The Nation Newspaper

Category: Arts & Life

  • Positioning Abuja as major cultural capital

    Positioning Abuja as major cultural capital

    For five days, the Federal Capital Territory, Abuja was literally immersed in the creative energies of Nigerian artists at the recently concluded Abuja Art Fair. Venue was the 12-year-old Exhibition Pavilion, Area 10, Abuja. Organised by the Thought Pyramid Art Centre, the maiden Abuja Art Fair with the theme Art in the Heart of Nigeria, was solely sponsored by The Osahon Okunbo Foundation and it evolved into a meeting point where stories took shape, identity found voice, and culture gathered momentum, Assistant Editor (Arts) OZOLUA UHAKHEME reports

    From the onset, the mission of the organisers of the inaugural Abuja Art Fair was unambiguous. It was a deliberate intervention—an unequivocal declaration that Abuja is ready to claim its rightful place as a major cultural capital. This led to the establishment of an inclusive, purpose-built, nationally representative platform that democratises access to artistic expression and nurtures a truly pan-Nigerian creative ecosystem.

    Expectedly, the ambience of the Exhibition Pavilion, which hosted the fair between December 3rd and 7th, provided the needed space and setting for the celebration and promotion of creative talents of the ‘modern masters, generational masters, and contemporary’ artists.  

    It is also to place art at the core of Nigeria’s identity, civic discourse, and collective aspirations, particularly in a diverse and dynamic society like Nigeria, ‘art is far more than an aesthetic embellishment—it is a vital force capable of sustaining, challenging, and reshaping the consciousness of its people.’

    Curator of the fair, Olorogun Jeff Ajueshi said that the fair was born from years of planning, dreaming, and praying —a vision to create an alternative platform where artists can meet, engage, and build meaningful relationships with collectors, enthusiasts, and the wider public. “Today, we celebrate not only the success of the fair, but also our indomitable spirit that carried us through,’ he stated. Ajueshi stressed that the Abuja Art Fair 2025 positions itself as a vital point of convergence—where traditional, modern, and contemporary artistic practices meet, interact and evolve.

    “Its mission is expansive and urgent: to collect, study, conserve, and exhibit works that articulate the complexity, resilience, and ingenuity of the Nigerian people, both within the country and across the global diaspora. The artworks presented here have been thoughtfully curated to provoke inquiry and spark dialogue. They confront the defining issues of our time—environmental wide sustainability, civic responsibility, technological transformation, humanitarian agency, and the indispensable place role of women in shaping Nigeria’s future.

    “It is especially meaningful that these conversations take place in Abuja, the heart of our democracy, where art can most powerfully interrogate, illuminate, and inspire,” he noted.

    The initiative, according to Ajueshi, was to make a bold assertion that Nigeria’s capital deserved a world-class cultural institution capable of nurturing creativity and sustaining artistic scholarship. “Abuja became the canvas upon which my vision for a transformed Nigerian art ecosystem took shape, matured, and ultimately flourished with the establishment of our purpose built Centre…

    “The Abuja Art Fair represents the natural evolution of that work: a shift from developing singular spaces of excellence to establishing an annual, continentally significant cultural institution. More than an event, the Fair represents a long-term commitment to sustaining cultural discourse, inspiring innovation, and shaping the trajectory of African art for generations to come,” he added.

    Read Also: Tunji-Ojo: Nigeria’s future depends on unity, national renewal

    Sole sponsor of the fair, The Osahon Okunbo Foundation reassured that its mission is to widen that space—deepening access, championing talent, and strengthening the pathways that allow Nigerian creators to rise. It said that by backing the first edition of the Abuja Art Fair, ‘we help expand the visibility for artists in Abuja and across Nigeria, ensuring their work takes its place in both national and global conversations. Our partnership with Thought Pyramid Art Centre reflects a shared commitment to honouring the depth of Nigerian expression and enriching the cultural landscape of the capital. For TOOF, this collaboration affirms a simple belief: when artists are supported, culture expands — and possibilities multiply.’

    From the intricate wood carvings of grand masters to the stunning brush feels of young strokes that inch their ways to people’s hearts, the Abuja Art Fair stands as a testament to the incredible diversity of African culture. Little wonder the fair featured interactive exhibitions, workshops, and discussion sessions and mentoring sessions, while showcasing works by legendary artists such as Bruce Onobrakpeya, Ben Osawe, Twin Seven Seven, Jimoh Buraimoh, Rufus Ogundeke, Kolade Oshinowo, Amos Odion, Muraina Oyelami, Emmanuel Ekefrey, Adebisi Fabunmi and  Bisi Fakeye. No fewer than 42 masters that also featured included Sam Ovraiti, Alex Nwokolo, Adetola Wewe, Yomi Momoh, Ebong Ekwere, Ada Godspower, Gbenga Offo,  Oviri Alaric, Pius Emorokpor, and Juliet Ezenwa Maja-Pearce.

