The Nation Newspaper

Category: Arts & Life

  • Akwaaba lights up tourism in Lagos

    Akwaaba lights up tourism in Lagos

    No fewer than 100 African tourism practitioners were honoured with the Africa Travel 100 Global Leaders Award at this year’s Akwaaba African Travel and Tourism Market held in Lagos from Sunday to Tuesday at the Eko Hotel and Suites, Victoria Island, Lagos. It was in recognition of practitioners’ contributions to the industry. This year’s edition, which is the 20th anniversary, recorded the highest number of participants from across Africa and beyond since COVID-19 pandemic, Assistant Editor (Arts) OZOLUA UHAKHEME reports

    • Ignites Jollof Rice War among nine chefs

    Hundreds of critical stakeholders in the travel and tourism industry converged on Eko Hotel and Suites, Victoria Island, Lagos for three days for this year’s Akwaaba African Travel and Tourism Market. The 20th edition of the event, which opened on Sunday, attracted no fewer than 15 countries and 29 exhibitors. Some of the countries included Gambia, Congo, Kenya, Ghana, Italy, Botswana,  South Africa, Uganda, Tanzania, Seychelles, Rwanda, Cameroon, Namibia, Cote d’ Ivoire, Togo, Zimbabwe, Mozambique and Mauritius. The Akwaaba Travel and Tourism Market, which was founded 20 years ago, serves as an essential platform for promoting and developing travel and tourism in Africa and beyond.

    In the spirit of the age-long brotherhood existing between Nigeria and Ghana, the opening ceremony was spiced with the much talked about ‘Jollof Rice War’ among nine chefs, where tourism queens across African countries were the judges.

    Nigeria’s Minister of Tourism, Lola Ade-John said yesterday at the Akwaaba African Travels and Tourism Market that Nigeria stands at the forefront of tourism revolution, positioned to become a leading global destination. She stated that tourism contributed 3.65% ($17.3 billion) to Nigeria’s 2022 GDP, with vast untapped potential, adding that the sector employs 1.91 million people aiming to multiply this in coming years.

    “Domestic tourism saw 3 million trips in 2023, up 20% from 2022, with 200 million potential travellers. We welcomed 1.2 million international visitors in 2023, boosting foreign exchange. Our cultural landscape boasts 1,000+ annual festivals, 1,000+ attractions, two UNESCO World Heritage Sites, and diverse parks and reserves.

    “Over $500 million in foreign direct investment secured in two years, projected to triple by 2028. But, the most exciting story lies in our youth.

    With 70% of our population under 30, Nigeria’s young people are our greatest asset in tourism: 65% of domestic trips in 2023 were undertaken by travellers aged 18-35,” she added.

    The Minister disclosed that Nigeria’s youth-led tourism startups have grown by 150% in the last three years, while social media engagement in travel content has surged 300% among Nigerian youth since 2021. She noted that 80% of Nigeria’s tourism workforce is under 40, bringing innovation and digital savvy to the sector.

    These young Nigerians, she said, are not just travellers but storytellers, digital nomads, and entrepreneurs reshaping our tourism landscape.

    “The Federal Ministry of Tourism has a huge role to play in leading this mission. We are committed to unlocking our potential through governance and stakeholder engagement, digital transformation and online presence, infrastructure rehabilitation, community-based tourism and skills development and educational curriculum,” the minster added.

    Speaking on the journey so far, the organiser of the expo, Mr. Ikechi Uko, recalled that until COVID-19 pandemic, travels and tours had grown enormously in Africa, noting that resilience remains the driving force that kept the project going.

    “Our resilience is fired by the fact that we have a mission to improve travels and tours in Africa. We were also supported by many willing people for the mission we laid out. Resilience was not a personal attribute in this sense because there was a job to be done and there were willing hands to support and build a travel market for Africa,” he said. 

    Uko, who tasked Nigeria to consider tourism as serious business that deserves all necessary investments and promotions, stated that some states had appointed knowledgeable people to take charge of their tourism business, which is yielding fruits.

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    “Nigeria needs to take tourism serious. All we need to do is to encourage states to appoint knowledgeable people as well as those who have passion for tourism. And the returns on investment will be worth the pain,” he added.

    To Uko, celebrating the 20th edition of the expo is not a mean feat in a sector that faced with some challenges. But, interestingly, this year’s edition stands out among the lots since COVID-19 in terms of attendance.

    Uko said: “This year’s edition is the first time the expo will attract the largest number of participants from countries in Africa and beyond. It is the first time for countries like Italy, Zimbabwe and Botswana to attend Akwaaba. Let’s hope we will recover and do better in the coming years.”     

    He disclosed that subsequent editions of the expo would be held along with other tourism events organised by him, which include Naija Seven Wonder, Chinet Aviation Expo and Bantaba Expo. He stated that the decision was informed by his realisation that Nigeria had fully woken up to the business of tourism. He stressed that it was time to link Nigeria’s travel business with the global travel business.

    Commending participants, he said: “Thank you for coming for the 20th Akwaaba. I appreciate the tourism queens from other countries, who are present here. I was spurred to start Akwaaba by the need to encourage Africans to travel within Africa, because of the huge potentialities I saw and I want to appreciate everyone who has supported me all the way.”

