The Nation Newspaper

Category: Arts & Life

  • Artisans to showcase world’s best artwork through exhibition, fair

    Artisans to showcase world’s best artwork through exhibition, fair

    The Association of Nigerian Artisans and Technicians (ASNAT) is set to showcase some of the world’s finest locally-made products at the upcoming Artisan Exhibition and Fair in Nigeria.

    Comrade Adesina Akinyemi, National Coordinator of ASNAT, commended the Director General of the Industrial Training Fund (ITF), Oluwatoyin Afiz Ogun, for supporting artisans through the Skill Up Artisan (SUPA) program.

    He noted that the Fund has facilitated numerous programs and projects aimed at enhancing artisans’ skills.

    The exhibition will take place from September 30 to October 2, 2024, in Abuja. Akinyemi announced this during a press conference, inviting all stakeholders and the general public to the Nigerian Artisan and Technician Exhibition and Fair (NATEF) 2024.

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    He emphasised that the event aims to promote higher value-added processing and local production activities in Nigeria.

    He stated: “This will stimulate economic growth and promote the development of local artisans and technicians. Beyond supporting the economy, NATEF will open doors of opportunity for local technicians and artisans to showcase various locally made and unique products that cannot be found anywhere else in the world.

    “We appeal to all state governors in Nigeria to support this vision through partnership by sponsoring at least 100 artisans and technicians from their states to NATEF for participation. We equally appeal to the National Assembly through the Senate President and Speaker of the House of Representatives to urge all distinguished Senators and House members to at least sponsor 50 artisans and technicians from their Senatorial district.

    “The idea behind this fair is to make it an annual tourism event that will attract and bring people from all over the world to connect with our local artisans in the country. This program will also serve as a hub for establishing contacts between our local and international artisans”.

    Akinyemi lamented that Nigerians have forgotten the existence of the artisans, all we are working to do now is to bring back the artwork of years ago with quality.

    “Our slogan is ‘Reaching out seeking attention is what we are doing right, artisans need attention again”, he said.

  • Five renowned all-time African authors

    Five renowned all-time African authors

    Africa being a ethnically and culturally diverse continent makes it no surprise that the literature that has emerged from it be equally diverse and multifaceted. Dealing with a range of social and cultural issues, from women’s rights and feminism to post-war and post-colonial identity, here are some of Africa’s best contemporary writers.

    This is a list of prominent and notable writers from Africa. It includes poets, novelists, children’s writers, essayists, and scholars.

    1. Doreen Bangana:

    Doreen Baingana  is a Ugandan writer. She was born 1966. Her short story collection, Tropical Fish, won the Grace Paley Award for Short Fiction in 2003 and the Commonwealth Writers’ Prize for best first book, Africa Region in 2006. Stories in it were finalists for the Caine Prize in 2004 and 2005. She was a Caine Prize finalist for the third time in 2021 and has received many other awards .

    She was raised in Entebbe, Doreen Baingana attended Gayaza High School and obtained a law degree from Makerere University and an MFA in creative writing from the University of Maryland, College Park. Immediately thereafter, she was appointed writer-in-residence at the Jiménez-Porter Writers House. She embarked on a PhD in Creative Writing at the University of Queensland in 2023.

    2. Wole Soyinka:

    Akínwándé Olúwọlé Babátúndé also known as Wọlé Ṣóyíinká was born on 13 July 1934 . He is a Nigerian playwright, novelist, poet, and essayist in the English language. He was awarded the 1986 Nobel Prize in Literature for his “wide cultural perspective and… poetic overtones fashioning the drama of existence”,the first sub-Saharan African to win the Prize in literature.

    In July 2024, President Bola Tinubu renamed the National Arts Theatre in Iganmu, Lagos, after Soyinka. Tinubu announced this in a tribute he wrote to celebrate Soyinka in commemoration of his 90th birthday.

    After graduating with an upper second-class degree, Soyinka remained in Leeds and began working on an MA. He intended to write new works combining European theatrical traditions with those of his Yorùbá cultural heritage. His first major play, The Swamp Dwellers (1958), was followed a year later by The Lion and the Jewel, a comedy that attracted interest from several members of London’s Royal Court Theatre. Encouraged, Soyinka moved to London, where he worked as a play reader for the Royal Court Theatre. During the same period, both of his plays were performed in Ibadan. They dealt with the uneasy relationship between progress and tradition in Nigeria.

    In 1957, his play The Invention was the first of his works to be produced at the Royal Court Theatre. At that time his only published works were poems such as “The Immigrant” and “My Next Door Neighbour”, which were published in the Nigerian magazine Black Orpheus.This was founded in 1957 by the German scholar Ulli Beier, who had been teaching at the University of Ibadan since 1950.

    Soyinka received a Rockefeller Research Fellowship from University College in Ibadan, his alma mater, for research on African theatre, and he returned to Nigeria. After its fifth issue (November 1959), Soyinka replaced Jahnheinz Jahn to become coeditor for the literary periodical Black Orpheus (its name derived from a 1948 essay by Jean-Paul Sartre, “Orphée Noir”, published as a preface to Anthologie de la nouvelle poésie nègre et malgache, edited by Léopold Senghor). He produced his new satire, The Trials of Brother Jero in the dining-hall at Mellanby Hall of University College Ibadan, in April 1960. That year, his work A Dance of The Forest, a biting criticism of Nigeria’s political elites, won a contest that year as the official play for Nigerian Independence Day. On 1 October 1960, it premiered in Lagos as Nigeria celebrated its sovereignty. The play satirizes the fledgling nation by showing that the present is no more a golden age than was the past. Also in 1960, Soyinka established the “Nineteen-Sixty Masks”, an amateur acting ensemble to which he devoted considerable time over the next few years.

