Category: Arts & Life

  • SNA honours Oshinowo, Shyllon, others

    SNA honours Oshinowo, Shyllon, others

    The celebration of artistic excellence took centre stage as the Society of Nigerian Artists (SNA) honoured 60 outstanding contributors to Nigerian art at the 8th International Conference on Art and Development (CONADEV 2025), held at the Wings Complex, Oando Towers, Lagos.

    The conference, themed, Creative Economy and Cultural Sustainability: Reimagining Art for Development, honoured practitioners across multiple categories, highlighting the works of veteran artists, emerging talents, patrons, institutions and professional associations.

    Former President of the society, Mr. Kolade Oshinowo received the Meritorious Service Award for his distinguished leadership and commitment to artistic advancement, while foremost collector and philanthropist, Omooba Engr. Yemisi Shyllon was honoured with the African Legacy Art Award for his decades of advocacy and investment in the preservation and propagation of Nigerian art.

    One of the most inspiring honourees was 15-year-old Guinness World Record breaker, Kanyechukwu Tagbo-Okeke, recognised as “Outstanding Young Artist of the Year,” for his record-setting 12,303.87 square-metre canvas painting, a remarkable achievement that surpassed the previous global record.

    National President of SNA, Muhammed Suleiman, said that the honours were meant to recognise exemplary impact.

    “These awards are for our past presidents, individuals promoting art independently through galleries and museums, as well as institutions supporting the sector. Kanyechukwu inspired the nation by breaking a Guinness World Record, and we want young Nigerians to know that artistic excellence is seen and rewarded,” he said.

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    Describing art as an essential seed of national socio-economic advancement, he noted that art drives every aspect of the economy, fashion, design, technology, even artificial intelligence. “The core of AI is creative imagination. Parents must encourage children to embrace creativity. Art is the future,” he added.

    Renowned art collector, Omooba Yemisi Shyllon who expressed gratitude for the award, reflected on his legacy of artistic support.

    “I do not know what I did to deserve this award, but I am deeply honoured. I solely funded the Yemisi Shyllon Museum of Art by selling several properties abroad and at home. I am happy because it is impacting lives,” he said.

    He revealed that the museum continues to train and empower creatives, including an officer currently on an 18–month residency at the Toledo Museum in Ohio, United States.

    He disclosed plans to unveil a life-size bronze statue of Chief Obafemi Awolowo at OAU, Ile-Ife and sponsorship of a new Guinness World Record attempt for the world’s longest single painting. “I believe wealth is meant to serve humanity. Happiness is in giving, not receiving,” he said.

    Chairman Central Working Committee and SNA Vice President (North), Dr Aondover Gyeawe, described CONADEV as a celebration of artistic influence and intellectual labour.

    “Tonight, we celebrate dedication and impact. CONADEV is not only about ideas, but about recognising those shaping our cultural identity through resilience and creativity,” he said.

    Beyond individuals, the Society also honoured institutions such as Ahmadu Bello University, Zaria, and Yaba College of Technology, Lagos, for strengthening art education.

    International organisations honoured included Alliance Française, Goethe Institut, the Nigerian Copyright Commission, and the Spanish Embassy for supporting cultural development and creative exchange.

    Professional bodies such as the Sculptors Association of Nigeria and the Female Artists Association of Nigeria were acknowledged alongside galleries such as Shaky’s Art Gallery in Awka and Herwa Heart of Art Initiative in Kano.

    Veteran artist John Amanam emerged as Distinguished Artist of the Year. Notable personalities conferred Fellowship status for their enduring contributions to art development included scholars, practitioners, and cultural advocates across the nation.

    Past presidents including Prof Osa Egonwa, Prof Funke Ifeta, Kolade Oshinowo, Dele Jegede, and Oliver Enwonwu also received the Meritorious Service Award. Honorary Fellowships were presented to Adewole Tinubu, Alhaji Tashiu Sodangi, Dr Hassan Nasir Aliyu, Rukayat Yusuf and Aliyu Sadiq Ahmed.

    The ceremony formed part of CONADEV 2025’s activities, which brought together artists, academics, curators, cultural leaders, and stakeholders to reflect on the place of art in economic growth and cultural sustainability.

  • Culture, myth take spotlight at launch of The Bone River

    Culture, myth take spotlight at launch of The Bone River

    By Glorious Idowu

    The Lagos literary community turned its spotlight on Ouida Bookstore, Opebi Ikeja Lagos, on penultimate Thursday as writer Nkereuwem Albert unveiled his new urban-fantasy novel, The Bone River.

    The launch drew readers, writers, culture enthusiasts and young creatives who settled in for an evening of book readings, cultural reflection and an engaging conversation with the author.

    The novel, set in present-day Calabar, blends local mythology, matrilineal traditions and spiritual lore with modern storytelling.

    Albert, said the prominence of strong female characters in the book emerged naturally from Calabar’s cultural landscape, where mothers, aunties and grandmothers play defining roles. He explained that his storytelling approach is character-driven, allowing the figures in the book to determine the direction of the plot rather than forcing them into a rigid outline.

    Fielding questions from journalists about his writing process and whether he experienced writer’s block, the author said: “Ceative pauses are part of his routine. I don’t consider it writer’s block, but a part of the creative process. Many times, I would stare at my laptop and wait for hours and nothing comes. Then I know okay, nothing for today.” He added that deadlines actually help him work faster, noting that The Bone River took over two years to complete but would have moved quicker if he had been given a strict timeline.

    Audience members praised the book’s accurate depiction of Calabar’s spiritual symbols, particularly the portrayal of Ndiyam, a revered truth-binding oracle. Others commended the use of rare mythical creatures and the careful handling of cultural references often overlooked in mainstream narratives.