    Ghanaian traditional ruler, David Nana Anim, Okatakyie Nana Anim 1, who declared the travel expo open, commended the efforts of the organiser for sustaining the brand over the years.

    President of Royal Chiefs of Ghana, Anim commended the way Nigerians embraced other tourists during the expo, advising Africans to jettison all forms of division and stay united.

    “I want to commend Mr Ikechi Uko, the organiser of Akwaaba, sustaining this expo for 20 years is not a joke. As you can see that Ghanaians and Nigerians are brothers and sisters, we are not enemies. Let us take advantage of this platform to network. I am so proud of this brand and happy to be celebrating with the good people of Nigeria. Tourism should be the key driver of the economy all over the world. We must work in unity to ensure we groom the industry to yield bountifully from it,” he said

    Among the states that participated in the expo was Ekiti State, renowned as the most educated state in Nigeria. It made a great impact at the 2024 Akwaaba Travel Market by presenting a unique branding initiative that highlights its rich academic heritage. With a population of about 3.7 million, Ekiti has achieved the remarkable distinction of producing the highest number of professors in Nigeria, solidifying its status as a beacon of educational excellence.

    Ekiti showcased a stunning array of academic accomplishments that reflect the state’s commitment to education and intellectual growth. Attendees at the event were captivated by the display of academic books, the prestigious gowns worn at graduation ceremonies, and the rich history of Ekiti’s educational institutions.

    Director-General, Ekiti State Tourism Bureau, Mr. Wale Ojo-Lanre, underscored the potential of education tourism in the state, calling on tourists, particularly Africans, to make the state their tourism destination. According to him, Ekiti State is not only known as the fountain of knowledge, but also as embodiment of huge potential for educational tourism.

    He hinted that the Ekiti State International Cargo Airport will be functional from December, to further enhance the ease of doing business. “You should be assured that when you come to invest in Ekiti, you will not be over taxed, be assured of gaining access to land and other necessity. We are hospitable, friendly and trustworthy, you won’t be defrauded,” he added. 

    Ojo-Lanre said the state was not only endowed with natural attractions for tourists but also has the highest number of professors and experts cut across various fields of human endeavour.

    “I am happy to be here because AKWAABA is the biggest platform to market tourism in the whole of West Africa. We, in Ekiti, are here courtesy of Gov. Biodun Oyebanji to sell Ekiti, not only as a pounded yam hotspot but also as a state that produces the highest number of professors in Nigeria. Ekiti is known as the most educated state in Nigeria.

    “We are here to market the state as the intellectual base of Nigeria. We are about 3.9 million in population and we have over six universities, four polytechnics, three technical colleges and several other academic institutions.

    “One of the best private universities in Nigeria, Afe Babalola University, located in Ekiti, also accomodates one of the best hospitals in Nigeria, which tells of our medical tourism endowment. So, visiting Ekiti is not just to explore the Ikogosi warm spring, the palm tree with 42 heads.

    “We want our educational tourism to be brought to the fore, that is the reason we are dressed in different academic attires to replicate what tourists can see in the state,” he said.

     Ojo-Lanre explained that the goals of the bureau was to increase tourists’ arrivals to the state, enhance visitors’ satisfaction, promote sustainable tourism practises as well as foster collaboration among tourism players. He assured investors and tourists of a conducive environment for business transactions and to unwind.

    “As we showcase our accomplishments at Akwaaba, we are also promoting the potential of our state as a premier tourist destination for those who value education, history, and culture,” he noted.

    Ekiti state pavilion stood out among the diverse presentations at Akwaaba, where participants were not only drawn to the rich tapestry of educational resources but also to the forward-thinking approach of Ekiti’s tourism strategy. The state is actively leveraging its academic strength to attract tourists, researchers and students from around the globe.

    Ekiti state’s participation in this year’s Akwaaba has set a new standard, spotlighting the importance of education as both a tool for societal growth and a key driver for tourism.

    Head of SME Segment, Enterprise and Business at MTN Nigeria, Omowunmi Olatunbosun, explained  how the telecommunications company had transformed into a technological firm, saying MTN Nigeria was ready to assist practitioners in the tourism and travel business in the area of market expansion, customer enlargement and more.

    She said: “MTN’s offerings include digital applications, market expansion, customer engagement and bespoke solutions tailored to industry problems. Implementing these solutions could reduce costs, increase productivity and drive down expenses, ultimately contributing to the growth of the tourism sector.

    “We also have products that actually build bespoke solutions depending on the problem statement in an industry, so regardless of what an issue may be, we are on standby to assist you with our technology operations.

    “And we would tell you that once you introduce this into business operations, the digital platform will actually drive down their cost to serve, by pushing their customers towards the digital application and also increase their productivity by 30%. So these are some of the bespoke solutions that we can help create within the tourism sector,” she assured.

    A delegate from Cameroon and Chief Executive Officer, Flora Travel and Tours Agatha Iyok said that Akwaaba has been a source of inspiration to her over the years, adding that her main aim in Akwaaba is to gain the professional expertise to enable her host a similar travel expo in Cameroon, which she tagged “Cameroon International Tourism Fair”.