    3. Alex La Guma:

    Alex La Guma (20 February 1924 – 11 October 1985) was a South African novelist, leader of the South African Coloured People’s Organisation (SACPO) and a defendant in the Treason Trial, whose works helped characterise the movement against the apartheid era in South Africa. La Guma’s vivid style, distinctive dialogue, and realistic, sympathetic portrayal of oppressed groups have made him one of the most notable South African writers of the 20th century. La Guma was awarded the 1969 Lotus Prize for Literature.

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    In 1956, he helped organise the South Africa representatives who drew up the Freedom Charter, and consequently he was one of the 156 accused at the Treason Trials that same year. He published his first short story, “Nocturn”, in 1957. In 1960 he began writing for New Age, a progressive newspaper, and in 1962 he was placed under house arrest. Before his five-year sentence could elapse, A No Trial Act was passed and he and his wife were put into solitary confinement. On their release from prison, they returned to house arrest. He, along with his wife Blanche and their two children, went into exile to the UK in 1966. La Guma spent the rest of his life in exile.

    In 1984, he was appointed Officer of Arts and Letters by the French Ministry of Culture. He was chief representative of the African National Congress in the Caribbean at the time of his death from a heart attack in Havana, Cuba, on 11 October 1985.

    Although La Guma was an inspiration of and inspired by the growing resistance to apartheid, notably the Black Consciousness Movement, his connection to these groups was indirect.

    4. Tsitsi Dangarembga:

    Tsitsi Dangarembga was born on 4 February 1959 . He is a Zimbabwean novelist, playwright and filmmaker. Her debut novel, Nervous Conditions (1988), which was the first to be published in English by a Black woman from Zimbabwe, was named by the BBC in 2018 as one of the top 100 books that have shaped the world.

    She has won other literary honours, including the Commonwealth Writers’ Prize and the PEN Pinter Prize. In 2020, her novel This Mournable Body was shortlisted for the Booker Prize. In 2022, Dangarembga was convicted in a Zimbabwe court of inciting public violence, by displaying, on a public road, a placard asking for reform.

    5. Camera Laye:

    Camara Laye (January 1, 1928 – February 4, 1980) was a writer from Guinea. He was the author of The African Child (L’Enfant noir), a novel based loosely on his own childhood, and The Radiance of the King (Le Regard du roi). Both novels are among the earliest major works in Francophone African literature. Camara Laye later worked for the government of newly independent Guinea, but went into voluntary exile over political issues.

         Camara Laye published his first novel in 1953, the autobiographical L’Enfant noir (The African Child, also published as The Dark Child). It follows his own journey from childhood in Kouroussa, his education in Conakry, and eventual departure for France. The book won the Prix Charles Veillon in 1954. L’Enfant noir was followed the next year by Le Regard du roi (The Radiance of the King). The Radiance of the King was described by Kwame Anthony Appiah as “one of the greatest of the African novels of the colonial period.”

        In 1956 Camara Laye returned to Africa, first to Dahomey, then the Gold Coast, and finally to newly independent Guinea, where he held several government posts. He left Guinea for Senegal in 1965 because of political issues, never returning to his home country. In 1966 Camara Laye’s third novel, Dramouss (A Dream of Africa), was published. In 1978 his fourth and final work, Le Maître de la parole – Kouma Lafôlô Kouma (The Guardian of the Word), was published. The novel was based on a Malian epic told by the griot Babou Condé about Sundiata Keita, the 13th-century founder of the Mali Empire.

  • Reinforcing voices of anti-slavery activists

    Reinforcing voices of anti-slavery activists

    Some findings of a research conducted by the University College London, in collaboration with University of Ibadan, titled: African Abolitionism: The Rise and Transformations of Anti-Slavery in Africa were subjects of discussions at a three-day workshop, lecture and exhibition held recently at the National Museum, Onikan, Lagos. The events highlighted among others, the local voices against slavery in Nigeria from diverse range of historical and contemporary perspectives. Assistant Editor (Arts) OZOLUA UHAKHEME reports.

    The seeming unreported contributions of local anti-slavery movements that fought against slavery in Nigeria are part of archival features on display at the recent exhibition tagged Local Voices Against Slavery, at the National Museum, Onikan, Lagos. From historical victims who became abolitionists such as Olaudah Equiano and Nicholas Said to early missionaries like Bishop Samuel Ajayi Crowther and James Johnson, the exhibition traces the history of resistance to slavery.

    Also on display were reports on early movements such as The Lagos Auxiliary of the Anti-Slavery and Aborigines Protection Society, which opposed the colonial government’s pro-slavery laws, the Osu Abolition Movement, and political figures such as Nnamdi Azikiwe. It also included modern anti-slavery activists.

    The exhibition, which opened on July 8 to August 10, was part of the outcome of a research being conducted by University College London, in collaboration with University of Ibadan. The research project is titled African Abolitionism: The Rise and Transformations of Anti-Slavery in Africa. 