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    Albert further explained that the book’s magic system and fast-paced action sequences were partly inspired by anime, a genre he said explores supernatural abilities with depth and creativity. This influence, he noted, allowed him to craft fight scenes that pull readers into the emotional tension of each moment.

    He also revealed that some characters in the novel were inspired by close friends whose personalities shaped emotional arcs such as those of H and Aphmau. His hope, he said, is that readers from different backgrounds will see aspects of themselves reflected in the journey of the characters.

    The Bone River, now trending among readers across Lagos, is proving to be more than a novel—it is an electrifying adventure for book lovers and enthusiasts seeking fresh storytelling rooted in culture, myth and imagination.

  • A community’s endless flood crisis

    A community’s endless flood crisis

    Every rainy season in Tudun Wada, Kaduna, brings more than rain—it brings fear, displacement, and loss. For over 30 years, residents have battled recurring floods that destroy homes, livelihoods, and health. As another season approaches, their demand is no longer for relief, but for a permanent solution, reports FAITH YAHAYA.

    For residents of Tudun Wada in Kaduna South Local Government Area, flooding is no longer just an environmental problem; it is a yearly crisis that disrupts lives, destroys livelihoods, and forces families into a painful cycle of loss and recovery. What many communities experience as an occasional natural disaster has become an annual emergency in Tudun Wada. Each rainy season brings fear, displacement, damaged homes, closed schools and mounting health risks. When the most recent flood swept through the community, muddy water submerged houses, washed away property and pushed families into temporary shelters.

    In front of Rukaya Muhammad’s home, the evidence of destruction lay scattered — broken wooden bed frames, soaked cushions and household items ruined beyond repair. Rukaya, a mother of three who was seven months pregnant when the flood struck, recalled the sense of powerlessness that overwhelmed her. “I was helpless because my children are still very small, and the neighbours who might have helped were busy trying to save their own belongings,” she said.

    Dirty water filled her room, carrying debris from a nearby dumpsite into her home. Her children’s school uniforms, bags, clothes, bed, chairs and food supplies were all destroyed. Having recently given birth, Rukaya said coping with the aftermath has been physically and emotionally exhausting. Since moving to Tudun Wada eight years ago, she explained, flooding has been a constant threat. “We experience flooding every year. Our children always have rashes and fall sick. Even the water we use is not clean,” she added.

    Although deeply familiar with flooding, this year’s disaster once again exposed how vulnerable the community remains, and how the problem extends far beyond Tudun Wada. Rukaya’s experience reflects a wider national crisis. Flooding has become so regular that many communities now brace for it as part of the rainy season. Despite early warnings from the Nigerian Meteorological Agency (NiMet) through its annual Seasonal Climate Prediction, destruction continues across the country.

    According to the National Emergency Management Agency (NEMA), as of October 10, 2025, flooding affected 409,714 people across 117 local government areas in 27 states. Of this number, 135,764 persons were displaced, 238 lives lost, 826 injured, 47,708 houses damaged and 62,653 farmlands destroyed. Children were the most affected, accounting for 188,118 victims, alongside 125,307 women, 77,423 men, 18,866 elderly persons and 2,418 people living with disabilities. No fewer than 115 people remain missing. In Kaduna State alone, 24,240 persons were affected across 11 local governments. Though emergency agencies evacuated Rukaya and her family to safety, returning home meant starting all over again. “When we came back from the camp, we had to clean and fix everything. The flood washed away the things I sell. Nothing is the same again,” she said.

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    Even after the floodwaters receded, the danger in Tudun Wada did not end. For many families, returning home only revealed new fears and deeper losses. “This year when we returned, we killed three snakes inside my room. I am sure it was the flood that brought them,” Rukaya said. “Our mattresses are in bad shape even after drying them in the sun. They smell badly now, and we don’t have money to buy new ones.” She explained that even families who can afford new mattresses are hesitant to buy because they are certain that another flood will destroy them again. “For us, we are managing with the blankets and mosquito nets they gave us in the camp,” she added.

    Living with a 30-year flood crisis

    After years of recurring floods, drained savings and repeated appeals for help, many residents say they have reached a breaking point. Their demands are now direct: the dredging of the river that borders the community, and for some, relocation to a safer area entirely. For many in Tudun Wada, flooding has been a constant part of life. Nassim Suleiman, who has lived in the area for over 30 years, described the disaster as “normal” — but no longer acceptable.

    His house, located near Salamatu Islamic Nursery and Primary School, is frequently submerged during the rainy season. He explained that classes are suspended almost every year because the classrooms become flooded. The dumpsites lining the riverbank, he said, worsen the problem, as refuse is swept into homes whenever the river overflows. “This has been happening for more than 30 years,” Suleiman said. “When I returned from a journey this year, I was told my family had been taken to a camp because our house and others close to the river were flooded. All we want is for the government to expand the river path. “NEMA and others really tried this year with awareness,” he added. “But the government should help us clear the dumpsites and expand the river because when the water comes back, the refuse enters our houses.”

    Community women leader, Husseina Liman, said the days spent at the camp felt like relief compared to the suffering at home. She appealed for dredging as a long-term solution. “What took me to the camp was not pleasant,” she said, “but we were well taken care of there. We were given proper meals with meat and eggs. I cannot remember the last time I ate meat or eggs before then. NEMA really tried for us, but fixing the river will end this problem permanently.”

    For 77-year-old Sani Ibrahim Kamakasa, the cycle of flooding is both familiar and painful. “I have lived in this community for over 70 years. Flooding is not new, but it should not continue like this,” he said. “We keep telling the authorities to dredge the river. They attempted earlier this year, but the rains had already started. If they are serious, they should use the dry season.”

    Fatimatu Mustapha, who lives closest to the dumpsite, believes relocation is the only realistic solution. “My house is near the dumpsite. People still dump refuse there despite efforts to stop them. The smell is terrible, but we have no alternative,” she said. “We are ignoring the health risks because we have nowhere else to go. I am begging the government to relocate us.”