    To her, Akwaaba had been a veritable platform for networking, gathering travel knowledge as well as a platform for fostering peace, unity and collaboration among Africans. According to her, through the platform, she has learnt resilience and endurance, urging delegates at the expo to continue to explore the platform for the improvement of their businesses.

    Convener, Youth Tourism and Hospitality Leaders Forum (YTHLF), Mr Omololu Olumuyiwa, commended Uko for raising the Nigerian tourism brand t enviable height in the last 20 years. Olumuyiwa while presenting a photo frame of Uko, urged him to do more for the sector.

    Some of the travel and tourism exhibitors present were Lux Manjani Zanzibar, Ghana Tourism Authority, Kenya Tourism Board, African Regent Hotel, Lagos State Tourism agency,  Royal Caribbean, Unicorns Tour, Hotel2fevrier, Costa Cruises, Royal Senchi, Riva Travels,  Ibom Air, Cinderella, Ethiopia Airline, Travel Tank, Uganda Airline and Carnival Calabar. Others were Tanzania Tourism, Alisa Hotels, Trip Benny, Gambia Tourism Board, Rainbow Tourism Group,

    The event also featured a ‘Jollof Rice War’ among nine chefs, where tourism queens across African countries were the judges. The contest had Chef Niychas as the winner. The three-day event, which ended yesterday, also featured award presentations to deserving exhibitors, panel discussion among others.

    As a way to celebrate excellence, some 100 African tourism practitioners were honoured with the Africa Travel 100 Global Leaders award on Monday by the organisers of the expo describing it as opportunity to recognise and appreciate practitioners in the industry who had been outstanding over the years across Africa. He commended their efforts in constantly repositioning the industry to compete with other climes. “The award is meant to recognise individuals in different categories regarding their immense contribution to the development of the tourism sector in their countries,” he said.

    One of the recipients of the award, a leading promoter of intra-African trade and travels since COVID-19 pandemic, Managing Director Deans Travel Centre Ltd, Kenya, Mr. Patrick Kamanga said the award was truly commendable as it was such a beautiful development to see his project yielding results. “Kenyans have begun to travel within Africa and getting an award for that is amazing,” he said, adding that the award would spur him to promote tourism more, having partnered some other African countries to drive the project as well. “AKWAABA has demonstrated to me that indeed Africans are one and we must remain united,” he noted.

    Among the recipients of the award were Sheikh Ahmed Nyang, Head of School, Institute of Travel and Tourism of Gambia; Alisa Osei-Asamoah, President, Tour Operators’ Union of Ghana, (TOUGHA); Dr Gabe Onah, Chairman, Carnival Calabar. Others were Fifi Rurangwa, Chief Executive Officer, The Xperts; Fatou Mas Jobe, Former Minister for Tourism and Culture in Gambia; Abubacarr Camara, Director-General, Gambia Tourism Board and Dr Adama Bah, Chairman, Institute of Travel and Tourism of the Gambia.

  • Fine art not demonic, says Shyllon

    Fine art not demonic, says Shyllon

    Foremost Nigerian art collector Omooba Yemisi Shyllon has dismissed the insinuations by some Nigerians that artworks constitute elements of idols and should be avoided. He described such belief as wrong perception and a misrepresentation of what artworks are and their values to the nation’s economy. This, he said, is ‘no thanks to misinterpretation of the Holy Bible in Exodus chapter 20, verses 4-6.  And no thanks to the misinterpretation of the Quran in Chapter 21, verses 52 to 54.’

    He stated that those holding such belief misrepresented or misunderstood the provisions in the Holy Bible in Exodus Chapter 20, verses 4-6.which states that ‘thou shalt not make unto thee any graven image, or any likeness of anything that is in heaven above, or that is in the earth beneath, or that is in the water under the earth: thou shalt not bow down thyself to them, nor serve them: for I the LORD thy God am a jealous God, visiting the iniquity of the fathers upon the third and fourth generation of those who hate me, but showing love to a thousand generations of those who love me and keep my commandments.’

    Shyllon who is grand patron of Society of Nigerian Artists Ogun State Chapter, spoke recently at a two-day outdoor painting and exhibition tagged August Visitors in Kuto, Abeokuta Ogun state capital organised by the Society of Nigerian Artists, Ogun State chapter.  It featured no fewer than 30 artists.

    Shyllon commended the artists for holding the outdoor event saying it would give the ordinary man who is passing by to see what Nigerian artists are doing.  “It will also show that there is nothing demonic in art. And that it helps to engage the young minds and provide employment.  Not only does it provide employment, it provides tourism inputs.  Art is a very, important and veritable part of tourism. I’ve been a professional member of the Louvre in Paris. And I know how many people are welcomed at the Louvre. From records, about ten million people visit the Louvre every year.

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    “And if you look at the average cost of visiting the Louvre from whatever countries you are, it is good money. That shows that on average, a tourist spends about $8,000 per year on visiting world tourism sites, locations of museums, galleries and so on.  So, if we can develop these talents and market it to other people, not only will it encourage domestic tourism, it will also encourage international tourism,” he said.  