    The exhibition highlights the local voices against slavery in Nigeria, bringing together a diverse range of historical and contemporary perspectives. The exhibition was accompanied by workshops held at the museum and lecture series in collaboration with selected Nigerian universities.

    It aims to educate and inspire our community by showcasing personal stories and scholarly research that underline the ongoing struggle against slavery and human trafficking. In addition to the exhibition, we are organising a series of workshops to deepen the engagement and understanding of these crucial issues.

    The workshop provided a platform for campaigners, scholars, and students to collaborate and exchange ideas. These sessions covered various topics, including historical context, current challenges and strategies for advocacy and action. It offered hands-on activities and discussions led by experts actively working in the field, providing valuable insights and practical knowledge to participants.

    The exhibition was accompanied by workshops and a lecture series in collaboration with selected Nigerian universities. Among participants were Prof Olutayo Adesina, Prof. Fatima Waziri-Azi, Dr. Patience Mamie Kolade, Mrs Funke Egbemode, Prof Muritala, Dr. Ineke Joseph, Jacob Adesina, Uzoamaka Nwachukwu and Chinoso Ihuoma.  

    The workshop attracted students, teachers and community stakeholders. These workshops featured Nigerian historians, archivists, and academics from University College London.

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    Speaking on the sideline of the workshop, Dr. Michael E. Odijie, AFRAB Research Fellow at University College London, recalled that many Nigerians fought against slavery through the centuries, including the transatlantic slave trade, the trans-Sahara slave trade, local slavery that largely continued after the abolition of the slave trade, as well as more contemporary forms of slavery.

    He noted that some of these activists did not make it into the history books, adding that in Nigeria, anti-slavery efforts took many forms, reflecting the diverse cultural and historical contexts of the country.

    “The most well-known Nigerian historical figure who fought against the slave trade is Olaudah Equiano, from modern Anambra State. His campaign was crucial to the British abolition of the slave trade in 1807.

    The abolition of the slave trade did not end slavery, as a slave economy persisted locally for at least another century. In Northern Nigeria, practices of slavery, including the keeping of slaves and concubines, have persisted over time. Among the Yoruba, slavery existed alongside the practice of Iwofa, a form of pawning where people used human beings as security for loans. The Igbo people had Ohu (slavery) and Osu (ritual slavery) forms of slavery, which deeply affected social structures.

    Similarly, the Edo, Igala, Ibibio, Ijaw, Tiv, Urhobo, and many other ethnic groups experienced various forms of slavery but also produced significant resistance movements against these practices.

    “During the colonial period, local anti-slavery movements arose, some of which sought the assistance of the colonial government by writing petitions and lobbying to convince the authorities to intervene against local slavery. These efforts were part of a broader strategy to leverage colonial power to dismantle entrenched systems of abuse that existed in some cultures. As a result, there were numerous instances where the colonial government was compelled to act, leading to the gradual erosion of some traditional slavery practices,” he added. 

    Dr. Odijie however, stated that there were also instances where the colonial government supported the slaveholders, leading some local activists to campaign against the colonial government. Following Nigeria’s attainment of partial self-government in the 1950s (before full independence was achieved in 1960), local political leaders used their new power to create various strategies to combat slavery and uplift marginalised communities.

    Continuing, he said: “Chief Obafemi Awolowo introduced free education in the Southwestern region in 1955, a transformative policy that significantly uplifted many poor people and individuals of slave descent, providing them with opportunities for social mobility and economic empowerment. In the Eastern region, Nnamdi Azikiwe played a pivotal role in passing a law in 1956 that abolished the practices of Ohu and Osu among the Igbo, marking a significant victory in the fight for social justice and equality. In Northern Nigeria, Sir Ahmadu Bello implemented policies in 1955 to support former slave communities, facilitating their integration into society and improving their livelihoods. These efforts reflect a broader campaign during the colonial period and beyond, where people of slave descent and local abolitionists vigorously opposed slavery and worked towards creating a more equitable society. The legacy of these campaigns is still evident today as contemporary activists continue to fight against modern forms of slavery and human trafficking.

    “Local newspapers from the colonial era serve as crucial resources for accessing the voices and stories of those who fought against slavery. Some of the petitions written to the colonial government can still be found at the National Archives of Nigeria in Ibadan, Enugu, and Kaduna. These historical documents provide invaluable insights into the struggles and triumphs of local abolitionists, offering a rich tapestry of narratives that highlight the resilience and determination of those who resisted oppression.”

    The project is not limited to Nigeria alone as the organisers are working on the same issues in Kenya. “After this, we have a similar exhibition coming up in Kenya. We will be talking about slavery the same way we have talked on the Nigerian stories.  They have similar story where the abolitionists are also not part of their own national story. So, the alpha projects, I have a colleague who is doing something similar in East Africa and also in Ethiopia and even francophone countries of Africa,” he said. 

    In her paper, The role of media and communication in shaping anti-slavery narratives, the former Osun State Commissioner for Information and Civic Orientation, Funke Egbemode said that the campaign against slavery/modern slavery is a critical situation that warrants the enactment of solution journalism. She stated that it is important to focus as heavily on sustainable freedom for people who have escaped as it is to talk about the root causes that lead to enslavement in the first place.