    Emergency response efforts

    Kaduna Red Cross official, Tijani Inuwa, said swift coordination helped prevent casualties this year. “We arrived around 4:00 a.m. with SEMA and NEMA and rescued people from their houses. About 239 households were affected and taken to Asipitin Yara camp. They stayed for four days and were fed well, while medical personnel attended to the sick,” he said. To stop the cycle of destruction, Inuwa recommended two urgent solutions: relocation and dredging. “This problem has lasted over 30 years. The people are used to it, but it should not continue like this,” he said.

    NEMA’s North West Zonal Director, Sani Lokoja, said the agency is intensifying simulation exercises and advocacy to ensure communities receive timely support that reduces disaster risks. “We will continue to collaborate with relevant agencies to ensure that we mitigate and prevent disaster risks across the country. Our goal is to make communities resilient and prepared for any emergency because disasters do not give notice before they strike,” he said.

    NEMA’s Director General, Zubaida Umar, explained that the agency’s preparedness this year was driven by early climate-risk planning based on predictions from the Nigerian Meteorological Agency (NiMet) and the Nigeria Hydrological Services Agency (NIHSA). According to her, vulnerability maps were developed nationwide to help states identify communities most at risk. Before the onset of the rains, NEMA formally notified state governments through letters and physical visits, highlighting areas likely to experience flooding.

    “These efforts were deliberately put in place to mitigate and possibly prevent the widespread impact of this year’s flooding,” Umar said.

    The contrast with the previous year is striking. In 2024, flooding affected 5,264,097 persons across 35 states and 401 local government areas. Out of these, 1,243,638 people were displaced, 1,237 lives were lost, 16,469 persons sustained injuries, 116,172 houses were destroyed, and 1,439,296 farmlands were damaged. Umar attributed the significantly lower figures recorded in 2025 to the expanded national preparedness campaign, which grew from coverage in 24 states last year to all states and vulnerable communities nationwide this year.

    Any hope for a permanent solution?

    As the year draws to a close and another rainy season approaches, anxiety is already building in Tudun Wada. For residents who have endured more than three decades of seasonal destruction, the desire for a permanent solution has moved beyond appeals to a desperate plea for survival.

    Many say the cycle of flooding has stolen too much—homes, livelihoods, peace of mind, and in some cases, their health. Residents are united in their belief that temporary relief measures are no longer enough. While emergency camps provide short-term safety during peak floods, families often return to the same damaged houses, polluted water sources, and unmanaged dumpsites that worsen each year’s disaster.

    What they are demanding now is long-term intervention that addresses the root causes of the flooding. For some, dredging the river remains the most immediate and practical solution. They believe that clearing and widening the water channel would reduce overflow and prevent floodwaters from forcing their way into homes. Others argue that the community’s location—close to dumpsites and natural floodplains—makes relocation the only realistic option, especially for households closest to the riverbank.

    Humanitarian workers and emergency responders who have repeatedly rescued families from rising waters share similar concerns. After years of evacuations, relief distributions, and temporary resettlements, many agree that the pattern is clear: without structural solutions, flooding will continue to destroy lives and properties. For Tudun Wada, the hope is simple but urgent—that government intervention will go beyond emergency response and focus on long-term planning. Whether through dredging, relocation, or a combination of both, residents say they are ready for a future where the rainy season no longer brings fear, displacement, and loss, but safety, stability, and normal life.

  • FirstBank powers Mainland Laffs 3.0 to light up Lagos

    FirstBank powers Mainland Laffs 3.0 to light up Lagos

    The Balmoral Convention Centre at the Sheraton in Ikeja underwent a remarkable transformation on Sunday December 7th, becoming the epicenter of Lagos Mainland’s entertainment scene as the highly anticipated Legends’ Decemba / Mainland Laffs 3.0 event unfolded. This spectacular gathering, which brought together an exhilarating blend of comedy, music, dance, and drama, successfully reaffirmed its reputation as an essential cultural highlight of the year. From the moment guests arrived, the atmosphere was charged with excitement and anticipation. Attendees were greeted by a beautifully adorned red carpet, lined with vibrant branded banners and sponsor displays, creating a glamorous entryway for the array of celebrities, entertainers, and enthusiastic guests who began arriving at 5 PM.

    The audience was treated to an impressive lineup featuring comedy royalty and high-energy musical performances. The evening was headlined by the legendary Nigerian ace comedian Ali Baba, who brought his signature blend of humor and wisdom to the stage, elevating the event’s prestige. He was accompanied by the dynamic Kenny Blaq, celebrated for his innovative approach to musical comedy, and Phronesis, who captivated the crowd with his rapid-fire, sharp-witted jokes.

    The mood of the night was expertly maintained by the charismatic host, MC Husband Material (Eze Chuwudi), whose engaging rapport with the audience ensured seamless transitions and heightened enthusiasm throughout the performances. Additional comedic talent was showcased by MC Bishop, Dr. Smile, MC Trick, Abadei, and 16 Onirun, each contributing to a relentless stream of laughter that filled the venue.

    Beyond the comedy, the event was a celebration of diverse artistic expressions. Gospel rapper Protech opened the show with an electrifying performance that infused spiritual energy into the evening, followed by CJ the Violinist, whose melodic tunes created moments of reflection and tranquility. Mauren’s Art took the stage with a breathtaking dance performance, mesmerizing the audience and encouraging moments of joy and engagement across every artistic discipline.

    The interior of the venue resonated with a positive, infectious energy. A creatively designed vendor village offered a vibrant marketplace featuring an array of local cuisine, refreshing drinks, unique fashion, and accessories, enhancing the festive atmosphere for all attendees. Inside the main hall, elegant seating arrangements ensured comfort and unobstructed views, while the professional stage, equipped with cutting-edge lighting, LED screens, and sound systems, provided a captivating backdrop for each performance.