    He stressed that international tourism will provide a credible window through which Nigeria can regenerate its economy, adding that from a structured model of economy to a more regenerative model of economy, domestic tourism will be enhanced. “Artists will come all the way from the North, the East, and so on and so forth.  And people will come from different parts of the zones to see what people in the Southwest or vice versa are doing in terms of production of artworks.  So, in general, I think it’s good for Nigeria and Nigeria’s economy,” he added.

    Chairman, SNA, Ogun State Chapter, Mr. Oladimeji Oluwagbemiga said the choice of the venue of the event, which is Kuto under bridge in Abeokuta, was deliberate to draw attention of public to the existence of the society and its activities.

    He noted that until now, ‘it is as if the society does not exist. And then we looked at what we can use as awareness tool to draw people to us. So, we shifted our base from indoor exhibition to outdoor for the public to see without hindrance.’ Last year, the society collaborated with Lagos State on October Rain, and consecutively had exhibitions in two galleries in Lagos.

    Dr. Doyin Labode, a lecturer at the Federal University of Agriculture, Abeokuta, said the event provided opportunity for people to interact with artistes and be more aware of the benefits of art.  

    “The challenge we face is that of the few numbers of collectors as they are not enough. Also the private firms are not. We still need more of them to identify with us. We drag some, we even wrote invitation letters. Unfortunately, we can have a two weeks exhibition without a single representative of a firm in attendance. So that’s part of challenges. However, we are moving gradually,” he added.

  • Four photographers hold exhibition at UNILAG

    Four photographers hold exhibition at UNILAG

    Four award-winning photographers have held a group exhibition of contemporary fine art entitled: Playful Perspective at the MadHouse Gallery, University of Lagos (UNILAG).

    They are: Olusolape Awe, Awoyomi Ayodeji, Sulaiman Abubakar Sulaiman and Rahimat Onize Shaibu.

    The event anchored by Oyomi Arts featured five arworks per artist.

    The curator, Awoyomi, said: “In a world often defined by seriousness and constraint, my photography seeks to liberate the imagination through a playful perspective. By capturing ordinary objects and scenes in unexpected ways, I invite viewers to reconsider their own perceptions and find joy in the unexpected.

    “Through the use of unusual angles, creative compositions and a touch of humour, I aim to challenge conventional notions of beauty and aesthetics,” adding that his photos are a celebration of the  human spirit’s ability to find wonder and delight in the most ordinary of circumstances.

    Sola, also a lawyer, said he delved into photography in 2019. He said passion drove him into photography, when he was at the Law School in Kano. He tells stories through the mixed media. One of his works on display is, |”No Mala”, a series of fine art photographs, which utilises the captivating patterns created by linear glass prisms to explore the unhidden depths of human identity. “No Mala”, which means “No Evil” is a visual exploration of superficial human physical features through unconventional naturally occurring means”.

    Abubakar explained that a photo, which shows a man carrying a load of basket on her shoulder, shows how we struggle through life to fend for our families. “It shows what men go through,” he further said.

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    The other works are “Graceful Balance: A tribute to tradition”; “The Joint Hands”, “The Infinite Journey”, “Language of Souls”, and The Hooded Figure (“Intitulada”). “The Joint Hands” is a photo of some men holding hands which shows that there is strength in unity. “I strive to make people happy and how they can be of benefit to each other,” the artist said.

    Rahimat, the only female artist among the exhibitors, had “Faces of Me” as one of her works. She said through them, she aims ”to inspire viewers to see beyond the surface, to celebrate the extraordinary and to honour the unseen talents that make our world more vibrant and diverse”. She also said “her selective use of colours stands for the talents that stand out even when surrounded by a world that can feel overwhelmingly grey. It is a statement about the power of creativity to shine through demanding appreciation and acknowledgement, even in the most muted environments”.

    Awoyomi advised young artists to get their acts right whether in photography or elsewhere. “No matter the challenges, create something,” he advised, adding: “What you create today, may have a telling effect in generations to come. When you dream it, you act on it. We are from Nigeria. Today, we are in the United Kingdom’ from where we  exhibit in Nigeria.”

    A visitor at the exhibition, Mr. Jaboda Emmanuel, an artist, praised Awoyomi. “The works are motivating. I would like to take photographs like these. Like that one, ‘Bashorun’, which shows that women have leaders who they respect. The photo is good; it depicts life. They are amazing prints; so far, so good. I will exhibit my photos some day,” he pledged.

  • Group marks World Clean-up Day

    Group marks World Clean-up Day

    • By Omolola Yekini

    Pernod Ricard Nigeria, a member of the Pernod Ricard Group, celebrates this year’s World Clean-up Day themed “Make Room For Life” in collaboration with Let’s Do It Nigeria, the representative for World Clean-up Day in Nigeria.

    World Clean-up Day is an annual global social action program aims at combating the global waste problem and advocating a shift towards better waste management. Last year, over 2,800 tons of waste were collected across 28 states by 26,000 plus volunteers in partnership with Let’s Do It Nigeria.

    The clean-up operation strongly aligns with Pernod Ricard’s Sustainability and Responsibility Roadmap for 2030, specifically under the Circular Making pillar and represents an enduring commitment to environmental sustainability, ensuring a healthy future for Nigerians and global societies alike.