    She said the role of media in anti-slavery narrative is both broad and profound, noting that media are not the only ones who have a role to play in promoting anti-slavery narratives–the chain of role players is quite a long one. She identified media and information literacy as key elements that should complement the role of media in the campaign against slavery in the society.

    “While globally and nationally, so much strategic efforts are being invested to ensure that more and more people are information literate, it is important to begin to ask ourselves some critical questions.”

    “What is the purpose of the media I subscribe to or commonly derive my feeders from? What values or points of view are always presented by this media? What messages or ideologies are they trying to convey? How vocal or otherwise is this media on issues relating to social justice and health?” she asked.

    According to her, it is important that media audiences are also literate because the media can be used to spread messages of empowerment and oppression because sometimes, those who control the media–the multi-layered gatekeepers– also control its narratives.

    “So, the quicker the literacy level of the audience moves quickly past the level of fake news or no fake news, and we begin to interrogate deeper issues inflicting injuries to the sanctity of the society, the better for us,” Egbemode added.

    She offered some tips for media engagement to include presenting a complete narrative, showing context and causes, showing connections and building hope through their respective reports.

  • Deserved honour for selfless service

    Deserved honour for selfless service

    The atmosphere was filled with the echoes of ancient traditions, the rhythms of jubilant celebration and the promise of a new dawn. As the chieftaincy conferment ceremony of Prince Ojo Adenle and Princess Sayo Adenle as Mayegun and Erelu of Aaye Kingdom respectively went on at the palace of Alaaye of Aaye Kingdom, Oba Amos Idowu Ojo, the sleepy rural community warmed up to the huge celebration and the enduring power of their cultural heritage. The sacred rituals and ceremonies remained poignant reminders of the values that bind Aaye, in Ido-Osi Local Government Area of Ekiti State together as a community.

    High chiefs, the elegbes and other social clubs decked in colourful traditional attires took turn to pay homage to the Alaaye of Aaye Kingdom, while talking drummers, singers and dancers thrilled the guests to panegyrics and cultural performances at the place.

    From the palace of the Alaaye of Aaye Kingdom Oba Amos Idowu Adegboyega (Ikumuluyi V), through to Methodist Primary School ground and the major road in the community were literarily overrun by friends, colleagues and well-wishers who converged on the community as early as 9am. They gathered in hundreds to felicitate with Prince Ojo Adenle and Princess Sayo Adenle who were conferred with the title Erelu and Mayegun of Aaye Kingdom respectively.

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    Date was August 17. The occasion was also to commemorate the second year anniversary of the coronation of Oba Amos Adegboyega.

    Setting the tone for the day’s events, the Alaaye of Aaye Ekiti, Oba Amos Adegboyega assisted by his chiefs conducted the traditional rites and chieftaincy conferment on the couples followed by prayers. This was done in the presence of traditional rulers from neighbouring communities, esteemed elders, dignitaries as well as many chiefs from Aaye. Despite the mild threat of rainfall midway into the ceremony, the audience kept increasing at the palace.

    The celebration train later moved to the Methodist Primary School ground, venue for the big ball. On stage was a juju band that also thrilled the audience to musical performances.

    The chieftaincy title is in appreciation of the couple’s contributions to the socio-economic development of Ekiti state, especially the youth and women in agriculture. In 2022, Princess Sayo Adenle was also conferred with the Iyalaje General of Ikere Kingdom, which symbolises her entrepreneurship.

    According to Princess Sayo Adenle who felt elated and humbled by the great honour bestowed on her and husband by Oba Adegboyega, the gesture is a further call to duty in serving Ekiti people more and at bigger level. “But again, what gives me joy is to touch lives particularly the women folks through empowerment and agriculture.  In a way, I have been enjoying doing those things that I have passion for. And I find fulfillment in them. In fact, I am short of words but I feel honoured. It means they really appreciate my contributions to Ekiti state and Nigeria as a whole. Unlike the prophet that is not honoured in his home, I am by this chieftaincy title, Erelu of Aaye, honoured by my people. In fact, I cannot take this for granted,” she said.

    Princess Adenle described Aaye as another of her home, because naturally Ekiti is a homogenous state with communities that share culture, history and socio-economic development over the years. 

    On what the chieftaincy title means to her, she said: “Naturally, Ekiti as a people is one homogenous entity. But, for this chieftaincy title, it means Aaye has become my second home. This also means that my primary constituency in terms of economic developmental initiatives has expanded beyond Ikere to include Aaye. And I should always work for the progress of the community and its people at any given opportunity. And their expectation from me is to always contribute to the development of the town and make a positive impact to the wellbeing of the people.” According to her, the significant value these two titles Iyalaje- General and Erelu are adding to her personality is that it shows she is a woman of virtue, honour and integrity by all standards. “Above all, I am recognised and appreciated by the traditional institutions in the state,” she added. 

    Speaking on behalf of the community,  President Aaye Progressive Union, Elder Bodunde Olusola Elijah enjoined all to show commitment to upholding the legacy of their forefathers while embracing the challenges and opportunities of the modern world. He noted that the coronation anniversary symbolises a new chapter in the collective journey of Aaye Ekiti, a chapter filled with hope, unity and progress.

    “Let us carry the spirit of this coronation ceremony in our hearts and minds. Let us honour our new Oba with respect, loyalty and support as he embarks on his noble duty to lead and serve our community with wisdom and compassion,’ he said. 

