Authored by a prominent Nigerian columnist, Olakunle Abimbola, the book chronicles the administration of the former Governor of Osun, Ogbeni Rauf Aregbesola, and the ideological inclinations that directed his approach to governance.
Abimbola has written under his weekly column “Republican Ripples” in The Nation Newspapers since 2007.
The sub-title of the 466-page book: “An African Guide to Grassroot Politics and Development.”
Published by Safari Books, with the Foreword written by Prof. Wale Adebanwi, the book is a two-part publication: Part One, Oranmiyan; and Part 2: Renaissance.
“Since Chief Obafemi Awolowo and his Action Group (AG) government of the Western Region (1952-1959), no government, federal of state, has done what Goverenor Rauf Aregbesola did, during his eight-year tenure in Osun, South-West Nigeria. It was a total and comprehensive development, across different Osun demographics,” the Blurb says.
The book details Aregbesola’s incursion into the Osun politics; his government’s acclaimed development policies and programmes; and its many controversies.
Regrettably, the Blurb rues: “…by a conspiracy of peer envy and bad politics, most of these policies and programmes were pared down, if not outright abandoned. For that, Aregbesola’s All Progressive Congress (APC) paid a hefty price in subsequent electoral losses, though bitter partisans, still even more bitterly, argue about who was responsible for that debacle, including Aregbesola’s own role in it all.”
A date will be announced in due course when the book will be presented to the public.
Dr. Udeme Jacob of the Department of Special Education at the University of Ibadan recently led a field trip to deepen students’ understanding and empathy towards individuals with disabilities.
The trip is part of a 200-level course titled “Professional Practice”, designed to expose students to various specialisations in special education, such as education for the gifted and talented, visually impaired, hearing impaired, intellectually disabled, and those with learning disabilities or speech and audiology needs.
Dr. Jacob, while reflecting on the inspiration behind the field trip, noted: “This is a departmental course, and I am fortunate to be the one handling it. We usually identify the centres and schools to be visited and write a letter to be approved by the Dean of students.”
While the primary goal of the trip was to help students decide on their specialisation by exposing them to different aspects of special education, it also revealed that some students struggled to handle certain cases, particularly when they couldn’t enter rooms with severely disabled children, highlighting the emotional challenges involved in this field.
One of the most memorable moments for Dr. Jacob was the impressive organisation and participation of the students. “The organising committee did excellent planning. They organised the collation of funds from their coursemates and the disbursement thereafter. They were open to ideas and asked questions at every point,” he recalled.
The visit to both privately-owned and government institutions underscored the disparity in funding and care, with government institutions notably lacking despite having larger facilities.
The field trip was not just an educational journey for the students but also a reflective experience for Dr. Jacob as a professional. He organises an annual program for children with intellectual disabilities, and this trip helped identify more schools for student teaching practice and facilitated donations to special schools in Ibadan. “People out there need our help and empathy. The field trip has helped organize donations for some special schools in Ibadan,” he emphasized.
The University of Ibadan plans continued collaboration with special schools. Recently, a collaborative event was held with the House of Providence Special School. The institution ensures thorough planning and safety for these visits, including insurance coverage for any eventualities. Additionally, the Department of Special Education actively participates in the annual World Disability Day, organising conferences where researchers present findings that are published in the departmental journal. Dr. Udeme called for greater societal support for persons with disabilities through funding and donations.
When asked if there is hope for the disabled child, Dr. Udeme’s response was unequivocally positive. “Yes, there is hope for him because there is an ability in disability. The only condition that one cannot have after the age of 18 is intellectual disability while the others which are visual, hearing, physical or speech impairment can happen to anyone at any time due to illness or accidents.” He emphasized the importance of collaboration between special educators, social workers, counselors, and computer scientists to develop resources and provide comprehensive support for children with disabilities.