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    As a socially responsible organization and through its sustainability roadmap, Pernod Ricard has planted over 6,000 trees across Nigeria, eliminated single-use plastics, reduced her environmental impact through reusable and recyclable packaging, unboxing some of its brands, Jameson Irish Whisky, Chivas Regal and Imperial Blue Whisky by doing away with single bottle cartons to reduce waste, while applying five key principles : Rethink, Reduce, Reuse, Recycle and Respect to its operations.

    According to Pernod Ricard Nigeria’s Managing Director, Michael Ehindero, “We share a world of finite resources which is under huge pressure from mankind’s activities. At Pernod Ricard, we strive to minimize waste at every step by imagining, producing, and distributing our products and experiences in ways that optimize the use and promotes preservation of natural resources. Our goal is to minimize environmental impact while creating better moments and positive interactions with our consumers.”

    He stated “we encourage everyone to join the cause and participate in World Clean-up Day activities within their communities. Together, we can contribute to creating a cleaner, healthier planet for present and future generations.”

  • Literature and legacy: Understanding My Literary Journey by Bukar Usman

    Literature and legacy: Understanding My Literary Journey by Bukar Usman

    Title: My Literary Journey

    Author: Bukar Usman 

    Reviewer: Oluwashindara Oso

    Pagination: 235

    Publisher: Klamidas Communications Limited

    Bukar Usman’s My Literary Journey is a captivating reflection on his life and the path he has taken as a public servant, writer, and storyteller. Since his retirement from service in 1999, he has devoted his time to creative writing, cultural research, and folklore revival in Nigeria.

    Usman, a prominent Nigerian writer and folklorist, delves into his childhood, his education, and his early fascination with stories. He recounts his humble beginnings in rural Nigeria and the way his upbringing influenced his deep appreciation for oral traditions. These early experiences shaped his mission to preserve and document Nigeria’s rich cultural heritage through stories, folklore, and historical writings.

    Usman veered into the imaginative world of fiction-writing, that realm where the writer attempts to ‘put head and tail back to the severed trunk of our tale,’ only after my retirement. He mentioned that his experience however supports the notion every writer is the one who ‘decides’ whether or not to be a writer. He mentioned that choosing to be a writer in his own case was “an involuntary decision, more like yielding to the impulse to yawn than choosing to have a walk.”

    My literary journey was chronicled on how “the initial yawn became a walk and eventually a journey…” Usman never had any formal creative-writing training but the experiences he had gotten shaped him to become the creative writer he is.

    In the book he mentioned that “Those folktale sessions, during which all the children gathered to listen to older members of the extended family, unconsciously, prepared me for the interest I later developed in folklore.” He was in the bureaucratic English business for 30 years. He mentioned that “As a public servant, I had a number of engagements with the public during which I delivered speeches on key policy issues. Writing those speeches, I might say, was the nearest I came to creative writing before 1992 when I began to write my autobiography, Hatching Hopes.” (33).

    My literary journey by Bukar Usman is a literary memoir, an update of Bukar Usman’s autobiography, Hatching Hopes. The memoir is divided into five parts, with the first four chapters taking readers through his journey into writing, literary approach, selections from his published works, and reviews of his non-fiction and fiction works. Part one to four contains two chapters each and part five contains the appendices section where most of the reviews can be read in full.

    In part I – II of the memoir, he took us through the various stations of his literary journey and approach. His delightful narrative introduces us not only to his writing but also to the unusual interaction he enjoys with his readers. In the book he stated that his style is like a conversation and he tries his best to anticipate their reactions. He said: “I write as I talk, or generally aim to do so … I like to write as if I am conversing with my reader.”

    My key takeaway from My literary journey by Bukar Usman is the part where he talked on how one cannot train a person to become a writer. He said he “…never had any formal creative-writing training and it is very comforting to know that many writers, too, did not…”  He revealed he acquired his skills through reading, through writing and revising, and through the guidance of knowledgeable and literary-minded people.

    Part III contained selections from his published works. Included in the selection were six readings from his non-fiction works and three readings from his works of fiction. Some of the selections include “My Home Town”, “Lagos lifestyle”, “Obama & King’s Prophecy”, “The Forbidden Fruit”, “A Tale of Two Betrayals” and others.

    Part IV contains the reviews & commentaries on his non-fiction and fiction works. Part V contains the appendices section where most of the reviews can be read in full. It also features critical reviews of his works and his own reflections on Nigerian literature.

    Usaman’s style is unique and different from any other autobiography. He cited a lot of writers and prominent people. Which shows that Usman is a vast reader and this is a challenge and motivation to people that they do not need to be taught to be a creative writer but they can improve themselves through wide and constant self-improvements.

  • Agbani Darego: A fashion icon’s enduring style

    Agbani Darego: A fashion icon’s enduring style

    By Ojochenemi Priscillia

    Agbani Darego, the first African to hold the Miss World title in the year 2001, is still relevant in the fashion world both in Nigeria and outside the country. Her style, carriage, and grace are those which have influenced the young people in fashion.