    The flawless organization of the event was made possible through the support of First Bank Nigeria through its annual December IssaVybe lineup of events, along with backing from the Lagos State Government and LASAA. First Bank’s contributions underscored the significance and scale of this cultural extravaganza, making it a landmark event for the community and also making the December fun for its numerous customers and also making the yuletide season an extravaganza.

    Guiding the evening with charm and wit, MC Husband Material (Eze Chuwudi) kept the energy levels soaring high. The comedy segment was a showcase of both established stars and emerging talents. The crowd erupted in laughter at Kenny Blaq’s musical comedy interludes and Phronesis’s clever punchlines, while the talents of MC Smiles, Larry J, MC Trick, Abadei, and 16 Onirun ensured a varied and entertaining comedy showcase that spanned generational humor.

    As the night progressed, the entertainment spectrum expanded to include a rich tapestry of musical and artistic performances. The high-energy opening by gospel rapper Protech was followed by the soul-stirring melodies of CJ the Violinist, who captivated the audience with his unique musical interpretations. A dynamic dance performance by Mauren’s Art added another layer of depth, while artists like Oba Richie, Angelo, Switch, and Ozzy transformed the venue into a lively concert hall, energizing the crowd with their infectious tunes.

    The climax of the show arrived when Innocent Idibia, famously known as 2Baba or 2Face, graced the stage, taking the audience on a journey through nostalgic memories with his timeless hits. Despite the controversies that have occasionally surrounded him, he delivered a stunning performance that resonated deeply with fans old and new.

    As he performed, the crowd became a chorus of voices, singing along with enthusiasm to his classic songs from his debut album through to his latest releases. 2Baba’s charisma was evident as he moved among the audience, engaging with fans and soaking in the palpable love emanating from the crowd. His performance was nothing short of electrifying and served as the perfect crescendo for the evening.

    With an impressive command of the stage, 2Baba showcased why he is considered a legend in the music industry. His ability to captivate the crowd was remarkable, every note he sang, every gesture he made drew the audience in, creating a shared experience that felt intimate yet grand. Even as he neared the end of his set, the audience was reluctant to let him leave, chanting for more as they were spellbound by the magic of his music.

    2Baba’s performance was not just a concert; it was a celebration of his legacy and contributions to the Nigerian music scene. It solidified his status as an icon, one who has not only defined a genre but has also connected generations through his artistry. The night truly belonged to him, a testament to his enduring influence and the deep affection fans have for him and his work.

    As the event drew to a close, attendees left buzzing with excitement, carrying with them the vibrant memories of a night that perfectly balanced professional production with genuine talent. Mainland Laffs 3.0 proved to be more than just an entertainment event; it was a powerful celebration of community pride and a vivid showcase of the creative spirit flourishing on the Lagos Mainland.

    According to First Bank Representatives, “We supported the event because it was meticulously designed to embody the essence of community’s talent and vibrancy,”.

    “From the laughter to the music to the palpable energy in the room, it was the ultimate ‘Decemba issaVybe’ experience. We are incredibly pleased with the outcome and extend our gratitude tothe organisers, performers, and most importantly, the wonderful people of Lagos who joined in the celebration.”

  • Wizboyy shares inspiration behind new song ‘More Billionaires’

    Wizboyy shares inspiration behind new song ‘More Billionaires’

    Talented singer and songwriter Wiz Ofuasia, widely known as Wizboyy, has unveiled his latest single, More Billionaires, a lively afrofusion track infused with his distinctive highlife style and featuring Zoro.

    Speaking on the inspiration behind the record, the Infinity crooner explained that the song was conceived from his long-standing desire to motivate listeners and promote a culture of collective success.

    “I have always used my music as a tool to motivate and inspire. Being someone who came from a humble background, I like to tell grass-to-grace stories,” he said. “More Billionaires came from a similar inspiration, but this time with emphasis on winning together. This is something the Igbo culture strongly represents.”

    Wizboyy also offered insight into the production process, revealing that the track took about a month to complete. According to him, collaboration played a key role.

    “It took me about a month to make,” he said. “I created the beat and was trying different ideas on it. I sent the beat to Zoro to have other ideas as well, and, of course, you know he doesn’t disappoint. At the end, it was a great collaboration. It took a couple of days to finalise the mixing, and the rest, they say, is history.”

    On his expectations for the new release, Wizboyy expressed optimism, noting that early feedback has been encouraging.

    “The reception has been amazing. I look to take it to the next level with more promotions and live performances,” he said. “It’s about to get better in every aspect of my career journey. I believe in God’s grace for greater heights.”

  • Segilola Resources sweeps multiple national honours, strengthens community impact, mining sector leadership

    Segilola Resources sweeps multiple national honours, strengthens community impact, mining sector leadership

    Segilola Resources Operating Limited (SROL) ended November on an impressive note, earning industry-wide recognition for both its community impact and sectoral contributions.

    The company was honoured with the Community Development Champion of the Year award at CSR Reporters’ Social Impact and Sustainability Awards (SISA), held on the 28th of November in Lagos at the MUSON Centre.

    At SISA, SROL’s recognition as Community Development Champion of the Year further strengthened its reputation as a leader in transformational CSR, prioritising education, skill development, local enterprise growth, health, infrastructure, and environmental stewardship. 

    The award ceremony honoured organisations whose initiatives have made meaningful social, economic, and environmental impact, under the theme “People, Planet, Purpose: The CSR Imperative”.

    Speaking about this monumental win, Austin Menegbo, Country Manager at SROL, said, “This award reaffirms our belief that our relationship with our host communities should be symbiotic and that our initiatives should be intentional, relevant, and impactful. We are honoured by this recognition and remain committed to creating lasting value for our host communities and Nigeria at large.”