The field trip
In the heart of Ibadan, four remarkable institutions are helping children and adults with intellectual and physical disabilities. Beersheba Christian Mission, Juvenile Correctional Institution, House of Providence Special School for Children with Intellectual Disability, and the Rehabilitation Centre for the Disabled in Moniya are not only providing essential care and education but also redefining what it means to live with a disability in Nigeria.
Beersheba Christian Mission, Akufo
The first stop was the Beersheba Christian Mission in Akufo, a haven borne out of a mother’s love and dedication. Mrs. Remi Ayoleke, the visionary behind Beersheba Learning Centre, was inspired to create this special school by her 33-year-old autistic son. Starting in a rented apartment in 2008, she faced significant opposition due to societal prejudices against children with disabilities. Undeterred, she persevered and eventually acquired land where the centre now thrives.
Beersheba Learning Centre sits on about four hectares of land and has been providing comprehensive support for individuals with intellectual disabilities for over thirteen years. The centre, primarily funded by parents and philanthropists, offers tailored services that cater to the unique needs of its beneficiaries. This privately-owned foundation stands as a testament to what dedicated individuals can achieve with community support.
Juvenile Correctional Institution, Poly Road
The Juvenile Correctional Institution on Poly Road was next. This institution, while crucial, faces severe challenges due to a shortage of professional caregivers. The limited number of social workers, teachers, and healthcare professionals struggle to meet the diverse needs of the children, many of whom lack parental care and support.
Mrs. Akinpelu, a staff member, explained the unique process of naming abandoned newborns, highlighting the institution’s effort to provide these children with a sense of identity and belonging. Despite its noble mission, the institution urgently needs more resources and trained personnel to provide the emotional, psychological, and educational support the children desperately need.
Many of the children at the Juvenile Correctional Institution come from backgrounds of extreme neglect and abuse.
The institution aims to provide a stable and supportive environment where these children can heal and grow. However, the severe lack of funding means that the institution often struggles to provide even the basic necessities. The facilities are overcrowded, and the staff is overwhelmed by the sheer volume of needs. Despite these challenges, the staff remains committed to their mission, working tirelessly to give these children a chance at a better future.
House of Providence Special School for Children with Intellectual Disabilities
Established in 2006 and operated by the Catholic Archdiocese of Ibadan, the House of Providence Special School is a beacon of hope for children with intellectual disabilities. Located in Yemetu Aladorin, this school offers a holistic approach to education and care, combining academic curriculum with vocational training, speech therapy, and physiotherapy.
The school’s administrator, Mr. Ayobami Adesina, highlighted their functional academic curriculum and the array of vocational training workshops available. These programs empower students with practical skills, fostering independence and self-confidence.
The school’s state-of-the-art facilities include well-equipped classrooms, vocational workshops, sensory integration spaces, and recreational areas. The school also provides boarding facilities for boys and men, ensuring round-the-clock care and support.
“Our multi-gym, open to the public, focuses on helping children with cerebral palsy gain psychomotor movement,” says Mr. Matthew Fatokun. “We manage various types of cerebral palsy using specialised equipment and exercises.”
This dedication to individualized care extends to the school’s educational approach, where small class sizes and low student-teacher ratios foster a nurturing and inclusive learning environment.
Rehabilitation Centre for the Disabled, Moniya
The final stop was the Rehabilitation Centre for the Disabled in Moniya, established over 35 years ago. This centre aims to enhance the quality of life for individuals with disabilities, including physical disabilities, hearing impairments, and mental retardation. Despite its important role, the centre faces significant challenges due to deteriorating infrastructure and a shortage of experts and resources.
Mr. A. Adebayo, a shoemaking instructor, emphasized the centre’s vocational training programs in information technology, shoemaking, tie and dye, mat weaving, animal husbandry, fashion designing, and fishery. These programs are crucial for helping residents achieve self-reliance. However, the dilapidated state of the buildings and the lack of sufficient food supplies pose serious challenges to their operations.
