edition, Imose exhibition is making a return today and tomorrow with a much better and promising blend of fashion, beauty, wellness, business, and culture. Venue of the exhibition tagged Imose 1.1 is La Madison Place, Oniru, Lagos.

    The event, which is designed as a luxury fashion and lifestyle trade fair, is an ecosystem of top designers, emerging brands, and creative entrepreneurs in what organisers describe as a vibrant marketplace and community space.

    Speaking at a briefing in Lagos, seasoned banker and Convener of Imose Exhibition, Mrs Angela Jide-Jones, reassured that Imose 1.1 will expand its vendors to 100 while strengthening partnerships and curating a richer marketplace. 

    She said that the mission of the initiative is to empower, celebrate, and support young women in Nigeria.

    She explained that her journey with widows revealed a deeper challenge. While supporting mothers, she realised that their children also needed opportunities, especially as many young people graduate from school without jobs.

    The exhibition is an offshoot of the long-standing humanitarian work of the Sewa Foundation, through which its founder, Mrs. Angela Jide-Jones, has supported widows for over two decades.

    “We started training the youths, brought in artisans, and gave them seed capital to start businesses. But we soon realised that many of them were extremely talented and skilled, yet lacked a platform to be seen,” she said. “That was how the idea of Imose was born.”

    She disclosed that the decision to hold a second edition in December was intentional, adding that part of the vision of Imose is not to be a one-off event in a year. 

    According to her, December was chosen to align with Nigeria’s festive season, often referred to as “Detty December,” when Nigerians in the diaspora return home from the United States, the United Kingdom, Europe, and other parts of the world.

    “Everybody meets in Nigeria in December. We decided to do it at this time so our vendors can get more clients,” she explained. “People will buy during the exhibition and even after January, February, and March. They will ship clothes abroad or ask family members to pick up items from Nigeria.” Expectedly, the goal, she said, was to give exhibitors the best chance to sell, grow their businesses, and expand their footprint.

    This December edition will feature an expanded marketplace of fashion, beauty, wellness, art, and handmade brands, alongside masterclasses and conversations aimed at equipping entrepreneurs with practical business skills.

    At the maiden edition in June 2025, it attracted over 800 attendees and 70 emerging businesses across beauty, fashion, wellness, handmade products, and lifestyle brands.

    “Beyond the numbers, what touched us most were the stories,” she said. “Young entrepreneurs who made their first major sales, brands that secured new partnerships, women who rediscovered their confidence. That was when we realised that Imose was more than an event. It was becoming a movement.”

     “At the heart of Imose is a simple conviction. That beauty is more than appearance, wellness is more than routine, fashion is more than fabric, and enterprise, when supported, becomes a pathway to dignity, confidence, and economic transformation.”

    Also speaking at the briefing, renowned Nigerian fashion designer, Mrs. Ejiro Amos-Tafiri, praised the initiative, describing it as a much-needed platform for women and young business owners.

    “Having a platform that is dedicated to uplifting beginners in the fashion, beauty, and wellness industry is very laudable,” she said. “She first supported my brand at an exhibition, and that relationship grew from there. What Imose represents is very important for the industry.”

    One of the exhibitors from the June edition, Jumoke Alaka, CEO of Imani Kids, recalled her experience, describing Imose as a turning point for her business.

    “During the exhibition, she went round every store and even sponsored sales. There were thoughtful gifts, cupcakes, pictures, and constant encouragement. After Imose, I became an ambassador because I kept telling everyone about it.”

    Alaka said that her Adire clothing line for children was first showcased and sold at Imose. “Since then, we have sold about 900 pieces. Imose made me feel seen again. I started my business in 2017, but Imose stood out for me,” she said, adding that she was also a beneficiary of an Air Peace business class ticket.

  • NTDA pushes for a world-class Eyo Festival

    NTDA pushes for a world-class Eyo Festival

    By Anu Ajibade

    The Nigerian Tourism Development Authority (NTDA) has begun strategic engagements to reposition the Eyo Festival as one of the nation’s leading cultural tourism attractions, with a courtesy visit by the Director General, Dr. Ola Awakan, to the Iga Idunganran Palace of His Royal Majesty, Oba Rilwan Akiolu I.