    Bodunde stressed that the concept of kingship holds a deep-rooted significance in African culture, symbolising leadership, tradition, and unity, adding that in a rapidly changing world, the role of a traditional ruler has evolved to meet the challenges and opportunities of the modern era.

    “I want to say here that a king in a modern African setting serves as a custodian of tradition and culture. It’s through that king that the rich heritage and values of the community are preserved and passed down to future generations. The king is not only a symbol of continuity but also a guardian of the customs and beliefs (that define the identity of the people),’ he noted.

  • Onyia, five others excite U.S. with Common front

    Onyia, five others excite U.S. with Common front

    As a follow-up to their previous successful outings, Nduka F. Onyia, a member of the Anderson Art Center, South Carolina , USA led five other Nigerian artists to yet another exciting group exhibition titled Common Front.

    The exhibition, which opened recently at Anderson Art Centre, South Carolina, US, was a demonstration of the artists resolve to work in unison and show the world what Nigeria is capable of producing in the area of art.

    Other artists include Folami Razaq, Bimbo Adenugba, Olayinka Kasali, Dudu Emmanuel, and Moses Oghagbon, The group show, which is curated by Erin Spainhour and Tracy Weiss will run till October 4.

    According to Onyia, convener of the exhibition,”We are not just  coming out, we were out during the COVID 19 pandemic that held the world hostage and the outcome  of that art exhibition was what inspired us to come out again this year. Yes, the whole world was in turmoil during the COVID 19 pandemic, but we were undaunted in making a difference that has positive impacts on the larger communities.

    ” In line with African value systems, we believe in unity, we thrive in collaboration and we enjoy showcasing the positive cultural values of our forefathers . Here we are again ‘

    One of Onyia’s works is titled  ‘The Depth of Solitude’,  a Copper foil measuring 18×36 inches.

    For Adenugba  his ‘Market Hub,’  an acrylic on canvas mirrors  the trade or commercial inclinations prevalent in the city of Lagos, Nigeria’s commercial capital.

    He believed that his work is not just about Nigerian colours alone, but about the global connection .

    ” We want to make a  name, projects the need to explore African Arts . Tap into it and see both the  hidden and existing talents and also paint a new narrative for Nigeria.

    Folami,  a talented artist and curator has been very active in Nigerian visual art scene before moving to the US. To him, the show is about retelling significant African stories in an educative artistic manner.

    ”  We are painting a new narrative for Nigeria , our beloved Motherland . We are showcasing our cultural heritage and survival to the larger community . I am sure one would want to know the meaning of Egungun or Masquerades , the significant and spiritual connotations. This exhibition is a collective gathering which is an avenue  to promote African art globally and positively,” Folami said.

    Kasali uses wood dust to create intricate designs and textures and one of such works is titled  ‘Glorious waves” measuring 42″× 28″× 11″  Kasali disclosed that he uses wood dust and resin to produce the work in order to harness the creative potentials as well as minimizing risks and environmental effects

    ” I plan to do more exhibitions in the future with this group. We are out to beautiful the world and also to reduce waste while focusing on sustainability”, he added.

    Oghagbon, who is known for his consistent painting of Argungun fishing in Kebbi  state has Passion, Brotherhood, and  Homeward, all oil on canvas for display at the exhibition.

    ” Yes, there is passion in what we do . There is a need for excellence.  This is why we are painting the picture of excellence abroad,” Oghagbon said.

    On his works, Dudu said: “Being an artist living in Africa, I am inspired more by my immediate environment and culture. I do not subscribe to the idea of one’s art being restrained to some traditional belief or way of life of a particular region or sub-region. I want people to appreciate my work generally; I want my audience to see me as an artist, not necessarily an African artist”

    Some of his paintings on display are Mother of two (series 1 and 2), Dance of rehearsal among others.

  • Ipada: Pushing to transform attractions to destinations

    Ipada: Pushing to transform attractions to destinations

    In a fresh move to pull African Diasporas and other tourists to Nigeria with the transformation of Nigeria’s attractions to tourists’ destinations, organisers of the maiden Ipada Carnival held a one-day pre-carnival stakeholders meeting to chart pathways to realising the objectives of the carnival. Leading the pack of participants was Minister of Tourism, Mrs Lola Ade-John, representatives from Ogun, Ondo, Lagos, Kano, Osun, Ekiti states, Federal Capital Territory, Nigerian Association of Tour Operators (NATOP), tourism writers among others. Venue was La Campagne Tropicana Beach Resort, Ibeju-Lekki, Lagos. The Ipada carnival, which is being organised by Ambassador Wanle Akinboboye will hold from November 29 to December 12, in Lagos.

    It is geared toward promoting Nigeria and Africa to Africans in the Diaspora and those interested in tracing their roots to the continent. Ipada is the Yoruba word which means ‘The Return’.

    The minister assured that the carnival will reposition Nigeria as a prime destination for cultural tourism, urging tourism and culture stakeholders across the country to give their full support to the maiden edition of the carnival.

    The minister, who was represented by Mr Sunday Bisong, Assistant Director, Domestic Tourism Promotion in the ministry, said the Ipada initiative is an opportunity to showcase the best of Nigerian culture to the world as well as foster national unity by celebrating Africa’s shared heritage.