    Others were Abba Adams, Abdulfatai, Abdulsalman Musa, Ahmed Michael, Emmanuel Ageyeye, Etuk Unyime, Henry Iliya, Julius Oda, Mahmoud Nalado, Oluwatobi Ajibola, Oyewole Abubakar, Uyota Omadoye, Agboola Emmanuel and Blessing Miracle.  Among the Abuja artists were Akachukwu Emeka, Milicent, Sor Sen, Tom Sunday and Uche Uguru

    This huge collection of contemporary works-paintings, sculptures, installation by Nigerian artists (that adorned the spacious halls) had a symbolic meeting with some artefacts from the famous Benin bronze artists. The priceless pieces occupied prime place at the main hall of the pavilion. 

    The fair was not all about exposition of artworks. There were mentoring sessions where artists interacted and exposed to town and gown experiences shared by speakers such as Prof Jacob Jari of Ahmadu Bello University, Zaria, Imal Silva, Doreen Eloghosa Igbinoba, and Khadijah Adebayo, North Coordinator FEAN. They presented insightful talks on topics such as ‘Building your own community of influence, Who is a visual artist, History of Nigeria and everything in between, and Real estate and art, focus on Da Vinci cultural estate in Abuja.

    President Society of Nigerian Artists, Mr. Muhammad Sulaimon who was excited by the growth of art awareness within the city of Abuja, said the fair is not just about Nigerian or African art;   it is also a celebration of the rich global art heritage with its own unique souls.

    “From the bold, expressive paintings of Ovraiti to the intricate, symbolic sculptures of Ben Osawe, the art fair promises to be a true reflection of Africa’s vibrant cultural landscape. The Abuja Art fair also provides a platform for artists to engage with collectors, gallerists, and art enthusiasts, creating opportunities for collaboration, networking, and cultural exchange.

    “The Abuja Art Fair is a significant event that underscores Nigeria’s commitment to promoting cultural diversity, creativity and artistic expression. It is a celebration of the power of art that brings people together, to inspire, and to transform.

    “The Abuja Art Fair is a premier art event that showcases the best of Nigerian and African art. The fair aims to promote cultural diversity, creativity, and artistic expression, while providing a platform for artists to showcase their works and connect with collectors and art enthusiasts, making the city of Abuja, -Africa’s newest art hub,” Sulaimon said.

    Impressed by the turn out at the opening of the fair, Abuja based sculptor and Executive Director, African Art Fund, Mr Ifesinachi Nwanyanwu observed that the only thing to do differently to boost art activities in the federal capital territory is to continue to hold events such as the Abuja Art Fair, which is the first of its kind in Abuja. “Let’s hope we can keep the momentum,” he urged.

    To him, the task of energizing the space shouldn’t just be that of Thought Pyramid Art Centre alone, adding that there are other galleries that should key into this movement because the more the merrier. “Abuja cannot claim to be capital city when it cannot provide platforms such as this for creators to showcase their talents. Lagos remains the cultural city of Nigeria, but Abuja needs to develop its own energy field. For this fair to take off it takes the organisers lots of funds. In Nigeria, we are not in want of creatives or talents, so funding remains the missing link to develop our culture,” he noted.

    One of the volunteers who participated in the fair, Miss Kelechukwu Beatrice Nelson described the fair as a successful marriage of traditional, contemporary and modern art. “It is almost successful because the exhibition of traditional art works tilted majorly towards Benin art. Indeed, it was a colourful event and I look forward to another edition more spectacular than this one,” she said. 

  • Anisiebo expands creative space in visual storytelling

    Anisiebo expands creative space in visual storytelling

    Many young Nigerian visual artists are constantly expanding the creative space. They are also not only exploring the nation’s heritage but transforming some of its critical objects and symbols. One of such is Nigerian-born fine art photographer Mr Anthony Anisiebo, a visual artist with the heart of a transforming agent. Since leaving school, his practice explores heritage, symbolism, and spirituality through painting and photography. His works transform everyday objects and cultural symbols into textured oil paintings and fine art photographs that evoke memory, value, and identity.

    Among his recent paintings is King of Warri, an abstract oil painting that reimagines the regal presence of the Warri monarch. Through bold colours, layered textures, and fluid forms, the work transcends literal portraiture to capture the essence of authority, tradition, and cultural pride. It also captures the royalty of the coveted throne of the Olu of Warri (King of Warri), the custodian of the culture of the Warri Kingdom in Delta state.

    Anisiebo shows a sitting monarch with a crown on his head and a staff of office, which reflects the meeting between power, authority, and tradition, which characterises the stool of a first-class monarch and its occupant. The use of red colour interspersed with other warm colours depicts the domineering control of the traditional ruler in the affairs of the kingdom.  Historically, the origins of the Warri kingdom lie in the neighbouring Kingdom of Benin. In the late fifteenth century, Prince Ginuwa, a son of the Oba of Benin, left his home with a large retinue to establish a new kingdom. He travelled toward the Atlantic coastline, eventually settling near the Forcados River in 1480, according to reports. But, the artist didn’t fail to give due attention to the crown, which epitomises the totality of the monarch; the power, tradition and authority.

    Harvest in Colour, his fruit series, shows a four-compartment housing banana, orange, carrot and pineapple. All the fruits are ripe and ready for eating. The yellow colours in the four boxes reveal the mature state of the fruits, which is appealing. Also, the artwork is a revelation of the rich and diverse agricultural products that abound across the country, particularly fruits, despite the cry over food insecurity in the land. Symbolically, it shows there is hope to have a bumper harvest of food and fruits.  