    In addition to the SISA honour, SROL received a landmark national recognition: the Award of Excellence: Upholding the Principle of Decent Work from the Federal Ministry of Labour and Employment, Nigeria. This historic award, the first ever presented to any organisation in Nigeria, celebrates SROL’s commitment to people-first work practices.

    It follows closely after the company’s HR OSCARS Sectoral Award from the Chartered Institute of Personnel Management (CIPM) Nigeria, which recognised excellence in employee welfare, development, and adherence to global HR standards. The Ministry’s award was received on behalf of the organisation by Oluwaseun Fagesi (HRM) and Olusola Olusomidomo (DGM), who reiterated SROL’s dedication to fostering a workplace anchored in dignity, safety, inclusion, and growth.

    Adding to its milestone achievements, SROL was also honoured with the “Distinguished Corporate Award” by the Nigerian Society of Engineers (NSE), Ilesa Branch. Presented on 27 November at the 4th Distinguished Lecture and Inauguration of the 2025 Branch Executives, the award recognised the company’s contributions to engineering excellence and its support for advancing industry standards. This recognition aligns with the event’s theme, “Engineering and Operations in the Mining Industry,” and underscores SROL’s commitment to innovation, technical development, and strategic partnerships that strengthen Nigeria’s engineering ecosystem.

    The event’s keynote lecture was delivered by SROL Operations Manager and Deputy General Manager, Engr—Olusola Olusomidomo, who presented a comprehensive framework for managing engineering and operations in mining projects. Overall, the program served as a strong celebration of excellence.

    Through these recognitions, SROL continues to drive purpose, partnership, and progress, ensuring that the impact of mining extends far beyond the mine site to the people and communities who enable and share in its success.

  • A bold, daring Glasgow in the pages of a book

    A bold, daring Glasgow in the pages of a book

    • By Ray Anyasi

    From Glasgow Without Love is a powerful, emotionally rich, and thematically daring collection of interconnected stories exploring belonging, displacement, grief, love, and the fragile scaffolding that holds migrant lives together in contemporary Glasgow. With a voice that is both lyrical and unflinching, Albrin Junior merges the hyper-specificity of Nigerian cultural memory with the atmospheric grit and tenderness of Glasgow, crafting narratives that feel universal yet deeply rooted in lived experience. Through its ten stories, the collection captures the emotional topography of those who arrive in new lands carrying histories that refuse to stay behind. Each story stands confidently on its own, but together they form a fuller portrait of a city seen through outsider eyes—its beauty, its quiet violences, and its unexpected offerings of grace.

    Albrin does not shy away from taboo subjects: family wounds, mental health, spiritual ambiguity, and the burden of expectations. Across the collection, like the lead story, Diary of a Black Immigrant, Drown, Fake London Girl, characters grapple with the disorientation of arrival and the ghosts that travel with them from Nigeria to Scotland. The manuscript opens with strong cultural grounding, grief rituals, community obligations, and complex family expectations, establishing the emotional luggage the characters bring into Glasgow’s unfamiliar spaces. The contrast between home and host country is one of the collection’s strongest features. Albrin shows how memory becomes both a refuge and a burden, especially in moments of hardship, loneliness, or cultural misinterpretation.

    Several stories examine grief not as a single event but as a long, slow-burning process that shapes identity. Characters are often caught between what they’ve lost and what they are struggling to build—relationships strained by distance, emotional expectations inherited from Nigeria, and the pressure to “appear strong” in an unfamiliar society.

    Albrin captures with striking accuracy the subtle, everyday cultural collisions faced by migrants, rituals around death, views on masculinity, emotional expression, spiritual beliefs, communal responsibilities, and the interplay between superstition and modern life. These tensions are neither glorified nor condemned; they are presented as lived realities shaping identity. He shows how the characters navigate being “too Nigerian for Scotland, too changed for home,” revealing the emotional cost of migration.

    Glasgow is not merely a backdrop; it is a living presence. Cold, grey, bruising, but also full of unexpected warmth and community. The depiction of bus stations, shared flats, school environments, and hospital rooms captures the palpable urban texture of the city. It mirrors the characters’ internal climates, sometimes harsh, sometimes quietly hopeful. Nigeria, by contrast, appears in memory sequences with colour, sound, ritual, and emotional intensity. This creates a dynamic spatial duality running through the entire book.

    Albrin’s prose is lyrical without being indulgent. His descriptions are emotive yet controlled, and his dialogue rings true. The writing displays: emotional intelligence, thematic cohesion, cultural fluency, strong narrative pacing, and immersive sensory detail. Many scenes show a playwright’s instinct for tension and cinematic imagery, revealing the author’s cross-disciplinary strength in screenwriting and fiction.

    The book’s opening is powerful. It establishes a reader’s emotional orientation immediately with grief, identity, and the dislocation between two worlds, which is an odd way to start a book, but he does it so well. The cross-cultural relationship between Elvis and Molly is explored with maturity and nuance, offering insight into how intimacy shifts when culture, trauma, and displacement intersect. Characters rarely fall into archetypes; instead, they feel like people we have known or could know.

    From Glasgow Without Love is a deeply affecting, beautifully written work of contemporary diaspora fiction. Its emotional honesty, cultural intelligence, and immersive storytelling mark it as an important contribution to migrant literature in the UK. It provides a voice for experiences often misrepresented or unheard, portraying Glasgow through eyes that see both its challenges and its quiet, complicated beauty.

    Albrin Junior emerges from this collection as a writer of exceptional emotional depth, narrative clarity, and cross-cultural relevance. This book will resonate deeply with readers interested in migration, identity, love, trauma, and what it truly means to build a life between two worlds.