“The centre’s infrastructure is in urgent need of renovation,” states Mrs. Eunice Ogunjobi, the principal. Many buildings suffer from leaking roofs and crumbling walls, making them unsafe for residents. However, the centre continues to provide vocational training in fields such as shoemaking, fashion design, and animal husbandry, which are vital for the residents’ self-reliance.
Mr. A. Adebayo, a long-time instructor at the centre, emphasizes the importance of these programs. “We train residents on various trades and ensure they are equipped with the skills needed to integrate into the community,” he explains. The government supports these efforts by organizing graduation ceremonies and providing start-up tools for successful trainees.
Despite facing significant challenges, including dilapidated infrastructure and a shortage of resources, the centre remains committed to its mission of empowering disabled individuals. “The centre’s infrastructure is in urgent need of renovation,” states Mrs. Eunice Ogunjobi, the principal. Many buildings suffer from leaking roofs and crumbling walls, making them unsafe for residents. However, the centre continues to provide vocational training in fields such as shoemaking, fashion design, and animal husbandry, which are vital for the residents’ self-reliance.
Community support
There is an urgent need for community support for these institutions. The dedication and resilience of the staff at these schools and centres are inspiring, but they cannot do it alone. These institutions need more resources, trained personnel, and better infrastructure to continue their invaluable work. We urge the public, philanthropists, and government bodies to extend their support to these special schools to ensure that individuals with developmental disabilities receive the care, education, and opportunities they deserve.
Supporting these centres not only helps the individuals but also enriches their immediate community as a whole, fostering inclusivity and compassion.
Dr. Jacob’s insights and the field trip experience shows a profound commitment to improving the lives of persons with disabilities. In his words, “There is hope for them, but it comes at a price.” That price is the collective effort of society to provide the necessary support and resources to ensure that every person with a disability can lead a fulfilling and empowered life.
A solo exhibition tagged An Ode to Existence by Island of Sri Lanka born-artist Imal Emmanuel Silva opens at the Turkish Embassy in Abuja on June 6. The show, which will run till July 6, will be curated by Turkish female curator, Beste Gürsu.
Thanks to his long-standing efforts, which have unarguably had a significant impact on the thriving creative community, Imal Emmanuel Silva’s forthcoming exhibition should be one of this year’s most highly anticipated events in the federal capital city, Abuja.
The amiable and seasoned 53-year-old artist – with roots in the Island of Sri Lanka and with already 43 years living in Africa, particularly Nigeria – will hold his solo exhibition soon at the Turkish Embassy in Abuja. Titled An Ode to Existence, this exhibition is expected to be a watershed moment in the local art scene’s calendar.
As he let on in a recent video interview with an up-and-coming filmmaker, the solo presages a series of others. In other words, building on the success of the exhibition at the Turkish Embassy, scheduled from June 6 to July 6, other similarly well-thought-out events have been lined up for this year.
It is important to note that the visionary artist’s next ventures, starting with the one that opens on June 6, are designed to enchant and captivate audiences not only in Nigeria but across borders. With an eye towards innovation and inspiration, Silva’s upcoming projects are set to transcend boundaries and unite the global creative community in celebration of artistry and cultural exchange.
Among the upcoming projects, he, in collaboration with the organisation he co-founded, called Treasure for Life AGH, has set his sights on a Women Creative Summit, through which they aim to redefine artistic expression, empower voices, and illuminate the path for aspiring creatives to channel their dreams into reality.
The project will boasts of notable supporters such as Terra Kulture in Lagos and the Businessday Foundation, as well as the endorsement of the Minister of Arts, Culture, and Creative Economy, Hannatu Musa Musawa. With this formidable network of collaborations, it promises to be fertile ground for celebrating talent and ingenuity. “We hope to bring together female creatives—those who have exceptional achievement and those who are emerging talents,” he enthused.