    Born on December 22 1982, in Lagos, Nigeria, Darego was only 16 when she commenced modeling professionally. The young lady was crowned Miss Nigeria in the year 2000 and went on to clinch the Miss World title a year after making her ascent to fame meteoric. This was also a shift in the global pageantry as far as the participation of Africans was concerned and this prepared the ground for generations of African models and beauty queens to come.

    Darego’s dressing is made up of basic cuts and styles complimented with contemporary fabrics and prints, rich and bold colors, and fabrics, and elements of African traditional garments cut with modern design. A sophisticated evening gown is often styled with subtle accessories, effortless hairstyles, and natural makeup, resulting in a timeless and captivating presence that exudes genuine beauty. She has also stepped into the Nigerian fashion industry and advocated the fusion of Nigerian and contemporary fashion.

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    Agbani Darego’s post-pageant life has been marked by a successful modeling career, with appearances in top fashion magazines and runways. She has also ventured into business, launching her own denim line, AD by Agbani Darego, in 2015. Darego has been open about her experiences as a model and entrepreneur, sharing her insights on the importance of hard work and resilience. Her journey serves as a testament to the possibilities available to young Africans who pursue their passions with dedication and perseverance.

    Agbani Darego’s fashion sense is characterized by elegance and versatility. She has walked the runways for top designers like Christian Dior, Chanel, and Ralph Lauren. Darego has also appeared in editorials for prestigious fashion magazines such as Vogue, Harper’s Bazaar, and Elle. Her style evolution has been marked by a transition from pageant queen to high-fashion model, showcasing her adaptability and range. With a penchant for classic silhouettes and bold prints, Darego’s fashion choices continue to inspire and influence African fashion enthusiasts worldwide.

    Over the years, Darego has embraced the role of a fashion muse and in doing this she has made her contributions for the art of history. She has in turn, paraded local fashion in international stages. The young people of Nigeria have learnt from her achievements and have developed to be proud of who they are and their roots. Darego continues to command the respect of the people in Nigeria’s fashion industry.

  • Uwagboe conquers with protest art

    Uwagboe conquers with protest art

    There is no doubt that Bob Nosa Uwagboe is a protest artist. He has come to use his sort of art pieces to explore and expose man’s inhumanity to man. His arts are unique in many ways and also meant to achieve activism. For three months from June to August, he was away in Poland and Germany on artist residency programme meant to engage arts that champion the liberation of man from all manner of injustices. He tells Edozie Udeze more in this encounter.

    Bob Nosa Uwagboe, this peculiar protest visual artist, has gradually built himself into the hearts of people. His style of protest art was initially seen by some as an aberration. But Uwagboe kept on with the tempo, producing series of awesome pieces of artworks that surprised art lovers, stakeholders and fellow professionals. Today his name rings a bell in far and near places. His works have peculiar signature to them, a trend he has come to use to impact beyond his immediate confines.

    Between the months of June and August this year, he was away in Poland and Germany where he was involved in artist residency programme. The residency included artists from other climes. However, as usual, the familiar but peculiar elements that often dominate his art pieces came fully to the fore. As an artist, he was at his best. In fact, his works outshone others. In Polish language, protest art is called sztuka. The international exhibition which involved the entire artists in the programme concentrated on activist art. The works presented the artistic stance on creation, so said Uwagboe.

    Therefore, the essence of the Polish experience was to do art that hammered on human rights, environmental concerns, gender equality, social justice and such other related ills of the society. It also involves the dignity of the human person because the world recognizes protest art as a form of social activism. In an interview, Uwagboe explained that “Protest art can have an important relationship with human rights and environmental concerns. Protest art is a form of art that is often used to reawaken the consciousness of the oppressed, raising awareness, sparkling dialogue, and advocating for social and political change on issues like human rights violations and environmental degradation in our society”.

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    He continues, “It helps in critiquing and challenging the status quo on human rights and environmental issues through creative expression. Protest art can give voice to marginalized perspectives. It also helps in preserving historical narratives and experiences related to human rights struggles and environmental movements through artistic documentation. Protest art has demonstrated an ability to amplify and strengthen movements advocating for human rights and environmental protection. The creative and expressive nature of protest art can be a valuable tool for social and political change”.

    For him as an artist, he said “No, I don’t do or take part in performance art, but I appreciate every form of art that is used to demand for good governance. I was on 3 months (June -August) of art residency with “WL4 Mleczny Piotr” among other international artists who use art as a tool for social commentary in their respective societies. This project was curated by Maria Dembek.

    So in between my stay in Poland, I traveled to Berlin with my manager Malgorzata Paszylka Glaza to take part in an Kunst festival with 20 0f my works on display for a solo exhibition in a government gallery. Exhibition titled. “Voicelessness”. The title of the installation and the works on display in Poland is human remains. In this installation, I made use of 100 used t-shirts and the medium was the screen printing method.

    Speaking further, he reveals that “This artistically distorted and fragmented composition is made of used t-shirts, covered with prints from stencils depicting human silhouettes and iconic figures associated with the resistance movement. The artist’s intention was to reflect the gradual erosion of the memory of the heritage of those who sacrificed themselves for our existence in the struggles against oppressive systems to preserve civil rights and freedoms. “Human remains” serves as visual representation of our mortality, reminding us of the impermanence of life and interconnectedness of past, present and future. The project asks for contemplation on our human condition and on how we should use our position to question, protest and make demands peacefully and constructively”.