    “The carnival will also help to boost local economies through increased tourism. Your expertise and leadership in your respective domains are crucial. As bridges connecting federal initiatives to local implementation, your insights and support will drive the festival’s reach and impact. I urge you to consider how we can effectively mobilise our local communities, engage with private sector partners, leverage media and technology to amplify our message and ensure seamless logistics and world-class hospitality during the carnival,” the minister added.

    Founder of Ipada Carnival, CEO La Campagne Tropicana Resort, Ambassador Wanle Akinboboye said the move is meant to woo Africans in the diaspora back to their roots while they explored tourism potentials within the continent, contributing to Africa’s economic growth. In particular, he stressed that the initiative is designed to transform Nigeria’s tourism attractions or heritage sites into destinations. He disclosed that President Bola Tinubu had given his consent to be the chief host, grand patron and chief global ambassador for the carnival.

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    He explained that a meeting had been scheduled in Abuja with the diplomatic ambassadors from the 54 African countries, to fine-tune the plans. “The Ipada initiative is designed to encourage a mass movement of Africans in the diaspora back to Africa, using Lagos as a gateway. The initiative is also planned to put the tourism potential in Africa together as a unit for easy marketing. With Ipada Carnival, we want to be able to facilitate at least 100 million visitors to travel to Africa within a year,” he said.

    Akinboboye noted that it was high time Africans took  advantage of their huge population and natural resources amongst, which were tourism natural potential. According to him, the current weakness of the Nigeria’s currency is a major advantage to tourism because with hundreds of dollars, a tourist can foot his bills when in the country.

    He assured that the programme will help to transform the nation’s attractions to destinations, while urging tourism practitioners to look away from security challenges as an hindrance to grooming the tourism industry.

    He disclosed that the 14-day carnival will attract no fewer than 1,500 artistes from across 54 African countries, featuring carnival parade, performance, Nefatiti queen of Africa beauty pageant, Ose awards, business unusual picnic, One-mile-African meals buffet, water sports, among other activities. 

    Director-General, Ekiti State Tourism Bureau Mr Wale Ojo-Lanre said the state government has plans to use the carnival as platform to woo 350,000 Ekiti families currently residing in Brazil.

    “We are ready to play on the platform of Ipada to lure these people back to Ekiti, their root. We are planning to establish a colony where these people will be. Ekiti is ready for tourism and Governor Biodun Oyebanji is planting tourism on a strong footing,” he said.

  • Omniverse Africa partners UEL Esports, others

    Omniverse Africa partners UEL Esports, others

    Africa’s premium platform for integrating digital and creative ecosystems, Omniverse Africa is partnering UEL Esports Inc., Unanimous Games, USA, and Game Evolution Esports as premier partners for its gaming centre at the forthcoming Omniverse Summit 2025 holding in Lagos. The significant partnership will play a crucial role in delivering an exceptional gaming experience, highlighting Omniverse Africa’s dedication to innovation and excellence within the digital and creative ecosystems.

    According to a statement by convener of the summit, Mr. Charles Emembolu, the gaming platform, which promises to be a thrilling experience for gamers and enthusiasts, will provide Nigerian gamers the opportunity to compete for $1 million prize.

     He stated that the gaming tournament will be featured at the Gaming Centre, and is expected to be a central attraction of Omniverse 2025. “It will offer participants the chance to compete for a staggering prize pool of up to $1 million. Nigerian gamers will have the opportunity to vie for these substantial rewards and gain invaluable experiences that could propel their gaming careers to new heights,” he added. 

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    Emembolu said: “We are thrilled to partner UEL Esports Inc., and Game Evolution towards the Omniverse 2025. This collaboration aligns with our vision to create a transformative and engaging gaming environment. We are excited to witness the innovation and talent that will unfold through this partnership.”

    Minister of Arts, Culture, and Creative Economy, Hannatu Musa-Musawa, said that ‘Omniverse Africa has taken a bold step to position Nigeria as a global leader in gaming by launching this major league with partners from Nigeria and USA. The ministry stands behind this vision, and we look forward to fostering partnerships that will strengthen our creative economy and provide new opportunities for our youth,’

    For the CEO of Unanimous Games, USA, Briant Biggs, the partnership offers an exciting opportunity to inspire and empower gamers globally. Omniverse 2025 is the perfect platform for this mission.

    CEO of UEL Esports Inc., Titus Walker, stated that ‘becoming the premier partner for the Gaming Centre at Omniverse 2025 is a remarkable opportunity for UEL Esports Inc. We look forward to showcasing our latest innovations and contributing to an exceptional event that will set new standards in the global gaming industry.”

    Founder of Game Evolution Esports  Kunmi Adebimpe, assured that as gaming ecosystem and delivery partner for the Omniverse Africa Gaming Centre, Game Evolution it is committed to bringing unparalleled experiences to the forefront. “We are excited to collaborate with Omniverse Africa, UEL Esports Inc. and Unanimous Games to elevate the gaming experience and provide a platform for gamers to shine, globally,” he noted.

  • 21 boys benefit from Creative Summer School

    21 boys benefit from Creative Summer School

    No fewer than 21 young boys have completed the first edition of the Creative Summer School for Boys, a two-week intensive programme aimed at equipping them with creative skills and mentorship opportunities in Lagos.