    About the reviewer

    Ray Anyasi is one of Africa’s most published authors with over 25 books which include; Ujasiri, Bloodline, This Town: a postcard of terror, Sorrows of Udi, A Perfect Suspect and 17 Stories Awelle Forgot to Tell Munachi. His writing influence is majorly the extraordinary stories of ordinary people who have to confront monstrous challenges they do not orchestrate, yet must overcome.

    Anyasi’s books like Ujasiri, To Live Again, Broken Cloud and Sorrows of Udi have been translated into multiple languages like Spanish, Portuguese and German. Sorrows of Udi has been adapted into both a comic series and a webtoon animation.

    He is a Committee member of the Society of Authors in Scotland, Festival Director for Rayany Creators Film Festival and Editor-in-Chief of Geek Digest Magazine.

  • How Ayodeji Razaq is redefining Africa’s storytelling landscape

    How Ayodeji Razaq is redefining Africa’s storytelling landscape

    When Ayodeji Razaq rose to accept the Young Executive of the Year award at the 2025 Masters of Industry ceremony, there was a momentary stillness in the room, as though the air itself recognised this monumental moment. The Landmark Event Centre, Lagos, was a sea of polished looks and tailored ambition—manufacturers, financiers, industrialists, policy shapers, the people whose decisions ripple across African economies. Yet as Ayodeji walked towards the podium, applause gathering around him like a rising tide, the room seemed to acknowledge something different: the ascent of a new kind of industrialist, one who does not build refineries or assemble machinery, but bends culture, perception, and public imagination with the precision of an engineer and the instinct of an artist. He thanked the audience with ease, carrying himself as if he knew the work ahead was larger than the celebration.

    I have been following Ayodeji for three years, tracing the quiet and unmistakable expansion of his influence across the continent. From Lagos to Kigali, Nairobi to Johannesburg, his name surfaced not with the typical exuberance reserved for rising executives, but with the subtle weight one gives to a person who has begun to rearrange the architecture of an entire industry.

    Inside RED’s Surulere headquarters, there is a glass-walled room Ayodeji’s team calls “the strategy kitchen.” One evening in 2024, long after most offices on the street had gone dark, Ayodeji sat at the head of a narrow table marked by empty coffee cups and open laptops. The whiteboard behind him was a sprawl of arrows charting the logic of the National Social Safety Net Project, for which RED was designing financial-literacy content to reach millions of Nigerians. He insisted the material must sound “like a neighbour, not a banker,” and paused a final review to rewrite a single line because it felt “too lecturing, not empowering.” The gesture captured the philosophy guiding his work: influence cannot be declared; it must be earned through empathy, accuracy, and cultural hearing.

    The World Bank-supported AGILE project with Nigeria’s Ministry of Education carried the same fingerprints of depth. At a convening in Abuja, Ayodeji leaned toward a group of school administrators debating girls’ learning outcomes. Instead of presenting a slide deck, he asked what girls feared most, what they needed most, and what adults misread most. It was a different kind of engagement — participatory, probing, almost therapeutic — and revealed why RED’s role extended far beyond messaging into reshaping how stakeholders themselves perceive problems.

    Campaigns under his leadership rarely feel engineered for spectacle; they feel inhabited. When RED began advising Segilola Resources Operating Limited—Nigeria’s first industrial-scale gold mine—Ayodeji urged his team to see mining not as an industrial endeavour but as a living landscape shaped by labour, heritage, and human consequence. The stories that emerged repositioned the company not simply as a miner of gold, but as a participant in Nigeria’s growing consciousness around environmental, social, and community responsibility. It was an unexpectedly empathetic treatment of a sector more often described by its distance from the people it touches.

    That same sensibility—an instinct for the human centre of any brief—has come to define RED’s corporate work across the continent. For brands from Unilever and Nigerian Breweries to Reckitt Benckiser and more than 250 others, campaigns under his watch have shed the skin of traditional marketing and taken on the character of cultural fieldwork. The line between strategy and anthropology is thin in his rooms. During a brand-refresh session for a household product, Ayodeji stopped the meeting with a question that hung longer than anyone expected: how did the brand live in “the memory of the marketplace,” not just on a dashboard? In Africa, where markets double as cultural theatres and social archives, the question reframed the entire conversation. It revealed why RED’s work so often resonates beyond the confines of corporate messaging. It is not that he rejects metrics; it is that he insists culture must sit upstream of them.

    This instinct for reframing is equally present in Branded by RED, the executive-positioning division he has quietly built into one of the continent’s most discerning reputation studios. A senior FMCG executive once told me that Ayodeji’s process was “uncomfortably honest.” He was less interested in what she wanted to project than in what she wanted people to understand when she was no longer in the room. “Reputation is an echo,” he told her, “and most echoes are accidental. We help you make it intentional.” Under his direction, Branded by RED has transformed how African executives craft public meaning — not through glossy photography and ceremonial statements, but through a more demanding articulation of identity, authority, and consequence.

    The Future Awards Africa, one of RED’s flagship platforms, has been subtly recalibrated under his stewardship. Once a ceremony of recognition, it has matured into a global stage for projecting the unseen labour of young Africans, the builders, thinkers, and reformers whose contributions often precede visibility. Under Ayodeji’s influence, the awards have shifted from celebration to translation: a widening of the world’s understanding of African youth by illuminating their work before fame arrives.

    The night Ayodeji received the Young Executive of the Year award, he thanked the audience with ease, carrying himself as if he knew the work ahead was larger than the celebration. A manufacturing magnate seated beside me leaned in and said, “He’s not in our sector, but he’s shaping all of ours.” It was not flattery but fact. In an economy where perception increasingly determines policy, market entry, investment appetite, and social trust, Ayodeji has positioned communication not as an accessory to industry but as the force that animates it.