    The visit forms part of NTDA’s renewed commitment to transforming Nigeria’s major cultural festivals into globally competitive tourism assets, with the Eyo Festival identified as a flagship event capable of drawing both domestic and international visitors.

    Speaking during the meeting, Dr. Awakan noted that the Eyo Festival represents the soul of Lagos culture and stands as a powerful tool for destination branding.

    “Our focus is to work closely with the Lagos Royal Institution to elevate the Eyo Festival into a world-class cultural attraction that mirrors the vibrancy, identity, and history of Lagos,” he said. He emphasized the authority’s dedication to providing technical support, strengthening promotion, and enhancing cultural preservation.

    Oba Akiolu welcomed NTDA’s renewed interest, expressing strong support for a more coordinated national approach to the festival’s promotion. “The Eyo Festival is a heritage treasure and the heartbeat of Lagos tradition. We welcome collaborations that will help safeguard its legacy and promote it as a cultural pride for future generations,” he said.

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    The monarch urged the NTDA DG to remain steadfast in advancing tourism values that reflect integrity, heritage protection, and cultural growth.

    Both parties discussed opportunities to transform the 2025 edition of the Eyo Festival into a more structured cultural tourism experience—one that not only preserves tradition but also enhances visitor participation, creates economic opportunities for local communities, and strengthens Lagos’ position as a premier cultural destination.

    At the end of the palace engagement, the Director General and his team were received by the Chairman of Lagos Island Local Government and Chairman of the 2025 Eyo Festival Planning Committee, Hon. Taiwo Oyekan. He welcomed NTDA’s involvement and assured the Authority of the committee’s readiness to work collaboratively to deliver a successful, tourism-driven festival.

    Dr. Awakan was accompanied by the NTDA South-West Zonal Coordinator, Mrs. Alice Akinsola, and other senior officials.

  • ‘Kiriji War shooting a boost to Ekiti tourism’

    ‘Kiriji War shooting a boost to Ekiti tourism’

    From Wale Ojo-Lanre

    Ekiti State Governor, Mr. Biodun Abayomi Oyebanji, has described the ongoing shooting of the epic historical movie “Kiriji War (Ekiti–Parapo War)” as a major boost to tourism development in Ekiti State, saying the project goes beyond historical documentation to strategically project the state’s rich natural tourism  and cultural assets to the world.

    The Governor stated this on Monday during an on-the-spot assessment of the movie production sets at various locations in Ado-Ekiti, with significant scenes shot at extensive locations in Odo-Uro, Iyin-Ekiti.

    Governor Oyebanji said the film provides a global platform to showcase Ekiti’s geography, lush vegetation, eco-tourism assets, cultural heritage and religious tourism sites, noting that the state’s rolling hills, thick forests, rocky landscapes and serene rural settlements offer natural cinematic scenery capable of attracting tourists and creative industry investors.

    The Kiriji War, was a 16-year civil war fought between 1877 and 1893 among Yoruba sub-ethnic kingdoms, involving the Western Yoruba—mainly Ibadan and Oyo-speaking groups—and the Eastern Yoruba, including Ekiti, Ijesa, Ijebu, Yagba and others.

    Speaking with journalists after touring the film locations, the Governor, who was accompanied by the Nollywood producers and top government officials including the Chief of Staff, Mr. Niyi Adebayo; Commissioner for Information, Rt. Hon. Taiwo Olatunbosun; Director-General, Bureau of Tourism Development, Ambassador Wale Ojo-Lanre  Director-General, Community Communications, Mrs. Mary Oso Omotoso and Permanent Secretary Ministry of Arts , Culture and Creative Economy,Prince Banji Adelusi , reiterated his administration’s commitment to preserving and properly documenting Ekiti history as a tool for identity, education, development and tourism growth.

    While clarifying that the Ekiti State Government did not directly sponsor the film, Oyebanji disclosed that he leveraged the support of friends and associates committed to promoting Ekiti’s history and culture to facilitate and co-sponsor the project.