    Organised by Debra’s Palace Initiative, an organisation committed to empowering young boys, the Creative Summer School served as a platform for self-expression, skill development, and personal growth.

    The initiative is part of Debra’s Palace’s ongoing efforts under its Boy Child Conversation Project, which seeks to address the unique challenges faced by young boys in society.

    The programme offered training in digital skills, including photography, cinematography, editing, graphic design, content creation, and sound production.

     It also covered essential life skills, such as time management, anger management, financial literacy, and etiquette, helping participants navigate an ever-evolving world.

    The initiative was supported by several sponsors, including MultiChoice Talent Factory (MTF), MADHouse, and Abbey Mortgage Bank.

    At the graduation event, Mrs. Damilola Chinedu, Founder and Programme Director of Debra’s Palace Initiative, explained the motivation behind the programme.

     “The Boy Child Conversation Project began five years ago to address the gap in support and conversation around the development of young boys. While it’s fantastic to see the focus on empowering girls, it’s equally important to ask who is mentoring the boys to become better versions of themselves for society,” she said.

    The Creative Summer School was a direct response to the growing concern over the increasing failure rates among male students in Lagos public schools.

    Earlier this year, with support from FilmOne Entertainment, the initiative organized a film screening for 70 boys from various public secondary schools.

    The event sparked interest among the boys in learning creative skills such as cinematography and photography, which led to the development of the two-week summer school program.

    During the program, the 21 participants, aged 14 to 21, were engaged in various creative fields. The curriculum included hands-on training in photography, cinematography, sound production, graphic design, content creation, and editing.

    In addition to skill-building, the boys participated in mentorship sessions with renowned figures like Ali Baba, Seun Ajayi, and Ifeanyi Akogwu, who shared their personal experiences and life lessons. “The mentors who joined us brought immense value. Their stories and insights helped the boys understand the importance of learning from both mistakes and successes,” Mrs. Chinedu noted.

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    Abbey Mortgage Bank sponsored the financial literacy sessions, teaching the boys good savings habits and encouraging them to avoid gambling.

    Participants were also trained in etiquette and other social skills, equipping them to become well-rounded individuals. The program culminated with opportunities for real-world application; the top 10 performers were offered internships with leading creative companies in Lagos.

    Reflecting on the program’s impact, Mrs. Chinedu expressed her hopes for expanded support and funding in the future. “It’s been a rewarding journey, seeing the transformation in these boys—from being shy and reserved to confidently expressing themselves. This is a testament to the program’s success. We aim to reach even more boys next year,” she added.

    Program Manager at MultiChoice Talent Factory, Akaoma Onyeonoru emphasized the significance of nurturing young creatives at an early age.

    She highlighted that early exposure to creative skills increases the likelihood of young people pursuing careers in the creative industry. “If you engage a child early, it becomes easier for them to shape their future around their passions,” she said. Onyeonoru also explained MTF’s ongoing support for its alumni through an aftercare program that keeps them connected to the industry, allowing them to collaborate on projects and access resources provided by MultiChoice.

    The mentorship program will continue beyond the two-week training, with each participant being paired with an industry professional.

    This approach aims to accelerate the boys’ growth by allowing them to learn from the experiences of their mentors. “The mentorship aspect is crucial. When you have a mentor, you benefit from their experiences, learning from their successes and avoiding their mistakes,” Onyeonoru added.

    Head of Brand and Communication at Abbey Mortgage Bank, Affiong Okpo

    reiterated the bank’s commitment to supporting education and the arts. “We believe in combining education with creative skills to nurture well-rounded individuals,” Okpo said. Abbey Mortgage Bank has been a key sponsor of the program, supporting various theatrical productions and educational initiatives to enrich the lives of young people.

    The Communication Engagement Manager of MADHouse by Tikera Africa, Yolanda Akinola noted that it’s facility seeks to merge traditional knowledge with contemporary practices, thereby creating a meaningful convergence within Nigeria’s creative community.

  • Preserving imprints of Otu Odu

    Preserving imprints of Otu Odu

    Last Sunday, an exhibition of portraits of traditional matriarchs by REWA, titled Women of the Elephant Tusk opened at the Africa Centre in London. Curated by SMO Contemporary Art, the works celebrate century old systems of African feminism and leadership, coinciding with Black History month in the UK, and the Africa Centre’s 60th anniversary.

    It features eight large scale paintings by REWA, a rising visual artist, who traces the story of initiation into the Otu Odu female chieftaincy group in Onitsha, Southeast Nigeria. Through the artists’ two-year exploration of family history and archival materials, researching intimate narratives about the roles and experiences of members of Otu Odu, REWA shares a compelling story of how traditional women leaders in her hometown, have safeguarded profound traditional knowledge systems and values. The exhibition will be at the Africa Centre in London until the end of September before returning home to Nigeria.

    “The Otu Odu women serve as guardians of Igbo customs, a beacon of tradition dating back to the 16th century. The very name, Odu, meaning elephant tusk, encapsulates the majesty and reverence bestowed on its members, who proudly wear ivory tusks (or ivory replicas in modern times) as symbols of their identity and status,” explained REWA in her artist statement. “The stories and triumphs of my grandmothers and aunts, esteemed members of the Otu Odu society, are a mainstay of this body of work. Like the tusks themselves, they embody strength, wisdom and resilience.”