    Ayodeji Razaq is not just a rising executive; he is a new kind of African maverick who doesn’t chase influence but engineers it through clarity and cultural intelligence. At a moment when Africa is renegotiating its identity, industries, and place in the world, Ayodeji is helping shape the language of that transformation. He is proving that storytelling is not a soft skill but a strategic engine, capable of shifting markets and reframing the future. The continent is paying attention, not because he demands it, but because his work makes it impossible not to.

  • Folagade Banks clinches award for Content Creator of the Year

    Folagade Banks clinches award for Content Creator of the Year

    The entertainment scene in Lagos State came alive on Tuesday night as digital creator Folagade Banks emerged Content Creator of the Year at the just-concluded Master of Industry Awards held at the prestigious Landmark Event Centre.

    The glitzy event drew some of the biggest names in Nigeria’s creative space, with industry stakeholders describing this year’s edition as “one of the most competitive and talent-packed” since the awards began.

    Receiving his plaque to loud cheers from the audience, Folagade Banks expressed gratitude to his supporters, dedicating the win to God, his mother, and his fans.

    “Thank you so much. I am dedicating this award to God, my mother, and my fans. This is just the beginning,” he said.

    The category, regarded as one of the ceremony’s toughest, featured a long list of fast-rising and established content creators, including Gilmore, Kidbaby, Tega Clifford, Diary of Kitchen Lover, Nons Miraj, Meshkiey, Two Glazzes, Adika, Baby Rain, Jay on Air, and Chef Amaka.

    Organisers of the awards said the competitiveness of the category reflected the rapid growth of Nigeria’s digital entertainment ecosystem, adding that selecting a winner required “rigorous vetting and extensive industry consultations”.

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    They noted that the surge in creative output across platforms such as TikTok, YouTube, and Instagram had made the judging process more demanding, with nominees pushing boundaries in humour, storytelling, lifestyle content, and culinary creativity.

    Guests at the event were treated to musical performances, comedy segments, and special tributes recognising the impact of young creators on Nigeria’s cultural landscape.

    Speaking earlier, the awards committee said this year’s ceremony was designed to celebrate “innovation, originality and industry influence”, values they said were clearly demonstrated by the nominees in the content creator category.

    The organisers also emphasised that the Master of Industry Awards aims to encourage excellence by spotlighting individuals who continue to elevate Nigeria’s entertainment profile globally.

    As the curtains fell, many attendees hailed Folagade Banks’ victory as well-deserved, citing his consistency, versatility, and strong fan engagement as key strengths that set him apart.

    With this win, industry watchers say the creator is set for an even bigger 2025, as brands, fans, and collaborators rally around his growing influence in Nigeria’s dynamic digital space.

  • Tinapa comeback signals new era for Cross River

    Tinapa comeback signals new era for Cross River

    After a glittering launch, Tinapa Business Resort & Free Zone in Calabar soon sank into financial turmoil, halting operations and prompting takeover by AMCON. Years of stalled revival, mounting debt, and legal uncertainty followed. Its repossession by the Cross River State Government in 2025 marks a decisive turning point, celebrated widely as a triumph that restores hope, revives the state’s vision, and sets the stage for Tinapa’s long-awaited resurgence, Associate Editor ADEKUNLE YUSUF reports

    It was on the historic day of April 2, 2007, that former Nigerian President Olusegun Obasanjo inaugurated the first phase of the Tinapa Business Resort & Free Zone in Calabar. Since then, the project has remained one of the most ambitious developmental undertakings ever embarked upon by the Cross River State Government. Conceived by then-Governor Donald Duke, Tinapa was envisioned as a transformative force to position Cross River State as the economic heartbeat of West Africa. More than infrastructure, it was designed as a fulcrum for job creation, revenue generation, tourism revival, economic emancipation, and a broader development revolution.

    Over the years, Tinapa has emerged as a narrative of hope, missteps, and remarkable resilience. Today, under Governor Bassey Otu, the resort is experiencing what many describe as its most promising rebirth. Tinapa was conceived at a time when Cross River State sought to reinvent itself as a globally competitive investment destination. As the state moved away from oil dependency and aggressively promoted tourism, the government envisioned a complementary commercial hub—blending leisure, trade, and business. The resort was designed as a mixed-use development with world-class retail facilities, wholesale emporiums, a film studio (Studio Tinapa), hotels, entertainment complexes, and Africa’s largest waterpark at the time. Governor Otu recently described Tinapa as “an enabler of the socio-economic transformation of the State,” underscoring its broader vision beyond mere bricks and mortar.

    From the outset, Tinapa attracted international attention. Investors, tourists, and development analysts lauded it as a symbol of subnational ambition executed at an impressive scale. At its opening, it was among Nigeria’s most sophisticated business and leisure estates. Luxurious hotels, state-of-the-art retail spaces, and seamless architectural design established a regional economic beacon. Strategically located near the Calabar Free Trade Zone, it aimed to support duty-free shopping, large-scale trade, and international commercial traffic. Initially, Tinapa thrived. Conferences were hosted, families flocked to the waterpark, and retail shops buzzed with activity. For a while, it appeared that Cross River had discovered a non-oil revenue engine capable of reshaping its future.

    Legal and operational challenges

    Yet, despite its glamour and the massive capital invested, Tinapa soon faced uncertainty. Its decline was gradual, tied closely to regulatory constraints. Duty-free operations—the project’s core engine—ran into federal Customs restrictions that stifled commerce. Goods intended for free trade became trapped in layers of bureaucracy, eroding the resort’s competitive edge. Retail shops closed, investors exited, foot traffic dwindled, and financial pressures mounted. Unable to maintain the sprawling infrastructure without projected revenues, the state fell into debt, and the project that once symbolised progress became a monument to stalled potential. During this period, Tinapa came under the supervision of the Asset Management Corporation of Nigeria (AMCON), which intervened to recover outstanding debts.