    “Art, culture and tourism are pillars of our administration. A people without history are a lost people. What is being shot here is part of our history, now being documented for future generations. From what I have seen on ground, Ekiti people will be proud when this film is finally released, because we are telling our story ourselves and showcasing our land to the world,” the Governor said.

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    He commended the Nollywood producers, Lateef Adedimeji and Bimpe Adedimeji, and other stakeholders for their commitment to authenticity, creativity and professionalism, assuring them of continued government support for initiatives that positively project Ekiti’s culture, history and values.

    In his remarks, the producer of the Ekiti–Parapo War film, Lateef Adedimeji, said the decision to shoot the movie in Ekiti was to ensure historical accuracy and originality, adding that about 500 actors, including many selected from Ekiti communities, are participating in the production.

    Adedimeji described Ekiti’s landscape as peaceful, beautiful and ideal for filmmaking, noting that several scenes were shot across pristine tourism locations in the state, which he said would add visual depth and authenticity to the film.

    He expressed confidence that the movie would complement existing historical literature on the Kiriji War, giving audiences the opportunity to see history come alive through film while stimulating interest in visiting the actual locations where the events occurred.

    The Kiriji War film, with major locations in Ado-Ekiti and Odo-Uro, Iyin-Ekiti, is expected to further position Ekiti State as an emerging film-induced tourism destination, where history, culture and nature converge.

  • The Untold: Adebiyi turns pain into purpose

    The Untold: Adebiyi turns pain into purpose

    Workforce and workplace management consultant, Oyenike Adebiyi, has released The Untold, a personal and introspective book that chronicles her 35 year journey of chronic pain, spiritual endurance, and the transformational power of perseverance.

    For Oyenike, the book emerges from a lifelong struggle with a rare and severe leg condition that began in childhood, first as mild cramps, eventually developing into debilitating pain. The condition altered her gait and posture, exposing her to mockery from friends and neighbors.

    “It took a toll on my personality. But my late mother reminded me of my dream to become an international public speaker, training people and changing lives. She helped me see people’s actions as preparation and not humiliation,” she said.

    As she grew older, the crises intensified. At 18, she was diagnosed with avascular necrosis osteoarthritis and placed on traction for two months at an orthopedic hospital.

    The long and painful recovery caused extended absence from school and a full year confined at home. It was during this period that isolation nearly drifted into depression. The support of family and friends, and the gift of writing kept me, eventually wrote a handbook on body and beauty care, which helped shift my focus back to living,” she explained.

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    The chronic pain persisted into adulthood, shaping most aspects of her life. Oyenike underwent eight major surgeries and over ten medical procedures.

    “There were numerous sleepless nights. I became used to needle pricks, bandages, crutches, and different medications.”

    According to Oyenike, one of her most harrowing experiences came during pregnancy, when the pain threatened the life of her unborn child. “I was advised to evacuate multiple times, but I refused. I prayed, endured, and eventually my baby came safely. She is my only biological child,” she said.

    Across these experiences, her personality, warm, engaging, deeply empathetic, began attracting people to her. She gradually recognized this as a calling rather than coincidence. “What seemed intended for disruption became motivation, journaled my experiences, which eventually became The Untold,” she said.

    Despite the book’s deeply personal content, Oyenike initially resisted the idea of making her private struggles public. She credits a spiritual mentor for prompting the transition from journaling to publishing.

    “I got the question, how will people know what God has done for you if you don’t document it? I became conscious of God’s grace and agreed that I had no excuse but to share,” she said.

    Since its release, readers have expressed emotional and reflective reactions. “Many became teary, One friend called me mid-reading to ask, ‘How did you cope?’ His reaction encouraged me to share even more stories of grace and God’s glory,” she said.

    She added the positive reception has also inspired increased awareness campaigns and a drive for wider distribution of the book.

    For Oyenike, faith has been central. “I have never doubted God or become angry because of the pain. I believe my healing has taken place, it is only waiting for manifestation. This waiting is perseverance, she said, quoting the biblical definition of faith as “the substance of things hoped for, the evidence of things not seen.”