    Read Also: Tunji-Ojo: Nigeria’s future depends on unity, national renewal

    Harvest in colour celebrates the richness of nature’s bounty, using vibrant hues and textured surfaces to evoke both vitality and depth. Each element is carefully chosen for its cultural symbolism. Pineapple for hospitality and endurance, oranges for energy and renewal, bananas for nourishment and continuity, and carrots for growth and vitality. Together, they represent abundance, resilience, and the cycles of life.

    The Coin Series (2022) is a photographic exploration of Nigeria’s currency, where coins are arranged to form words such as Naira, Coins, Money, and Kobo. The work transforms everyday currency into a medium of visual storytelling, highlighting its role as both a symbol of national identity and a marker of economic value.

    The artist uses the Coin series to revisit the evolution of Nigeria’s coins that were in Twenty Kobo (20k), Ten Kobo (10k), Five Kobo (5k), One Kobo (1K) and Half Kobo (1/2k), all having the same dimensions of 12 x 123 inches. Unfortunately, such coins are no longer in circulation due to high inflation rate. Notwithstanding, the Coin series is a veritable way of preserving the nation’s monetary policies and history, particularly for the younger generations. Beyond documenting, the series also highlights the beauty and aesthetics of the arrangement of the coins, their appeal and value.

    But the colour scheme of each differs slightly. These denominations were sequel to the decision by the government to change from the metric to decimal, and the name of the Nigerian currency was changed in January 1973. The major unit of currency, which used to be £1, ceased to exist, and the one naira, which was equivalent to ten shillings, became the major unit, while the minor unit was called the kobo, one hundred of which makes one naira. Coin series stands as an uncommon documentation of Nigeria’s currency that has evolved from the pre-independence era.

  • At Art Basel, Nike excites connoisseurs

    At Art Basel, Nike excites connoisseurs

    “I have to thank Ko Gallery for bringing me here. This is my first time here. This is a great achievement for all the artists in Nigeria. Thank you Ko Gallery for bringing me here. I love Nigeria and I want to come back here next year. So, if you are happy, you may be here with me.”

    That sums up the mood and feelings of one of Nigeria’s most successful female artists Chief Nike Davis-Okundaye while speaking on the sideline of the recently concluded Art Basel Miami Beach. 

    The 23rd edition of the fair, with the theme Second Nature held at the Miami Beach Convention Center, hosted the most vital artistic currents of the Americas and the globe. It featured about 283 galleries, including 48 first-time participants between December 5 and 7. 

    Gracing the walls of Ko Gallery’s Booth S5 at the fair were some of Nike’s old works dating back to the 60s, which included a selection of her richly patterned textile works from across her career. Nike, who offered some of Nigeria’s rich heritage through her paintings to the global audience, recalled that all of her works, which are meticulously hand-stitched bead mosaics and textiles, ‘come from my dreams.’ One striking example in Booth S5 is Flying Angel (1969), featuring a giant winged, horse-like creature protecting the artist (featured as a small figure on the left side of the angel) from the evils of the world. The works in the booth range from $35,000 to $120,000.

    Of the over 30 Art Fairs running concurrently at Art Basel Miami, Ko Gallery booth was among top 10 booths at the fair. 

    According to her daughter Seyi Awoyomi, who was at the fair, exhibiting at the fair was a rare opportunity, noting that her mother was excited and very grateful to witness the occasion and the gradual growth of her collection.

    Read Also: Tunji-Ojo: Nigeria’s future depends on unity, national renewal

    “For me, this is more than an art showcase: it’s a celebration of legacy, sisterhood, and the unstoppable spirit of creativity. Mama Nike Okundaye lights up Miami Beach Art Basel 2025 with a radiant solo exhibition at Ko Art Space (Booth S5): a tribute to her youth, featuring her iconic works from the late ‘60s and early ‘70s. Together with her dear friend and gallery owner, Kavita Cheleram, this collaboration is a testament to artistic camaraderie and cultural pride,” she said.

    She recalled that growing up she would observe her mother guiding collectors who visited her gallery to buy other artists works. “When collectors visit her gallery, she will direct them to other artists’ works and not her works. She is very selfless. That was the icing on the cake. Unfortunately, not many collectors realized she is an artist. She said it is difficult for artists to promote themselves, a kind of a battle many artists face. It was a beautiful experience to witness,” she noted.

    The fair brought together artists and works that explore the increasingly blurred boundaries between nature and artifice.

    The event was the centerpiece of Miami Art Week and featured hundreds of global galleries showing art from international artists. It also brought out celebrities, influencers, and collectors in droves for their extravagant parties featuring Rihanna, ASAP Rocky, Larsa Pippen, Alix Earle among others.

    Director, Art Basel Miami Beach, Bridget Finn, said of the fair: “Art Basel Miami Beach stands at the intersection of culture and the market — a platform where artistic vision and economic energy converge to define what comes next,”. “Each edition responds to the urgency and ambition of its moment while laying groundwork for the future. In 2025, we bring together exceptional galleries, artists, and patrons in an environment defined by rigor, exchange, and possibility.”