Meanwhile, as the anticipation builds for the upcoming exhibition, which is curated by Turkish female curator, Beste Gürsu, the spotlight is poised to beam on the core of Silva’s artistic narrative, focusing unwaveringly on the theme of sustainability—a thread seamlessly woven through his recent creative ventures. Amidst a cacophony of other voices championing this cause, Silva’s commitment stands resolute, rooted in a personal ethos that transcends the mere vogue of the moment. With each brushstroke and each artistic decision, a delicate equilibrium is sought—the delicate balance between cultural heritage, societal impact, environmental stewardship, and economic responsibility that guides his every effort.
In his perpetual quest for equilibrium, Silva asserts that the inability to strike a harmonious balance poses an insurmountable barrier to achieving enduring growth and prosperity, stressing that his journey reflects a conscientious effort towards sustainability. All this while anticipating the zenith of his painstakingly curated projects, comprising thought-provoking exhibitions and compelling writings that artfully encapsulate his unique worldview.
Silva, with deliberate and unwavering clarity, has meticulously steered his artistic journey away from the familiar realm of vivid figurative portrayals that adorned his formative years. He has chosen to traverse the cryptic realms of abstraction, signalling a profound evolution in his creative path. Embracing the enigmatic allure of experimentation, he declares that he sculpts his vision around a singular concept as a burgeoning abstract artist. On this Odyssey, specific materials and techniques beckon him forth.
Even as he presently works with acrylics, skillfully wielding a palette knife to explore the depths of his creativity through a drippy technique and impasto, he longs to embark on new artistic frontiers with oil on canvas. “Drips and impasto technique resonate with me deeply,” he mused with fervour, relishing the ability to channel the essence of his emotions onto the canvas, much like crafting eloquent musical notes in a symphony of visual artistry.
With a career marked by meticulous dedication spanning over two decades,Silva has not only honed his artistic skills but has also cultivated a devoted support system. Encouragement flows freely from his loyal wife, alongside his affectionate family and a close-knit circle of friends who have borne witness to the evolution of his creative odyssey. Modestly steering his success, he humbly attributes his achievements to an authentic essence engrained in reality, disdaining ephemeral fantasies. While embraced as a “people’s person,” he cherishes a contemplative side, seeking solace in serene introspection within the confines of his creative haven. This unique duality defines his being, blending extroversion with introspection, and informs both his artistic expression and personal connections. A true luminary in environmental advocacy, his journey exemplifies an unwavering commitment to nurturing a vibrant artistic community that champions inclusivity and sustainability, fostering profound bonds across diverse landscapes.
On Saturday, June 1, at the Freedom Park, Broad Street, Lagos, the Segun Adefila-led Crown Troupe of Africa, in collaboration with Freedom Park, will hold a music concert, tagged 28 O’ Clock, by the ROYAL BARDS. It is in commemoration of the 28th anniversary of Crown Troupe of Africa. Adefila speaks with Assistant Editor (Arts) OZOLUA UHAKHEME on the long walk to the 28th year of the troupe, among others
What spurred the initiative of Crown troupe 28 years ago?
As a matter of fact, most of us, the founders, met in a group we all belonged to. The name of the group is Black Image. It was there I got my first professional informal training. I left Black Image and was going to say goodbye to theatre in general but the other guys insisted we couldn’t let our talents go to waste. So, engaging our youthful talents and energy were our initial motive because the other options out there were mainly antisocial.
Who were these pioneer initiators?
They were practicing artists and most of them started before me. But we were all friends and even lovers! Lol. Our number one pull was however our love for and belief in the power of arts.
Why the meeting at KSA home in Bariga?
One of the founders, Kunle who was also our 1st choreographer is King Sunny Ade’s son. In fact our first meeting and rehearsal ground was his mother’s flat in KSA’s house.
How has the music legend helped shaped the formation and growth of the troupe?