    Looking forward, Oyenike hopes to reach hospitals, disability centres, and faith communities with her message. She envisions speaking to large audiences without crutches one day and offering comfort to those who feel defeated by life’s challenges. “The best person to comfort others is one who has experienced pain,” she emphasized.

    Reflecting on her journey, she imagines her younger self “would appreciate and celebrate me acknowledging the strength in pulling through.” For her, the true legacy of The Untold will be the countless lives uplifted by its message of endurance, grace and quiet strength.

  • NCC launches prize for copyright reporting

    NCC launches prize for copyright reporting

    Nigerian Copyright Commission (NCC) has reintroduced its annual copyright forum, which is now to be known as the Annual Copyright Dialogue. The Commission also instituted the Moses Ekpo Prize for Innovative Copyright Reporting to honour journalists and media organisations that demonstrate innovation, integrity, and commitment to advancing copyright education and public awareness.

    The Director-General, Nigerian Copyright Commission (NCC) Dr. John Asein disclosed this speaking at the Copyright Seminar for Journalists organised by the Commission in collaboration with the Art and Culture Writers Association of Nigeria (ACWAN) in Abuja last Wednesday.

    While noting the importance of feedback from stakeholders, Dr. Asein observed that the Annual Copyright Dialogue will allow for more robust policy discourse, institutional reflection and strategic engagement with right owners and other stakeholders on how to enhance the copyright system.

    Commending media practitioners for their enduring partnership and support, he noted that the media, through their reportage, analysis, and narratives, shape national consciousness, influence public perception and drive policy outcomes, adding that the realisation of the Commission’s statutory mandate to promote and protect creativity requires a strong, credible, and professional media sector.

    He drew attention to the negative impact of digital piracy on the nation’s creative industries, the DG-NCC noting that Nigeria loses billions of Naira annually to Intellectual Property theft describing it as a major threat to creative investment and national development.

    “A decade ago, we dealt with mass reproduction of CDs and DVDs. Today, we are confronted with cloud-based infringements, algorithm-driven content aggregation, digital anonymity, and hyperactive online piracy networks. These developments demand innovative regulatory responses and broader partnerships” Dr. Asein stressed.

    He announced Ms Evelyn Osagie as the winner of the maiden edition of the Moses Ekpo Prize for Innovative Copyright Reporting. Osagie, who until her passing away on 17 August 2025, was Assistant Editor (Art) with The Nation Newspaper. It was in recognition of her contributions to Nigeria’s creative and copyright sector.

    Dr. Asein described Ms. Osagie as an empathetic and accomplished journalist who amplified the voices of emerging creators, supported NCC’s enforcement efforts and consistently highlighted the threats of piracy with clarity and courage.

    Expressing the Commission’s appreciation to ACWAN members and other media professionals, the Director-General called on journalists and media organizations to be proactive partners in policy development, public enlightenment, highlighting emerging issues in the copyright sector that require intervention; monitoring the Commission’s enforcement operations; mobilising public support against piracy and other copyright abuses, and giving feedbacks to improve on the Commission’s  service delivery.

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    At the end of the training, participants appreciated the Commission for the knowledge and insight gained. Speaking on behalf of other participants,  News Agency of Nigeria (NAN) Editor, Mr. Joshua Olomu expressed optimism that the participants are better equipped to function as partners and stakeholders of the nation’s creative economy.

    Also speaking at the end of the event, The Nation’s reporter, Mr. Vincent Ikuomola noted that the training is timely considering the importance of copyright and challenges faced by creatives and other stakeholders due to piracy and other illegal acts. He said the seminar has enriched his knowledge about copyright and enlightened him on his rights as a creator.

    FRCN Correspondent, Mr. Oluwaseyi Ajibade, also described the seminar as an eye opener and a call on journalists to do more in sensitizing the public on the potentials of creativity. “I have come to know my rights as a journalist and the need to strike a balance in reportage. It has also given me more sense of responsibility not just as a reporter but as a stakeholder in the creative sector” he stated.

    “If we have this kind of event quarterly or twice a year it will help us to understand and support the efforts of the NCC” he added.