    With AMCON managing its liabilities, questions of true ownership emerged. While Cross River State remained the principal stakeholder, operational and legal encumbrances limited its control. This ambiguity discouraged investors, discouraged partnerships, and left the public viewing the once-glittering estate as a stranded asset. Tinapa had become a majestic structure trapped in limbo—too valuable to abandon, yet unable to operate freely. Successive governments attempted negotiations, legal reviews, and renegotiations, but it was not until 2025 that a breakthrough finally emerged, signalling the long-awaited revival of a project that had long promised so much for Cross River State.

    Otu’s repossession of Tinapa: A turning point

    On November 7, the Cross River State Government announced a historic breakthrough: Tinapa Business Resort had been fully repossessed from the Asset Management Corporation of Nigeria (AMCON), ending years of legal ambiguity. Officials described the repossession as “decisive, strategic, and economically necessary,” restoring the resort as the bona fide property of the State. Governor Otu, speaking at the repossession ceremony, captured both the gravity of the moment and the optimism for the future. “Today’s event has finally removed the legal lacuna on the ownership of Tinapa, which is now the bona fide property of the Cross River State Government,” he said. He added: “We are not only reclaiming the facility, but also increasing the stock of our enduring infrastructure. The return of Tinapa is not merely an event; it is a rebirth, the triumph of faith, patience, and resilience. This is more than reclaiming an asset; it is the revival of a vision that once placed Cross River on the global economic map.”

    Under the “People First Agenda,” Otu reaffirmed his administration’s commitment to reposition Tinapa as a thriving hub for trade, tourism, and creative enterprise. He revealed that discussions were already underway with credible investors and partners to transform the resort into a dynamic centre for commerce and job creation, guided by transparency and accountability. Otu also expressed gratitude to the Federal Government, AMCON, and other relevant agencies for their cooperation throughout the transition, commending all stakeholders who ensured a successful handover.

    Commissioner for Finance, Dr. Mike Odere, described the development as a symbol of renewed pride and optimism. “It means pride, it means reawakening, it means renewed hope as we are now free to attract investors and reposition the facility for maximum impact,” he said. Meanwhile, AMCON’s Executive Director, Mr. Shola Lamide, noted that while the corporation acquired Tinapa in 2011, it faced challenges attracting private investment. He described the handover as “a win for both AMCON and the people of Cross River.”

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    For many, the repossession was more than a bureaucratic victory; it symbolised clarity, restored dignity, and renewed confidence in the state’s ability to manage its most valuable assets. Government officials say it marks the beginning of broad economic renewal. A senior official at the Ministry of Industry and Trade explained: “These steps were taken to rekindle investor confidence and provide a ray of hope for Cross Riverians.”

    Economic analysts agree that restoring control over Tinapa is critical. The resort remains one of Nigeria’s most extensive, fully built commercial complexes. With ownership clarified, the State can now redesign operational frameworks without legal obstacles. Engagements have already begun with investors in agro-processing, manufacturing, logistics, leisure, hospitality, and export-oriented businesses, aligning with Otu’s vision of Tinapa as “an investors’ haven where limitless opportunity beckons.” The governor has also invited citizens at home and abroad to participate in this rebirth, marketing Tinapa as both a resort and a new investment frontier.

    The strategy behind Tinapa’s repossession included debt regularisation through a structured settlement with AMCON, legal harmonisation to unify the resort’s legal identity under the State, and a comprehensive audit of buildings, facilities, and equipment to ensure a clean handover. Governance restructuring is also underway, aiming to professionalise operations, eliminate waste, and position the resort for profitability. A senior official noted that Governor Otu “played a hands-on role” throughout, insisting that reclaiming Tinapa was essential to “correct historical economic missteps” and restore the legacy of the project.

    What lies ahead

    With the legal knots finally untangled, the Cross River State Government has embarked on the first phase of a comprehensive revitalisation agenda for Tinapa. At the forefront is infrastructure rehabilitation: modernising ICT systems, upgrading water and lighting networks, refurbishing hotels, and improving road access to ensure the resort meets contemporary standards. Beyond physical upgrades, the State is redefining Tinapa’s economic focus. The plan shifts the resort from a primarily retail hub to a diversified centre for economic activity, encompassing processing zones, creative industries, technology incubation, transport and logistics hubs, conference tourism, and film and media production. Central to this vision is a partnership-driven model: both local and international investors have expressed interest, with sectors like agro-processing and manufacturing poised to create sustainable jobs and generate export revenue.

    To safeguard the project, the state is strengthening regulatory frameworks by engaging with federal agencies, ensuring Tinapa can operate smoothly without the bureaucratic obstacles that hindered its growth in the past. Governor Otu’s remarks at the repossession ceremony underscored a clear strategic philosophy. Tinapa is to serve as a catalyst for statewide socio-economic transformation. Reclaiming the facility not only increases State-owned infrastructure but also signals to local and international investors that legal disputes are behind the project, creating confidence for long-term engagement. The governor’s appeal to citizens highlights inclusivity, inviting them to participate in the next chapter of Tinapa’s development. In his words: “The project was conceived as an enabler of the socio-economic transformation of the state.”

    Local entrepreneurs share the optimism. Business owner Malachi James said: “Tinapa is not just a resort. It’s a cultural heritage. We look forward to welcoming visitors and showcasing our tourism endowment. With this resort set to roar back to life, Cross River and Nigeria at large will feel its pulse as it catalyses economic prosperity. I can’t wait for its revival.” Investment analysts note that the path ahead will demand discipline, sustained political will, and strategic investment. Yet, for the first time in years, Tinapa appears poised on a runway, its engines humming, ready to take off toward a renewed era of growth, innovation, and opportunity.