In various ways. We started in his house like I said earlier on. We had nothing but God and our guts when started out. Our first musical instrument was a gong given to us by a barber called Sir K. Sunny Ade has two houses facing each other on Ajileye Street in Bariga and Sir K’s barbershop was in the other building facing Kunle’s mom’s flat. He came to us one afternoon saying he had been hearing us singing for sometime without any musical instruments and offered us a gong. We were exhilarated. Not long after, a friend and senior colleague, Art Osagie also brought a drum without the leather on it and told us to keep it if we can repair it, which we did and were so proud to showcase. These were our first sets of musical instruments. Then one day Kunle and I went to his father’s store to go and steal our first sets of costumes and props! For those who don’t know, King Sunny Ade’s first forte was theatre. He was and still is a fantastic stage and screen actor. So apart from his house being our first base, his family and home was our support system. I lived in his house for a while as well.
What stands crown troupe out among the various performing groups in town?
Well, I can’t really answer this myself but what readily comes to my mind is- Crown Troupe is Crown Troupe.
Recall the journey down the road….troupe’s Highs and lows.
Ha! This will take some years and pages upon pages. To cut it short ehn, it has been the grace of God, sheer determination and support of angels in human forms.
Theatre as a vital advocacy tool for social change. How has this been realised using your troupe as example?
We have since realized the primary role of the arts which is not limited to entertainment alone but also as viable tool for social engineering. We have tried always to apply these core values in all of our artistic engagements. As à repertory group, all our works are replete with thematically relevant messages.
Your messages are not only to entertain audience but as conscience pricking weapons. Has this led to any clash between you and those in authority?
Fortunately, the Felas and Ogundes have borne the brunt of those challenges and may be we are also lucky to be practicing when the consequences for speaking truth to power aren’t as dire as it was in the time of great and brave ones. So, to answer you, comparatively, the system has been kind of fair.
Your major projects to reposition the troupe?
We need a dedicated theatre space where we can perform and also train young ones. That’s the focus.
Your dream of the troupe at 30 and possible anniversary activities?.
To own a theatre and a certificate issuing theatre training academy. To export our arts and talents. To be a leading culture entrepreneur.
In this interview with Edozie Udeze, young and promising Nigerian artist, Gift Osague, talks about her first solo exhibition, titled The Search For Freedom. An Auchi Polytechnic trained artist, Osague is an artist who believes that her works can conquer the world. The exhibition that lasted for five days happened at Gemini Art gallery Lagos, where art patrons, art lovers, and enthusiasts, gathered to admire and display their solidarity with her. Indeed, she was an artist in search of freedom.
WHAT theme did your last exhibition treat and why?
‘The search For Freedom’. The theme reflects the complexity of my childhood experiences, resilience, culture, creativity and growth. And so, in that case the exhibition show project the end products of all works created which expresses each placement of my fabrics and other related medium.
You have just finished your first solo show. Can we share the experience with you?
My first solo exhibition dating on the 27th April-4th May 2024, at Gemini Art gallery in Onikan Lagos,was a great success. Indeed there were lots of works and collaborations done even before the show and the opening day was amazing.
You produced some works during your last artists in residency programme. In what ways did that outing influence your solo show in Lagos?
Most of the works created during my artist residency program with Transit Artist Foundation at Protest Art Studio, led to this solo show at Gemini art gallery. It was at first just a process for me to discover, have a personal time away from my own studio walls and work more on myself and art and then again it was for the foundation to let the world know that there is another unique artists that they should see. So during my stay at the residence I decided to take the chance of settling and reflecting back on disturbing issues I have longed wanted to express and Transit artist Foundation was ready to welcome that and able to journey me through.
During your days at Auchi polytechnic, Edo State, what were those important things that have encouraged you to be so bold as an artist?
One major thing I learnt from Auchi Polytechnic is the strong determination and fearless spirit. During my National Diploma at Auchi Polytechnic, amongst all lecturers was one named Mr Daniel Idahosa, he always encouraged students to be free and intentional in terms of drawing with their hands and mind, so with that I see it as a way for “an artist to be bold, intentional and resilient thereby not letting anything make you feel you can’t do it. And even if you feel you aren’t getting what you want then you go over it again.” This guidance has helped me so far.
During your solo outing, what did you learn most about the relationship between artists and galleries?