    Paper presentations at the hybrid seminar include: The Journalists guide to Effective Reportage of the Copyright Sector by renowned journalist and Culture Caucus Advocate (CCA), Mr. Jahman Anikulapo; Copyright Law and Journalism by IP Consultant and Principal Partner Alpha-Edge Legal, Mr. Mike Akpan; Imperatives of Sustained Awareness Creation for Effective Copyright Protection and Development by Public Relations Expert and former Director, Public Affairs, NCC, Mr. Vincent Oyefeso. The event was moderated by Director of Public Affairs NCC, Mrs. Ijeoma Egbunike.

  • Agency raises alarm over health risks of bottled drinks

    Agency raises alarm over health risks of bottled drinks

    By Glorious Idowu

    The Lagos State Consumer Protection Agency (LASCOPA) has raised the alarm over the health risks associated with consuming plastic bottled drinks exposed to sunlight, calling for urgent compliance by manufacturers and retailers to protect consumers.

    The warning was issued at a recent stakeholders’ parley held at the Lagos Chamber of Commerce and Industry (LCCI), where industry players, consumer advocates and regulators met to discuss the effect of sunlight on plastic bottled drinks and its implications for public health.

    Speaking at the event, LASCOPA officials said the meeting was convened following increasing consumer complaints and reports of changes in taste, colour and quality of bottled drinks displayed under the sun. The agency noted that such practices pose potential health hazards to consumers.

    Keynote speaker, Mr. Nasiri Abdullah A explained that plastics commonly used for bottled drinks, particularly polyethylene terephthalate (PET), undergo degradation when exposed to ultraviolet rays from sunlight. According to him, the process, known as photodegradation, weakens the plastic and may cause harmful chemicals to leach into the contents.

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    He said exposure to heat and UV rays not only affects the safety of the drinks but can also reduce their nutritional quality. Abdullah advised manufacturers and retailers to avoid the use of transparent or white plastic containers for outdoor display, noting that such materials absorb UV rays more easily. He recommended darker containers as a safer alternative for outdoor storage.

    Director of Consumer Education at LASCOPA, Mrs. Folashade Ashaye, said the parley was the third of its kind organised by the agency since 2021, but lamented that compliance with safety guidelines remained low despite sustained sensitisation campaigns.

    She said LASCOPA was not opposed to the use of plastic packaging but warned against exposing bottled drinks to direct sunlight. Ashaye added that resolutions from previous engagements, including a proposal for manufacturers to provide dummy products for outdoor display by retailers, had not been widely implemented.

    “We are back to engage producers again and understand the challenges they are facing,” she said, stressing that the agency’s approach was preventive rather than punitive. She warned that prolonged exposure of bottled drinks to sunlight could have severe health consequences, including cancer.

    Mrs. Arionola Momo-Ayokonbi reaffirmed LASCOPA’s commitment to safeguarding consumers’ rights, noting that public health considerations must remain a top priority. She urged stakeholders to take ownership of the issue and help spread awareness through both traditional and digital media.

    Participants at the forum were encouraged to act as advocates within their sectors, as LASCOPA maintained that tackling the risks posed by sun-exposed plastic bottled drinks requires collective action from regulators, manufacturers, retailers and consumers.

  • Renewing hope in Nasarawa

    Renewing hope in Nasarawa

    Across Nasarawa State, transformative empowerment initiatives are quietly reshaping lives. From vocational training and start-up support for youth to healthcare outreach for vulnerable communities, these programmes provide practical skills, critical resources, and mentorship—restoring agency, improving livelihoods, and ensuring that hope and opportunity reach those who need them most, reports LINUS OOTA

    Nasarawa State, the clearest evidence of leadership in recent months has not been found in campaign slogans or grandstanding declarations, but in quieter, more intimate moments: a woman regaining her sight after years of blurred vision; a young man completing vocational training with tools he can finally call his own; a pregnant mother returning home from a clinic reassured rather than fearful. In these spaces—often overlooked in policy debates—empowerment has acquired a human face.