    As an artist Bob Nosa Uwagboe expresses the belief that his artistic stance can inspire others towards empathy, understanding, and action, thereby changing their surrounding reality and the face of the contemporary world,” that was how Maria Dembek described Bob Nosa’s works. “The art residency was a huge opportunity for me to maximise my potential and expose my practice more to the global community, to also learn from other creative minds from other parts of the globe with like minds.

    Meeting with other artists was a big experience for him. “Meeting artists from other climes is such a moment I am always looking forward to because it served as a cross-cultural exchange programme that helps to open up one’s mind and also helps to appreciate where one is coming from. It helps to understand that life is almost the same everywhere because human challenges and desires are the same. In a distorted society like Nigeria, where social, economic, and political challenges are prevalent, my art practice play several crucial roles in fulfilling social responsibility. It raises my art awareness. Art can spotlight critical issues such as corruption, human rights abuses, and economic disparities. By highlighting these issues, my art educates the public and creates dialogue around solutions.

    “Art can also provoke thought and encourage individuals to reflect on their own roles within society. This reflection can lead to increased civic engagement and a greater drive for social change. It preserves my art as culture. In terms of social distortion, art can serve as a means to preserve and celebrate cultural heritage, providing a sense of identity and continuity for future generations. My art serves as a vehicle for comfort and escape from the harsh realities of life and offers comfort to those struggling. It can be a source of solace and hope in difficult times. My art has the potential to ignite the minds of the people and inspire activism and social movements aimed at addressing societal issues and driving progress.”

    As a way of replicating what he has learnt abroad concerning art residencies, Uwagboe has also established artist residency in his studio here in Lagos. The residency has indeed produced one or two artists. The most interesting thing however is that the protest art studio is filled with all types of art pieces that dwell on human experiences across age, time and race. With his zealous devotion to using art to preserve the ecosystem, the environment generally, Uwagboe has demonstrated that people can change the fortunes of the earth through many ways. With what he has been able to do with his art, it is obvious that he has more to offer the world. Now he has finally placed protest within the context of art, using visuals to open people’s eyes to the distortions in human relations, in disjointed nature of leadership across climes and more.

  • Realities of marriage

    Realities of marriage

    Title: The Truth About Sadia

    Author: Lola Akande

    Reviewer: Oluwashindara Oso

    Pages: 301

    Publisher: Tunmike Pages

    The Truth About Sadia is a fiction, which opens with a poignant prologue that sets the tone for the rest of the story. Akin, in a fit of jealousy and an overwhelming desire to control his sister’s fate, takes Sadia to a medicine man who implants a maggot in her body—a ritual act that curses her love life. This initial act of cruelty and betrayal by a family member highlights one of the novel’s central themes: family dispute/unforgivenness.

    As the narrative progresses, readers are introduced to Sadia’s life, particularly her ill-fated marriage to Mofe. The relationship, which begins as a seemingly romantic and hopeful union, quickly deteriorates as Mofe’s dark past and present struggles with drug addiction come to light. Akande skilfully uses flashbacks to reveal the underlying tensions and unresolved issues within both Sadia’s and Mofe’s families, painting a vivid picture of how deeply rooted issues can destroy lives.

    The Truth About Sadia by Lola Akande is a compelling and multifaceted novel that delves deep into the complexities of family dynamics, the destructive nature of drug abuse, and the untold struggles of marriage. As the narrative progresses, readers are introduced to Sadia’s life, particularly her ill-fated marriage to Mofe. The novel delves into how Sadia’s marriage to Mofe unravels, reflecting the harsh realities of marriage, contrasting societal expectations with the ugly truth of living with a drug addict. The relationship, which begins as a seemingly romantic and hopeful union, quickly deteriorates as Mofe’s dark past and present struggles with drug addiction come to light. Akande skilfully uses flashbacks to reveal the underlying tensions and unresolved issues within both Sadia’s and Mofe’s families, painting a vivid picture of how deeply rooted issues can destroy lives.

    The repeated cycles of hope and despair in Sadia’s life illustrate the broader societal issues of addiction, mental illness and the stigmatization of those who are married to addicts.

    The narrative is primarily told from a third-person perspective, but Akande occasionally allows characters to express their emotions in the first person, adding a personal and intimate touch to the story.

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    One of the novel’s strengths is its exploration of marriage, not as a tranquil institution but as a complex and often challenging partnership. Sadia’s marriage to Mofe is flawed by his substance abuse and the toxic influence of his brother, Aremo, who steers him into addiction.

    The first-person narrative brings readers to the forefront of the protagonist. Readers were able to understand her pain, her thoughts and her desires and could also see that the author wanted us to feel the pain and anguish of the protagonist. Right from the prologue, the intrigues get the reader hooked till the end. Its simple plot structure woven around the couple- Sadia and Mofe, also makes comprehension easy and tale, quite engaging. The literary devices used in the novel helped us to understand the feelings of the protagonist even more and could also follow her thought process.  The book tells of the unspoken struggles of life. Marriages are not always a bed of roses. There’s a sharp contrast between society’s viewpoint and reality on the subject of marriage. Through Sadia’s experiences, Lola Akande challenges the romanticized view of marriage, revealing it as a commitment that requires more than just love; it demands communication, forgiveness, and a willingness to endure hardship.