    As the premier fair of the Americas, Art Basel Miami Beach offers a panoramic view of the region’s artistic production within a global framework, underscoring the dialogue between North and South America and their shared histories of migration, innovation, and cultural cross-pollination — in conversation with Europe, Asia, Africa, and the Middle East. This year’s edition highlights Latinx, Indigenous, and diasporic practices and re-examines Modernism through a trans-hemispheric lens, from mid-century masters to contemporary voices remapping the canon.

  • Shared laboratories, shared futures: MOWAA’s continental push to strengthen conservation

    Shared laboratories, shared futures: MOWAA’s continental push to strengthen conservation

    When conservation laboratories are mentioned, the image that often comes to mind is that of sealed, high-tech rooms accessible only to experts in white coats. 

    At the Museum of West African Art (MOWAA), however, the idea is deliberately different. From inception, its conservation laboratories were designed as shared spaces, open, collaborative environments where museum professionals from across Africa can learn, innovate and exchange knowledge beyond national borders.

    Fully equipped to treat paintings, works on paper, textiles, metals, ceramics and mixed-media objects, the laboratories provide specialised services that many institutions in the region are yet unable to sustain independently. But beyond the equipment, MOWAA’s defining strength lies in its openness. Visiting conservators are encouraged to observe treatments, participate under supervision and acquire skills through hands-on immersion rather than distant instruction.

    This philosophy of shared learning has also been extended to the public. Through Open Lab Sessions held in Lagos in partnership with Goethe-Institut Nigeria, audiences were offered a rare opportunity to witness the science of conservation in real time. For heritage professionals, the sessions underscored how conservation can serve as an educational platform, not merely a technical function.

    The initiative is further reinforced by MOWAA’s early-career professional development programme, Unearth, an intensive eight-month course that combines laboratory rotations, structured training and group projects. Participants are required to apply their skills immediately, ensuring that learning translates into practice.

    Across West Africa, collections remain under threat from humidity, fluctuating temperatures and biological deterioration. 

    MOWAA’s laboratories respond by enabling comparative testing, preventive conservation research and climate-adapted storage solutions that can be transferred to partner institutions. In effect, the facility operates not just as a museum department, but as a regional technical hub.

    Beyond the treatment of individual objects, the conservation programme equips professionals with skills in documentation standards, object handling and movement, disaster preparedness, and the use of sustainable materials for storage and display. As trainees return to their home institutions, these competencies spread across the region.

    The broader objective is both clear and ambitious: to reduce reliance on overseas conservation services by building strong, locally grounded expertise within Africa. By anchoring technical knowledge on the continent, MOWAA’s model makes conservation more resilient, cost-effective and responsive to regional realities.

    As more professionals cycle through the laboratories, the impact continues to grow. Each trained conservator strengthens not only their institution, but the wider cultural ecosystem, from public museums and university archives to community heritage centres. The cumulative effect is a quieter but lasting stabilisation of collections that underpin historical research and public memory.

    While the work may appear relevant only to a narrow circle of specialists, its wider implications are significant. Stronger conservation capacity increases confidence for international exhibitions to travel to Nigeria, safeguards the economic and cultural value of artworks, and supports the livelihoods of emerging professionals. Ultimately, it helps to secure the creative future of the communities these collections represent.

    In essence, MOWAA’s laboratories are doing more than preserving objects. They are sustaining cultural economies, deepening public engagement with heritage and shaping a future in which Africa’s stories are protected by the continent’s own experts.

  • Truth in Verse festival highlights poetry’s role in promoting media, information literacy 

    Truth in Verse festival highlights poetry’s role in promoting media, information literacy 

    The maiden edition of Truth in Verse, a poetry festival on Media and Information Literacy (MIL) organised by Roundcheck, was held on December 12, 2025, with a strong focus on how poetry, education, journalism, and creative expression can work together to promote MIL.

    Truth in Verse festival highlighted how spoken-word poetry conveys Media and Information Literacy messages across themes like gender, AI, human rights, and elections.

    In his opening address, ROUNDCHECK’s Executive Director, Caleb Ijioma, explained that Truth in Verse grew from his passion for spoken-word poetry and his work in fact-checking. 

    According to him, the festival was designed as a space where poetry, storytelling, workshops, and conversations can come together to encourage critical thinking and responsible media engagement.

    He highlighted Nigeria’s large and youthful online population, noting that while millions engage with digital content daily, only a small percentage possess the skills to critically evaluate the information they encounter, further describing spoken-word poetry as an effective way to reach young people, carrying messages in ways that are easy to connect with, remember, and share.

    “Truth in Verse offers more than a traditional learning experience. It invites young people to feel, to question, and to grow. Through this festival, we raised awareness about misinformation, critical thinking skills, built collaboration between poets, journalists, and educators, and produced resources that will last beyond today,” he said.

    Motunrayo Joel, Deputy Editor, Africa Check, harped on the need for young people to start developing a habit of checking information before sharing. She explained that people need to look beyond biases and evaluate media messages before consuming them.