In this contemporary stage, I’d say most galleries are beginning to see reasons to support artist now that social media have become more favorable for artists to easily showcase their talents/works out there. It was a good means for artists and galleries to share views, critics, opinions or make proposals at that moment. While it was also a moment for other art lovers to just enjoy the works and render accolades.
Did protest art works in anyway have incursions into your works and experiments?
Absolutely yes! But most importantly in a positive way. One unique qualities about the Protest Art Studio is that it help to change an artist ideology, it mental ways of thinking and approach to work. It helps an artist to see more of the value and greater path of oneself. However, there are no replicas or copy of ‘protest artworks’ in my works but just the words of mentorship in which I have used to build and advanced in my approach to work.
It is getting sweeter and more interesting by the day. As if it is a timed moment, all state chapters of the Association of Nigerian Authors (ANA) are in the quest to promote literature and other literary matters in their states. Since the year began, the literary scene has been awash with ANA members doing their best in their states. The leaders of ANA in the states along with other committed members have put in place many mouth-watering literary programmes that have so far astounded the public. Even the Abuja chapter which hosts the national headquarters of the authors’ body is also up and doing, organizing stimulating programmes now and then.
There have readings and the literary razzmatazz in these places to celebrate creativity. The readings which bring both the old and the young writers together hinge essentially on topics and themes that take care of issues that befit the people. Writers have used the opportunity of these readings to network. Issues revolving around the promotion of literature of a society, a society at crossroads, have come to dominate discussions. At some point however, some prominent Nigerian politicians and leaders of thought who are interested in the affairs of literature and authors have been invited to lend their voices.
From Delta, Ekiti, Oyo, Osun, and others, the monthly readings have of course ignited the minds of the writers. Now with different themes and different artist in place, the Yusuf Ali (SAN) yearly monetary donation has also be of immense help. As artists gather every month to brainstorm on issues that trouble Nigeria, the basic things occupying their attention is how to find ways to allow literature prosper and yield the necessary fruits. The Yusuf Ali largesse, no doubt has been of immense assistance to literature in Nigeria and beyond.
For now, more writers are praying for more Nigerians to show interest in promoting literature. A lot of young writers need to be encouraged. More primary and secondary schools have to be reached by the older writers, teaching and encouraging on what to do to become authors. The idea of the literary campaigns by the state chapters and the national headquarters of ANA are geared to keep the creative scene stronger, fresher and more active.
It has been noted over the years that ANA officials have attracted more new writers into the fold vial this means. What it shows is that when the literary campaigns is consisted and intensify, it usually creates more ample room for many young writers to grow and hone their skills. At the moment, ANA president Dr. Dipo Akanbi is wired to give his best to this campaign. He has been consistently transparent about it, ensuring that state chapters do not relent. Although the monies for the campaigns appear little, the idea is to use it to do the much that can be done. And as he now prepares for this year’s annual convention in Abuja, Akanbi is not deterred by pockets of financial constraints here and there. He also believes that ANA can do better if more Nigerians and sponsors channel their resource towards the promotion of literature and other creative matters and exigencies.
So as the states try to make do with the little they have, it is hoped that the benefit will be felt everywhere and across the nook and cranny of the localities. And when this happens it will be an added advantage to the pool of knowledge in the society. Already some schools in some local government area of the states have begun to commend ANA and even asking for more accelerated presence through vial book donations and so on.
IN a bid to boost Nigeria’s fledgling animation industry, the French Embassy in Nigeria is sponsoring five indigenous animation studios to the upcoming Annecy International Animation Film Festival taking place in France.
The festival, which holds annually, will take place from June 9-15, 2024 in Annecy, France. After an open call for projects and fierce competition among promising animators, five studios and their works emerged winners and will represent Nigeria at the festival.
They include Small But Mighty produced by Gilded Hammer; Detective Jacqueline by VX Studio; Legends of Alkebulan by Tribe Temples Studios; Buddy by Align Animation Studio and Nok Nok by Magic Carpet.