    The Truth About Sadia is a thoughtful and engaging exploration of marriage. Akande’s skilful storytelling and deep insight into the dynamics of marital relationships makes this novel a compelling read. must-read for individuals of marriageable ages, as the author effectively challenges the readers’ notions of a fairy-tale romance.

  • Omole unveils foundation

    Omole unveils foundation

    The Wale Omole Foundation for Virtues and Ethics in Yoruba Culture has been unveiled, marking the beginning of a transformative journey focused on education, community development, and cultural preservation. The event, held in Victoria Island, Lagos and attended by distinguished guests and dignitaries, was held to celebrate the vision of Prof Wale Omole, a revered figure in academia and Yoruba culture.

    According to the Chairman and Founder of the foundation, Prof Wale Omole (OFR), the foundation will focus on education, community development, and cultural preservation.

    He noted that the foundation is set to empower countless individuals and communities, ensuring that the virtues and ethics of the Yoruba people continue to thrive for generations to come.

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    Prof Omole said: “From the very beginning, my life has been guided by a deep sense of purpose and an unwavering commitment to uplift and empower our communities. The grace of God has been a recurring theme in my life.

    “Over the past four decades, I have dedicated myself to education, community development, and the promotion of cultural heritage. I have witnessed firsthand the transformative power of education in changing lives and breaking the cycle of poverty.

    “I have seen how community development initiatives can create sustainable livelihoods and foster a sense of pride and belonging. And I have experienced the profound impact of preserving and promoting our rich cultural heritage, which serves as a beacon of identity and unity.

    “It is this God-given wealth of experience and unwavering dedication that is the cornerstone of The Foundation. Our mission is clear: to create a brighter, more equitable future for all by focusing on three key areas – Education, Community Development, and Cultural Preservation.

    “We believe that education is the cornerstone of progress. The foundation will support educational initiatives that provide access to quality education for all, particularly for those in underserved communities. We will work to improve educational infrastructure, provide scholarships, and support teacher training programs to ensure that every child has the opportunity to realize their full potential.

    Our commitment to community development is unwavering. We will support initiatives that create sustainable livelihoods, promote entrepreneurship, and improve access to essential services. By empowering individuals and communities, we aim to foster economic growth and social well-being. Our rich cultural heritage is a source of immense pride and identity.”

  • Expanding opportunities for art, artists

    Expanding opportunities for art, artists

    Chief Executive Officer, LVI Art Gallery and Cultural Nexus, Julius Iyighiojie has urged Nigerian visual artists to have positive mindset towards Nigeria despite the economic hardship the country is going through now. He said that ‘we have more for us than what is against us as a people.’

    Iyighiojie lamented that instead most Nigerians are seeking greener pastures outside the shores of the country at very high risk. “Unfortunately, we are seeking foreign validation and endorsements as well,” he added. He spoke recently in Lagos while unveiling his gallery’s three-month painting and outdoor exhibition coming up in October, November and December for visual artists..

    Iyighiojie stated that the monthly exhibition will flag off on October 4 and is designed to enlighten Nigerians and the global community on the unique beauty and tourism potential the nation was endowed with. With the theme: ”The Hand that Creates the Masterpiece”, it will feature emerging artists who are expected to produce paintings during a live drawing session that explore the beauty and positive aspects of Nigeria. It will feature no fewer than 60 emerging artists, 20 for each month..

    According to him, this is his way of assisting the artists to gain personal visibility as well as promotion for their works. “Nigeria has all it takes to be big in tourism; this is an exhibition that is meant to expose people to the beauty of Nigeria. The exhibition would run as a live demonstration of artists engaging in painting on acrylic while the exhibition of those paintings will also run concurrently.

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    “This is my way of deliberately promoting the young artists who have no means to hold exhibitions and it is also planned to achieve my desire of showcasing the beauty of Nigeria to spur tourism. The October session will run from 4th to 6th November edition will hold from 1st to 3rd while the December session will run from 6th to 8th. Within the three days for each month, the artists are meant to produce a maximum of three paintings that will explore the theme for the exhibition,” he said.

    To be part of the programme, Iyighiojie disclosed that prospective visual artists must have any of these qualifications: Ordinary National Diploma (OND), Higher National Diploma (HND), B.A or M.A in Arts and Designs. Interested artist can access the gallery via @lvi art gallery.

    He said all paintings would be done on acrylic because of its environmental friendly nature and is fast to dry. He assured that for.proper documentation, a catalogue of the art works created within the three months will be produced and it will be distributed to museums and ministries for proper promotion.

    “All art works are to be produced and completed at the exhibition arena and each artist is to produce 3 artworks within the painting period. This will be a regular practice going forward. I want to see Nigerian emerging artists coming out of obscurity to fame.

    “We are going to ensure that the works produced are sold during the exhibition and the artists will have the opportunity to continue to exhibit their works in my gallery, even after the exhibition period,” he said. As part of his plans for children with special needs, he said a similar art programme will be organised by the gallery this month when students resume school.