    Highlights of the festival included several panel sessions, with experts sharing insights on how newsrooms can strengthen MIL and how different strategies can be employed to promote the practice in Africa.

    Senior Reporter at The Nation newspaper, Alao Abiodun, emphasised that fact-checking must begin at the reporting stage, describing reporters as the first line of defence against misinformation. He stressed that accuracy and credibility must be ensured before stories reach editors.

    UNESCO MIL expert, Dr Olunifesi Suraj, shifted attention to education, arguing that Media and Information Literacy must begin from the classroom. He described the disconnect between academic training and newsroom practice as a major setback to effective verification.

    “Students should not graduate without acquiring practical fact-checking and verification skills,” he said, emphasising the importance of collaboration between educators, practitioners, and fact-checking organisations to better prepare students for modern newsroom realities.

    Also reacting, Allwell Okpi, Community Manager, Africa Check, spoke on newsroom collaboration, observing that while partnerships between newsrooms and fact-checking organisations have existed, many lacked structure and sustainability.

    AllWell stressed the need for more intentional collaborations that allow fact-checking expertise to flow directly into newsroom operations, noting that news organisations remain powerful channels for promoting Media and Information Literacy.

    Victor Ejechi, Head of Insights at SBM Intelligence, addressed the role of data and analytics in detecting misinformation trends, encouraging journalists to become more comfortable with numbers. He described data as central to verification, particularly when reporting government statistics, budgets, and socio-economic indicators.

    Meanwhile, the Founder of Naija Poetry Fest, Godson Osarenren, emphasised that bringing young people together through creative platforms helps to amplify advocacy and encourage social change. He added that through consistent creative expression, young people can be empowered to stand for truth and become agents of change within society.

    Spoken word artist Mariam Tijani noted that poetry is a very powerful tool for change, which has a way of transforming complex words into simple meanings. According to her, “‎poetry cannot just be for expressing feelings, but can be used to advocate change.”

    Key recommendations were provided, including integration of fact-checking and MIL into journalism education, continuous newsroom training on data literacy, and the use of creative expressions, like poetry and art, to improve MIL.

    The event featured a brief introduction to Roundcheck’s new product, Civic Play, a web game created to improve civic awareness and foster civic participation. Project manager, Ilerioluwa Philips, explained that this web game was created with young Nigerians in mind, as they can learn while having fun.

    The event ended with the launch of the Truth in Verse Anthology, which included poems by participants.

  • Iyin Aboyeji, Akin Akinpelu, Olori Boye-Ajayi others for TESS 2025

    Iyin Aboyeji, Akin Akinpelu, Olori Boye-Ajayi others for TESS 2025

    The Edge Series Summit (TESS) 2025 hosted by SwiftThink Foundation is set to inspire ideas, courage, and possibility in Lagos on Tuesday, 16 December 2025.

    Framed around the theme “Conversations That Shape Tomorrow,” the Summit gathers Africa’s thinkers, builders, and emerging leaders for an evening designed to spark clarity, collaboration, and future-focused action.

    Since its inception in 2014, The Edge Series has grown into a continental development ecosystem, impacting over 10,000 young Africans through leadership development, enterprise support, mentorship, and innovation-driven programming.

    According to ’Seyi Jolayemi (SDJ), Founder & CEO of SwiftThink Foundation, the Summit exists “to shape leaders who can think clearly, collaborate effectively, and build structures that outlive them.”

    TESS 2025 marks a renewed chapter for the platform, reinforcing its commitment to thought leadership, innovation, and collaborative problem-solving across Africa’s most critical sectors.

    Participants will engage in three curated panel conversations focused on digital systems and governance, leadership and entrepreneurial courage, and execution, performance, and work culture for a new Africa.

    The Summit will feature distinguished speakers, including Iyinoluwa Aboyeji, Dr. Olori Boye-Ajayi, Prof. Akin Akinpelu, and Topsy Kola-Oyeneyin. TESS 2025 is proudly supported by Riverbank Technologies, Krystal Digital Solutions, Brass & Castle, Adler Technology, MyEarnify, Fidtech Global Engineering Resource, Bank 78 and Stringify.

  • How Mr. Taj emerged formidable figure in entertainment, enterprise 

    How Mr. Taj emerged formidable figure in entertainment, enterprise 

    Kingsley Taginere, popularly known as Mr. Taj, has emerged into public view following his appearance at the recent celebration marking Nigerian singer Ckay’s one billion Spotify streams.

    Taginere, a construction and engineering entrepreneur, has for years remained a key support figure behind renowned talent manager Louiza Williams. 

    However, his presence at the high-profile industry event drew attention as he appeared alongside his wife, prompting renewed interest in his role behind some of Nigeria’s notable music and film successes.

    Well-dressed and composed, Taginere was widely noted by attendees as he joined industry stakeholders in celebrating the milestone, offering a rare glimpse of the man who has largely operated behind the scenes.

    “I’ve always preferred to let my wife shine—she’s the star,” he says with a smile. “But that night was unforgettable. Seeing the industry celebrate such a massive milestone, and knowing how much work Louiza put into it, made me incredibly proud.”