The final screenings and pitch sessions which held last week in Lagos, was hosted by the French Embassy in partnership with Animation Nigeria.
In attendance were international MIFA 2024 cohorts, stakeholders in the Nigerian animation industry and lovers of the creative sector.
Speaking on the journey towards the final pitching, the mentors, Mounia Aram, Delphine Nicolini and Omotunde Akiode, applauded the animators, praising their dedication, commitment, creativity and the quality of their work.
Aram said she was delightfully impressed by the level of quality and urged the animators to continue to improve their craft.
Nicolini assured the lucky animators that they were going to do well at the festival as their animations were world-class.
Akiode expressed delight at Nigerians gracing the festival again and showing the world the level of talent present in the country.
French Consul General, Laurent Favier, said this year is the third time Nigeria would be going to the festival. He assured that the quality of networking opportunities, windows for collaborations, co-productions, among others that will boost the creative sector, particularly the animation industry, are some of the reasons they are supporting Nigeria’s participation this year.
He further revealed that the embassy is taking 25 people to the festival, including the producers of the five films, as well as sponsoring a Nigerian pavilion at the festival.
He further assured of France’s continued support to the Nigeria youth and the creative sector to fully develop and maximise their creative potential not just for themselves but for the country’s development as well.
Regional audiovisual attaché, Embassy of France in Nigeria, Christophe Pecot, praised Nigerian creatives, adding that the country has immense potential in the creative industry and that France will always support the country in harnessing it for the benefit of all.
One of the animators, Sagir Carpenter of Gilded Hammer, noted that his studio’s film would be loved by fans of animation across the world due to its engaging and fun storyline, technical quality and creativity. He said he is sure his film would do well at the festival to win the grant needed to employ more people and get equipment needed to expand his production and reach.
Omoyefe Majoroh of Align Animation Studio said they underwent four days of intensive workshop and learnt a lot from the facilitators. “I am looking forward to going to France as it is an opportunity for me to network, pitch my project, meet industry professionals and attend panel sessions. It is also international exposure for me and will help my work immensely.”
She said though animation in Nigeria isn’t where she wants it to be, there has been a lot of progress in the last few years and would improve more. “We practiced and prepared well for the call for projects, as we knew what was required and when we were selected, it made us happy as it showed we are on the right track. It is a continuous work in progress; it does not end here. I hope to do well in France in order to expand our studios when we return,” she said.
Photo caption: The five animators, flanked by the mentors and key members of the French Embassy in Nigeria at the final pitching held at Alliance Francaise in Lagos…recently
“The Man I Married” is a poignant drama that delves deeply into the intricate dynamics of relationships, focusing on themes of love, trust, and deception.
Directed by Muyiwa Betiku and produced by Wale Alake, the film features a stellar cast, including Omowunmi Dada, Joseph Benjamin, Binta Ayo Mogaji, and Bayo Alawiye.
The storyline follows Tara, portrayed by Omowunmi Dada, who is desperately trying to reignite the passion in her marriage with her husband, played by Joseph Benjamin.
Her relentless efforts lead her down a path of drastic measures, ultimately unearthing a shocking secret that threatens to unravel their relationship.
As Tara navigates the complexities of her husband’s distant behavior, she is confronted with the unsettling truth, prompting viewers to question how well they truly know their partners, even when they seem perfect on the surface.
The film’s narrative raises important questions about the hidden facets of intimate relationships and the secrets that often lie beneath.
“The Man I Married” is more than just a romantic drama; it is a heart-gripping exploration of the depths of human connection and the challenges that come with it.
The strong performances by the cast bring an emotional depth and authenticity to the story, making it relatable and engaging for the audience.
Director Muyiwa Betiku masterfully brings this thought-provoking story to life, with stunning cinematography and a musical score that perfectly complements the film’s emotional undertones.
The chemistry between the actors is palpable, adding layers of nuance to their characters and making the narrative all the more compelling.