    The exhibition’s cover image, The Elder and the Chaperone, shows a young girl carrying a large umbrella, shielding a seated elder adorned with rich traditional textiles, from the sun.  The umbrella becomes a powerful metaphor which speaks to the artist’s intention of protecting these sacred stories from being lost.  

    REWA’s portraits reflect the tight relational bonds within culturally diverse communities. Her bold use of colours within a complex web of geometric shapes, giving a stained glass effect, reflect her artistic sensitivity and depth of expression. The portrait of her British maternal grandmother, who was a proud member of the society, reveals a wonderful diversity of cultures within African traditional societies.

    REWA’s paintings take us on an intimate journey of inspiration and initiation, connecting ancient social influencers with contemporary women’s groups in Nigeria and within Onitsha communities in the Diaspora. It is a story of pride and female empowerment.

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    “Otu Odu is the highest cultural and social society for Onitsha women. The members are well accomplished in their respective vocations in life and are the shining examples for womanhood in the community. They are fondly referred to as women of influence and affluence”, commented His Majesty, Nnaemeka A. Achebe, the Obi of Onitsha. “By this exhibition, REWA has earned her place of honour on the distinguished list of Onitsha visual artists of international repute, including Professors Ben Enwonwu, Oseloka Osadebe, and Okechukwu Odita of the earlier generations, and Emma Mbanefo, George Nwadiogbu, Ato Arinze, Oliver Enwonwu and George Edozie of the present generation.”

    “The Otu Odu society embodies the spirit of communalism, women’s participation in economic activities, maintenance of social order of the society, and preservation of ancient and age-long tradition,” said Prof    Gloria Chuku, Chair of Africana Studies, University of Maryland, Baltimore, USA.

     “REWA’s art is a celebration of Onitsha, Igbo, Nigerian, and African womanhood, strength, resilience, grace, and elegance; it covers such themes as power, identity, fashion, ornamentation, political authority, community, family, Africanness, Blackness, race, ethnicity, women’s role and agency, history, and contemporary experiences.”

    “Through exhibitions like this, we not only safeguard our cultural artifacts but also ensure that the stories, values, and wisdom of our people continue to inspire and empower us all,” said Obi Asika (Ojinnaka), Director General of the National Council for Arts and Culture Nigeria (NCAC). “Women of the Elephant Tusk” is not just an exhibition; it is a celebration of our identity and an affirmation of our shared heritage.”

    “At a time when the United Kingdom has experienced one of the worst summers of racial tension in modern history, this exhibition is a perfect way to usher in Black History Month,” explained Sandra Mbanefo Obiago, the exhibition curator and Founder of SMO Contemporary Art. “It reminds us of the natural integration of the artist’s British grandmother within post-independence Nigeria, despite the painful history of colonial rule. The Otu Odu women ensured there was acceptance and friendship between all members of society.”

    “My work seeks to empower women while fostering a deeper understanding of Igbo culture and its enduring legacy,” concluded the artist. “My goal is to celebrate African heritage and provoke thought and dialogue about the social significance and historical narratives that shape our identities today.”

  • Expert urges Nigeria’s filmmakers to promote national unity, cultural diplomacy

    Expert urges Nigeria’s filmmakers to promote national unity, cultural diplomacy

    An expert and Martin’s Studio Entertainment’s chief executive officer (CEO), Olabode Oluwafemi, has urged Nigeria’s filmmakers to use their craft to promote national unity and cultural diplomacy.

    He said the industry played a critical role in showcasing Nigeria’s diversity, rich cultural heritage, and shared values.

    Oluwafemi noted that filmmakers can help bridge the country’s ethnic and religious divides by telling authentic Nigerian stories, fostering a sense of shared identity and purpose.

    Speaking with newsmen in Ibadan, the Oyo State capital, Oluwafemi, highlighted the potential of Nollywood to serve as a cultural ambassador for Nigeria, promoting the country’s image and interests abroad.

    According to him, by producing high-quality films that resonate with global audiences, Nigerian filmmakers can help challenge negative stereotypes and promote cross-cultural understanding, which can attract foreign investment, tourism, and cultural exchange, driving economic growth and development.

    He said: “Nollywood can advance Nigeria’s cultural diplomacy by showcasing the country’s rich heritage and diverse stories globally. By participating in international festivals and forming global partnerships, Nollywood can enhance Nigeria’s cultural image and strengthen its global influence.”

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    He however said as a leading figure in Nigeria’s film industry, he hopes to inspire a new generation of Nigerian filmmakers to join him in promoting national unity and cultural diplomacy through the power of film.

    He said to address challenges facing girls in the Nigerian movie industry, there should be mentorship programs, equal access to training, and strict anti-harassment policies.

    “Promoting women in decision-making roles and fostering global partnerships will support their development and enhance Nigeria’s international reputation.”

    He called on the government and private sectors to collaborate and create an enabling environment for the film industry to thrive by offering tax incentives, grants, and streamlined regulations, while the private sector can invest in studios, technology, and training.

    “Public-private partnerships can fund film festivals and international collaborations, creating a supportive environment for industry growth and global competitiveness.

    He therefore urged Nigerian filmmakers to convey messages of resilience, unity, and hope.

    “By highlighting Nigeria’s diverse cultures and shared values, addressing societal issues, and celebrating achievements, filmmakers can inspire positive change and showcase Nigeria’s growth and potential on the global stage.”