    Long before they were married, Kingsley was already a key player in Louiza’s journey. During her early days managing Kizz Daniel, he was instrumental in promoting the breakout hit “Woju” across Delta State.

    “I literally went grassroots with it; clubs, campuses, radio,” he recalls. “It became an anthem among the youth there.”

    That support didn’t stop there. From G-Worldwide Entertainment to every artist and project Louiza Williams has touched since, Mr. Taj has been a behind-the-scenes force, strategizing, amplifying, and ensuring success.

    “We were partners in purpose before we were partners in marriage,” he says. 

    “I never saw it as ‘her work’—it was our shared mission.”

    After their wedding, the couple’s synergy only deepened. Louiza’s first film project, “SUGA SUGA”, saw Taginere accompanying her to set almost daily. The film premiered in cinemas nationwide and later became one of the top recommended Nollywood titles on Amazon Prime in 2021.

    “Watching her produce, and lead with such clarity was inspiring,” he says. 

    “That success wasn’t just hers—it was ours.”

    He later took on the role of executive producer for “The Groom”, which aired on Africa Magic Showcase, further cementing his growing footprint in the industry.

    Beyond entertainment, Kingsley Taginere is a seasoned entrepreneur. He runs a thriving company specializing in procurement, construction, and marine engineering services.

    “It’s a completely different world from entertainment, but I enjoy the challenge,” he explains. “I believe in building; whether it’s infrastructure or creative legacies. Both require vision, structure, and the right team.”

    Now, Mr. Taj is preparing to support a new film project titled “After the Honeymoon” produced by Louiza Williams slated for release in the first quarter of 2026. The film promises to be a compelling addition to Nollywood’s evolving narrative, and Taginere is excited to be part of its journey.

    “This is just the beginning,” he says. 

    “I plan to back more music talents and movie projects that deserve the spotlight.”

    When asked what he admires most about his wife, his answer is immediate: “Her fearlessness. She walks into any room and owns it; not with arrogance, but with purpose.”

    “Know who you are. When you’re secure in your identity, you don’t compete, you complement. Support isn’t weakness; it’s strength in its purest form. 

    If you love her, lift her. If you believe in her, show up. That’s what real partnership looks like.”

  • How Jeremiah Musa’s The Bit Gazette amplifies African voices

    How Jeremiah Musa’s The Bit Gazette amplifies African voices

    In a global crypto ecosystem dominated by media powerhouses in New York, London and Singapore, a young Nigerian publisher is quietly rewriting the script.

    The Founder and Publisher of The Bit Gazette, Jerry Musa has transformed from an ordinary online news reader in Nigeria into the voice behind a fast-growing Web3 publication now read across continents. His mission is simple, but ambitious: to make the digital asset conversation inclusive.

    Speaking on his transition from passive observer to global publisher, Musa said his motivation was born out of frustration with the absence of African perspectives in mainstream coverage.

    While stating, “I was a consumer long before I was a creator, I was following all the big crypto news sites, and while the information was good, the perspective was often missing.

    “They’d talk about the unbanked as this abstract concept, but I lived in a place where that concept has a face, a name, and a daily struggle, he noted.

    According to him, waiting for foreign media to tell the African story was never going to deliver justice to lived realities. “I realised that if we waited for others to tell our story, it would never get told right,” he said.

    Musa remarked that he started The Bit Gazette to add that missing context to connect the power of this technology to the real lives of people in Nigeria, across Africa, and in emerging markets everywhere.

    However, the journey, was not without its hurdles. Just as Musa explained that the single biggest challenge was earning trust in an industry notorious for hype and misinformation.

    “In the early days, crypto media was a bit of the wild west, and earning the trust of our readers was everything. We couldn’t just be another voice shouting about prices; we had to be the calm, clear voice explaining the why,” he stated.

    He added that the publication committed to integrity from inception, even when it came at a cost. “That meant sometimes being slower to publish, but more thorough. It meant turning down certain types of promotional content. We had to prove we were here for the long haul, not just for a bull market,” he said.

    While insisting that the strategy paid off as it helped build a loyal and informed readership.

    For Musa, The Bit Gazette is more than a business , it is an empowerment tool. He revealed that the newsroom’s highest reward comes from readers who feel equipped to navigate the new digital economy.

    He, however, stressed, “When someone messages us saying they finally understood a concept like staking or how to protect their wallet because of our explainer, that’s the win”

    He added, “We’re giving people the confidence to participate in this new digital economy, not just spectate. And that’s a powerful thing.”

    Although the publication serves a global audience, Musa insists that its core identity remains Nigerian. “The Bit Gazette is based abroad, but its heart is Nigerian, I have a fantastic team of writers and editors back home who bring an authenticity and insight to our coverage that you simply can’t get anywhere else. They understand the nuances,” he noted.

    However, he, views the platform as a springboard for African employment and media talent. “For me, it’s about more than just creating jobs; it’s about platforming these brilliant minds,

    “I want the world to hear from the experts who are living the reality they’re reporting on. They are the future of global tech media, and I’m just proud to be giving them a stage,” he said.