    For Abubakar Muhammed Adamu, former Inspector General of Police, and his wife, Hajiya Rukaiya Adamu, empowerment has been approached not as benevolence, but as responsibility. Their interventions across the state have focused on restoring capacity—health, skills, and economic agency—rather than dispensing fleeting relief. The underlying philosophy is straightforward: people thrive when barriers are removed, not when dignity is replaced with dependency.

    The interventions unfolding across the state do not announce themselves as grand solutions. They are, instead, deliberately practical—anchored in health, education, skills, and small but catalytic economic support. Their logic is simple: empowerment must meet people where they are, address immediate constraints, and leave behind something durable. In Nasarawa’s towns and interior settlements, this approach has translated into programmes that restore sight, stabilise chronic illnesses, equip young people with employable skills, and provide women with modest capital that unlocks enterprise.

    Healthcare has been the most visible entry point. The M.A. Adamu MediCare for Renewed Hope initiative has moved through all thirteen local government areas, not as a ceremonial outreach but as a functional medical intervention. Speaking during one of the outreach programmes, Adamu framed the intervention plainly. “This is about ensuring that no one is left behind simply because they live far from a hospital or cannot afford basic treatment,” he said. “A healthy population is the foundation of productivity, unity, and development.”

    For many beneficiaries, it has been the first sustained encounter with structured healthcare in years. Consultations, diagnostic screenings, essential drugs, minor surgeries, maternal support, and health education have been provided at no cost. The emphasis has not been on numbers for their own sake, but on conditions that quietly erode productivity and quality of life—eye ailments, diabetes, hepatitis, pregnancy-related complications. For many, the procedure marked the first time in years they could see clearly without pain or fear. “I had resigned myself to darkness,” said a beneficiary in Akwanga who underwent cataract surgery. “Today, I can see my grandchildren again. I can work again. That is not a small thing.”

    In the remote corners of Nasarawa State, where access to healthcare had long been a distant hope, transformative interventions began to change lives. For elderly residents whose cataracts had gradually narrowed the world to shadows, skilled surgeries restored not only sight but independence, enabling them to move freely, care for themselves, and re-engage with their families. Traders and artisans grappling with diabetes—once forced to manage their condition with irregular medication or none at all—found renewed stability through screenings, consistent drug provision, and health education. Pregnant women, often navigating childbirth with minimal support, were provided delivery kits and antenatal care, reducing the risks associated with pregnancy and giving families the reassurance of safer births. These were not symbolic gestures; they were deliberate, life-altering interventions that returned people to their routines, their farms, their shops, and their communities with restored dignity and capacity.

    Chronic illnesses such as hepatitis and diabetes, which previously went unmanaged due to prohibitive costs or long distances to clinics, were met with structured screening and ongoing medication support. Health education sessions reinforced prevention strategies, ensuring that care extended beyond the visit of the medical team. “This wasn’t rushed or cosmetic,” noted a clinician in Lafia. “There was structure, follow-up, and coordination with local leaders. That is why it worked.”

    What set this outreach apart was not just its scale but its meticulous organisation. Mobile clinics reached communities isolated by poor roads or challenging terrain, while health professionals collaborated with local leaders to identify the most vulnerable. Every intervention was accompanied by follow-up guidance and practical health education, reinforcing prevention alongside treatment. Community leaders and frontline workers repeatedly emphasised that this approach reduced duplication, maximised resources, and ensured that support reached households typically overlooked by formal healthcare planning. In every village and ward touched, the programme restored more than health—it restored hope.

    Beyond healthcare, youth empowerment has become a central pillar of the interventions across Nasarawa State. With a significant proportion of the population youthful, energetic, yet often underemployed, programmes targeting this demographic have sought to transform potential into tangible livelihoods. Rather than offering abstract motivation, the initiatives have focused on practical vocational training, start-up support, and mentorship tailored to local economies, ensuring that skills gained translate into real income-generating opportunities.

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    Beneficiaries have learned trades and services aligned with local demand, from tailoring and carpentry to ICT and agribusiness. Accompanying these skills are modest grants, essential tools, and mentorship—resources designed not to impress, but to enable sustainable action. “One training changed how I see myself,” said a young beneficiary in Keffi. “I’m no longer waiting for help. I’m working, earning, and planning for my future.”