The film is a must-watch for anyone who has ever pondered the secrets their partner might be hiding. With its twists and turns, “The Man I Married” will keep you on the edge of your seat, eagerly anticipating the next revelation. Prepare to be captivated by this incredible movie, set to hit screens soon. Don’t miss out on experiencing this emotional and thrilling journey.
Pollination emanated from insects worth more than 75% of global crops, a service valued at up to $577 billion annually, according to IPBES 2016 report. Dr. Soladoye Iwajomo an expert in Bird Migration cited this at a forum in Lagos, organised by Nigerian Conservation Foundation to celebrate World Migratory Bird Day, (WMBD 2024). He said that ‘75% of food that we consume as human is dependent of insects.’
With the theme ‘Importance of Insects for Migratory Bird’, he urged the society to consider the perspective of the activities and the processes through which these species maintain ecosystems.
Speaking, on the vital role insects and birds play in growing the economy using the market value as a yardstick to value the ecosystem services, Dr . Iwajomo who is also a senior lecturer, Zoology Department of University of Lagos, stated that birds and insects have tremendously contributed to growing the economy.
With the theme ‘Importance of Insects for Migratory Bird’, he urged the society to consider the perspective of the activities and the processes through which these species maintain ecosystems.
“For example, if we take the cost of a tuber of yam or the cost an apple. What processes have gone on to give rise to that apple . So, the cost of that apple or tuber of yam represents the cost of the processes that have gone on to produce the apple. In a way, we can say the value of pollination, the value of Seed dispersal, is the cost of the different crops and food items in the ecosystem.
“Insects form a major part of the diet of migratory birds although foraging plasticity is common to enable them cope with these environmental changes. Insects are particularly important during breeding periods when protein requirements increase. Insects are rich sources of protein. And fat is crucial for muscle development and feather quality,” he said
He noted that preserving insects will preserve migratory bird populations. This, he said, is essential for maintaining ecosystem balance and supporting human livelihoods.
The schools in attendance include D’Cherub School, Badore, Aja, Watercress School, Satellite Town, Rodan High School, Badore, Gbara Community Senior Secondary School, Okin Aja Community Secondary School, and students from Unilag.
Meanwhile, bird migration is a regular seasonal movement between breeding and non-breeding grounds, following well established routes.
While motivating representatives from various secondary schools across Lagos State, as well as other participants, he proffered the planting and replanting of native or indigenous trees that support insects species and which can have positive impact on migratory bird population
In addition he stated that pesticide usage must be regulated: Green spaces are critical for biodiversity conservation in urban areas: Sustainable agricultural practices should be adopted: climate change mitigation strategies should be put in place
Every year millions of birds migrate between Europe and Africa. An estimated 2.1 billion individuals of different species make this journey annually according to a research published by Steffen Hahn,Silke Bauer and Felix Liecht S.Habw
“The Palaearctic-African migration system is therefore an important migration system due to the number of birds travelling between Europe and Africa twice each year. Migratory birds thus form strong links between the two continents and contribute to pest control, nutrient transport, seed dispersal and pollination. Knowing the number of migrating birds is crucial if the contributions of this links are to be appreciated. We estimate that today approximately 1800 bird species migrate globally.
The conservation of migratory birds is highly dependent on the accuracy of the underlying estimates of breading population sizes and this has important implications for manifold research topics including those related to climate change, human, health and biological conservation.”
Birds migrating to sub-Saharan Africa must cross the Mediterranean Sea and Sahara Desert twice. Only birds that are in good body conditions on account of access to high quality food can make such energetically costly journey” he retained.
The Director General of Nigerian Conservation Foundation, Dr Joseph Onoja, expressed optimism over the students’ increased knowledge, and according to him, the world migratory bird day will serve as probably pivotal points for everyone us especially the young ones, so it will spur inspire them to be environmentalists, ecologists, and Conservationists as the case may be so they can continue to study this magnificent phenomenon on migration both on birds, sea creatures and insects and so on and importance role they play on human survival…