  • Funke Otti: navigating male-dominated industry with courage

    Funke Otti: navigating male-dominated industry with courage

    The entrepreneurial journey of Mrs Funke Otti is not only worthy of emulation but also a masterclass in resilience, integrity, and visionary leadership. Buoyed by challenges, she chooses difficult tasks, runs toward them rather than away from them, and instinctively avoids the ordinary.

    From a humble beginning at the Nigerian Television Authority (NTA), where she worked in the Programs Department, she entered the murky waters of business, and forty years and still counting, she continues to wax strong. She shares her story with DAMOLA KOLA-DARE.

    In a country where systems often fail and industries struggle to find coherence, Mrs. Funke Otti stands out as a rare combination of passion, discipline, and fearless innovation. For more than 40 years, she has built an extraordinary career across media, manufacturing, furniture production, interior design, construction, precast building technology, mortgages, oil & gas, shipping, and, most recently, fintech.

    Her journey is not merely entrepreneurial; it is a synonym for resilience, integrity, and visionary leadership. Celebrating 40 years of pioneering leadership across multiple industries is no mean feat, but a testament to her never-say-die spirit amid the stiffest odds.

    Rooted in Humanity: Her values and philosophy

    Beyond her companies and accomplishments, Mrs. Otti describes herself as a person whose life is anchored on fairness, dignity, integrity, and genuine belief in people. She is deeply frustrated by wasted potential, especially among Nigerians, because she sees capabilities where others see limitations.

    Her worldview is simple but profound; nothing is impossible.

    For the business magnate, if a “B-student” can succeed, she believes anyone can, provided they are willing to act, learn, and persist.

    Despite her calm, almost delicate physical presence, she carries an enormous internal drive. She comes across as restless, curious, energetic, and dramatically non-conformist. She chooses difficult tasks, runs toward challenges rather than away from them, and instinctively avoids the ordinary.

    From NTA to entrepreneurship – a world beyond daily routine

    Her professional life began at the Nigerian Television Authority (NTA), where she worked in the Programs Department. But a 9-to-5 job, predictable schedules, and creative monotony could not contain her restless spirit. She enjoyed the learning curve, but once the work became routine, even interview schedules planned months ahead, she felt suffocated.

    “I needed something that stretches me,” she recalled. That longing for more challenges pushed her into business.

    The advent of an entrepreneur

    Her first major venture was in carpeting, inspired by her family’s background. Without capital, she borrowed rolls of carpet, installed them, and paid suppliers afterward. Her break came with the African Continental Bank (ACB) headquarters on Broad Street, Lagos, a prestigious project where she initially received just two floors.

    Skeptics doubted her because she looked “too fragile” for such heavy work. But she worked weekends, finished early, and executed flawlessly. Impressed, ACB awarded her additional floors, the management level, and eventually a full guest house furnishing contract.

    This phase sharpened her technical expertise, understanding loop pile vs. cut pile carpets, supplier networks, and colour coordination. But it also revealed her signature ethic: no shortcuts, no guesswork, and absolute accountability.

     Mastery over shortcuts: Entering furniture and interior design

    The ACB guest house project required more than carpets; it needed furniture. She initially resisted because she didn’t want to sell items she didn’t fully understand. But the thought of delivering poor quality from unreliable markets like Alaba pushed her into deeper learning.

    She studied manufacturing processes, took interior design courses, devoured Architectural Digest, and built product knowledge that allowed her to defend every item she sold.

    Her mantra became: “Understand it before you offer it. Master it before you build a business around it.”

     Breaking barriers in a male-dominated industry

    In the 1980s and 1990s, Nigeria’s manufacturing and construction spaces were overwhelmingly male. Yet Mrs Otti excelled, working longer hours, insisting on quality control, and winning the trust of clients through consistency and grit.

    Still, she faced challenges. Local suppliers produced unstable pedestal bases that collapsed under bank executives. She realised she was being held hostage by bad supply chains.

    The Taiwan turning point – a one-woman industrial revolution

    Frustrated by Nigeria’s unreliable input, she embarked on a bold trip to Taiwan in 1992, funded by a risky N1 million loan at 10 percent interest per month. At a time when foreign exchange controls were stiff and the dollar had skyrocketed, travelling with just $65,000 cash was dangerous but necessary.

    Taiwan transformed her understanding of manufacturing. She discovered that factories did not produce whole furniture items; specialised cottage industries made different components; supply chains worked like Lego pieces; mastery, repetition, and systems not shortcuts were the backbone of industrial success.

    Through strategic networking and personal due diligence, she bypassed middlemen and connected with true manufacturers, saving significant costs and gaining technical knowledge that set her far ahead in Nigeria.

    This period also taught her a painful truth, Nigeria wants technology transfer without discipline, patience, or readiness.

    Diversification – construction, precast technology, mortgage development, others

    Her shift from interior furnishing into construction was almost accidental. Through her company, she executed high-profile interior projects for hotels such as Novotel, Ibis, and UAC Properties.

    In 1997/98, while producing doors and kitchens, she won a PTF contract and executed multiple federal government projects. But the construction industry’s inefficiencies, corruption, and lack of quality control eventually pushed her out.