    The interventions have also fostered psychological transformation. By combining skills acquisition with immediate, practical application, young people move from uncertainty and dependency to confidence and agency. Mentors guide them through the realities of informal economies, helping them navigate challenges and build resilience. The strategy reflects a commitment to long-term impact rather than short-lived spectacle. Small, well-calibrated grants and practical tools create pathways for self-reliance, while consistent mentorship strengthens both skill and confidence. Across Nasarawa, this approach is quietly reshaping lives: young people are now able to envision futures in which effort, talent, and initiative can translate directly into meaningful livelihoods and active participation in community development.

    Women’s empowerment has followed a similarly grounded logic. In Nasarawa, as in much of Nigeria, women often shoulder economic responsibility while facing systemic barriers to credit, healthcare and political voice. The initiatives associated with Hajiya Rukaiya Adamu have deliberately intersected these pressures. Food and cash support have been provided not as isolated relief, but as stabilising interventions that allow households to breathe and plan. “Our mission is holistic,” she explained during an outreach in Toto. “Good health, education, and economic empowerment go together. When women are supported, entire households become stronger.”

    In Toto Local Government Area, for instance, over a thousand vulnerable women across all electoral wards received direct support through a distribution process designed to reach even remote settlements. The approach was deliberately decentralised, moving from house to house to avoid the common pitfalls of crowd-based distributions that exclude the most isolated. For many recipients, the assistance bridged immediate gaps—food security, school needs, medical bills—while preserving dignity by avoiding public spectacle.

    Beyond material support, there has been a consistent emphasis on inclusion and consultation. Hajiya Rukaiya Adamu’s engagements across the state have focused on listening rather than mobilising, creating spaces where women articulate priorities around health, livelihoods, and participation. In a context where women’s political engagement is often reduced to mobilisation roles, this consultative posture has been widely noted as a departure. It reframes empowerment not as benevolence, but as partnership.

    Education, too, has featured quietly but persistently. Scholarships supporting young people across different parts of the state have enabled continuity for students who might otherwise have dropped out due to financial pressure. The beneficiaries are not presented as symbols, but as individuals navigating real constraints—transport costs, tuition gaps, and family obligations. By sustaining educational trajectories, the intervention addresses a long-term driver of vulnerability rather than its symptoms.

    What unites these varied initiatives is a consistent avoidance of patronage language. Beneficiaries are not framed as passive recipients of kindness, but as citizens whose productivity and wellbeing matter. The programmes do not ask for allegiance; they focus on outcomes. Health is restored so people can work. Skills are provided so livelihoods can grow.

    Small capital is injected so businesses can stabilise. In each case, the measure of success is what continues after the intervention moves on.

    The geographic spread of these programmes has also mattered. From Karu to Keffi, Lafia to Akwanga, Nasarawa Eggon to Wamba, the interventions have reached communities with distinct economic profiles. Urban traders, rural farmers, artisans, and informal workers have encountered programmes adapted to their contexts rather than imposed uniformly. This sensitivity has reinforced local ownership and reduced the perception of external imposition.

    Community responses reflect this nuance. Traditional rulers and local leaders have consistently emphasised the timing and relevance of the interventions. Health workers have pointed to reduced pressure on overstretched facilities during outreach periods. Beneficiaries speak less about gratitude and more about relief—the relief of seeing clearly again, of managing an illness without fear, of restarting a stalled business. These are the quiet indicators of empowerment that statistics alone cannot capture. Importantly, the initiatives have unfolded without displacing the role of government. They are framed as complementary, not substitutive. By filling gaps and demonstrating workable models, they point toward what effective service delivery can look like when resources, organisation, and intent align. This posture has reduced friction and encouraged collaboration with local structures rather than competition.

    Ultimately, empowerment is measured by what people can do after assistance is given. In Nasarawa, thousands can now see, work, trade, learn, and plan with greater assurance than before. That outcome, modest in its presentation but profound in its effect, is what gives these initiatives their credibility. They suggest that when empowerment is approached with respect, precision, and empathy, it ceases to be patronising and becomes transformative.