    Still, she evolved. She studied some crash course in Finance in the United States, launched a mortgage-support business to help Nigerians acquire homes, and later pursued precast building technology as a solution to Nigeria’s 24 million housing deficit.

    Her philosophy

    “All my businesses are interconnected, they solve different parts of Nigeria’s structural problems,” she said.

     Faith, survival, and the power of divine providence

    Behind her bold decisions is a deep spiritual undertone. She quotes often:

    “This is the Lord’s doing, and it is marvelous in our eyes.”

    Her life includes difficult seasons, international travel setbacks, hostile business environments, even surviving a plane crash incident during a temporary stay abroad. She almost lost valuable goods for months after a major shipping mishap, only to recover them later against all odds.

    For her, survival is not coincidence, it is divine alignment.

    Why Nigeria struggles with industrial progress

    According to her, universities produce papers, not products; government agencies duplicate roles while contributing little to innovation.

    “Accessing funding from BOI, DBN, and NEXIM is very difficult, highlighting the need for the government to simplify processes and make these funds more accessible to the real sector.

     We want finished goods but refuse to build cottage industries.

    Graduate engineers cannot produce basic items like sanitisers or electrical components.

    Nigeria suffers from an ecosystem failure, no structure, no discipline, no enabling environment, no industrial interdependence,” she said.

     Fintech vision – what makes NairaPoint different?

    Amid the overcrowded lending and fintech market, her newest venture, NairaPoint, stands out because it is built on 40 years of real-sector experience, a deep understanding of Nigeria’s informal and SME economy, strict ethics, transparency, and risk management, and a mission to empower, not exploit borrowers.

    NairaPoint is not just an app; it is the culmination of everything she has learned: research, risk management, accountability, and practical understanding of Nigerian business realities.

     Leadership and Integrity – her greatest ethical rest

    Her most difficult leadership challenges have involved confronting dishonesty, suppliers who cheat, partners who cut corners, and systems built on deceit. She resolved these moments by choosing the hard road, walking away from money, opportunities, and contracts that violated her values.

    To her, integrity is capital. Money comes and goes, credibility must remain.

    Biggest setback, comeback story

    One of her toughest moments was the collapse of the construction sector and the devastating losses that followed. Yet, through faith and persistence, she rebuilt from scratch, pivoted into new sectors, embraced global learning, and diversified intelligently.

    Her story is not one of uninterrupted success; it is one of relentless recovery.

     The future she wants for Nigeria

    After four decades, Mrs.  Otti sees mentorship as the legacy she hopes to leave.

    Nigeria’s business culture, she argues, lacks honesty and real mentorship.

    “We cannot wait for the government; entrepreneurs must learn from entrepreneurs,” she said.

    Her dream is to help rebuild Nigeria through integrity, real-world mentorship, industrial discipline, knowledge transfer, affordable housing through precast, and economic diversification.

    “My brain is still active. I give my years of experience freely because Nigeria needs people who can build, not just talk,” she added.

     A Torchbearer of possibility

    Mrs. Otti is more than a businesswoman; she is a force of nature. Her life proves that passion, discipline, integrity, and courage can transform industries and challenge national limitations. In every field she has touched, she has left a blueprint of excellence rooted in mastery, not shortcuts.

    Her story is a powerful reminder that, despite Nigeria’s broken systems, individuals with clarity of purpose and unwavering integrity can still build legacies that outlive them.

  • African leaders plan joint colonial reparations claim against UK

    African leaders plan joint colonial reparations claim against UK

    African leaders are advancing plans to file a coordinated reparation claim against the United Kingdom for crimes committed during the colonial era, signaling a united legal and diplomatic effort to address historical injustices inflicted on their nations and peoples.

    The initiative gained momentum at a major conference in Algiers, where policymakers met to transform principle into action, focusing on having colonial-era crimes “recognised, criminalised and addressed through reparations.”

    The meeting builds on a resolution passed earlier this year by the African Union (AU), which calls for justice and reparations for victims of colonialism and formally defines colonization as a crime against humanity.

    Nigeria, a regional powerhouse, is taking a leading role in the campaign. The push follows an earlier move in September when Nigerian Senator Prince Ned Nwoko sent an official claim to the British government demanding $5 trillion in reparations for the damages of colonialism. While this was a national initiative, it set a precedent for a broader continental effort.

    The British government has consistently rejected such claims, describing demands for colonial reparations as “astonishingly hypocritical” and asserting that it remains proud of its modern partnerships with African nations. Nevertheless, the African initiative is gaining traction in the court of global opinion.

    A recent documentary, From Slavery to Bond, has renewed scrutiny of the British Empire’s legacy, highlighting how colonial policies on resource extraction, arbitrary borders, and the looting of historical artifacts contributed to enduring challenges across the continent. The film adds both academic and moral weight to the reparations argument.

    Analysts said a joint AU claim would carry far greater political and legal influence than individual national efforts, presenting a significant diplomatic challenge to the UK.

    The next phase is expected to involve consolidating a common historical assessment, finalizing a legal strategy, and determining the structure and scope of the reparations demand.

    While the path to actual monetary compensation remains long and complex, the coordinated move marks a pivotal step in Africa’s ongoing pursuit of justice and recognition for the harms of colonialism.