The Nation Newspaper

Category: Arts & Life

  • Art Fair awakens Abuja’s cultural heartbeat

    Art Fair awakens Abuja’s cultural heartbeat

    A slow but unmistakable shift is under way in Abuja. Long regarded as a city defined by bureaucracy and political ritual, the capital is beginning to articulate a cultural identity of its own. That transition gains sharper definition with the debut of the Abuja Art Fair, scheduled for December 3 to 7 —a milestone that positions the city to claim a more assertive role in Nigeria’s artistic landscape.

    The inaugural edition arrives at a moment when Abuja’s creative infrastructure is expanding with unusual momentum. While Lagos has historically shaped the country’s artistic discourse, Abuja’s changing demographics, institutional growth, and evolving art market have created conditions for a new centre of gravity. The fair, conceived and curated by Olorogun Jeff Ajueshi, seeks to crystallise this shift by offering a purpose-built platform that assembles artists, collectors, curators, enthusiasts, and corporate partners from across Nigeria and beyond.

    Its theme, “Art in the Heart of Nigeria,” is deliberately double-edged: geographically literal, yet also an argument for cultural repositioning. Ajueshi’s curatorial statement frames the fair not merely as an exhibition, but as an attempt to relocate the nation’s artistic conversations to a more central, and nationally representative, stage. In this reading, art becomes less an ornamental pastime and more an infrastructural necessity—an organising principle capable of shaping identity, discourse, and public imagination.

    The fair’s emergence is closely tied to Ajueshi’s own long-term interventions in Abuja’s cultural ecosystem. Nearly two decades ago, when the city was widely dismissed as artistically dormant, he founded the Thought Pyramid Art Gallery (later the Thought Pyramid Art Centre) as a counter-narrative to that perception. The initiative has since expanded to Ikoyi, Benin City, and Oghara—evidence of a broader strategy to create a network of spaces that support artistic education, production, and exhibition. The Abuja Art Fair represents an evolution of that effort: a shift from building individual centres of excellence to constructing a nationally visible institution that can anchor a new cultural economy.

    Across its five-day programme—opening on December 3 at the Art Pavilion in Garki—the fair will present a spectrum of traditional, modern, and contemporary works, along with installations, performances, and panel sessions. The selection prioritises emerging Nigerian and African artists but situates them alongside established figures within the global art ecosystem. This combination reflects a curatorial interest in tracing both continuity and rupture within African artistic expression.

    More critically, the works have been chosen for their capacity to interrogate the urgencies of contemporary life: environmental precarity, governance and civic responsibility, humanitarian challenges, technological acceleration, and the role of women in shaping national and continental futures. The fair thus positions Abuja not only as a showcase but as a site of inquiry, where the country’s political centre becomes a venue for cultural critique and imagination. In doing so, it echoes a global trend in which art fairs are no longer simply commercial nodes, but platforms for discourse, soft power, and cultural diplomacy.

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    Analytically, the Abuja Art Fair marks a strategic move in Nigeria’s cultural geography. It tests whether the nation’s administrative capital—traditionally overshadowed by Lagos in the realms of commerce and culture—can sustain a large-scale, annually recurring art event with continental ambition. It also addresses a long-standing critique within Nigerian art circles: the overconcentration of attention, resources, and opportunities in a few coastal cities. By positioning itself as a pan-Nigerian and regionally relevant forum, the fair attempts to broaden that aperture.

    For Abuja, the stakes are both symbolic and structural. If successful, the fair could accelerate the development of the city’s cultural economy, alter patterns of patronage and artistic mobility, and reframe how creative capital is distributed across the country. More broadly, it has the potential to shift external perceptions of Nigeria’s cultural power centres—presenting Abuja not merely as the seat of political decision-making, but as a site where national narratives are debated, negotiated, and performed.

    The inaugural Abuja Art Fair arrives, then, not as an isolated event but as part of a larger recalibration. It signals the capital’s readiness to move beyond administrative identity and assert itself as a creative locus with continental reach. Through its exhibitions, conversations, and institutional aspirations, it proposes a future in which Abuja’s cultural output is as consequential as the policy documents it produces.

  • When love for archive, history supercedes all

    When love for archive, history supercedes all

    Some artists, journalists and activists recently converged on Red Door Gallery on Bishop Oluwole Street, Victoria Island, Lagos. Their mission wasn’t to buy or collect the colourful paintings and mixed media works hanging on the walls of the gallery, but to honour written words in a rare book on the nation’s history and culture. Like an appetizer, a documentary on the making of the book and the author’s journey as a journalist at the Life Desk of The Guardian, was screened to provide the guests with background to the day’s event. 

    Though a book launch, the gathering was a close conversation between the author, Dr. Oludamola Adebowale and some arts buffs to celebrate and reflect on Nigeria’s vibrant history, culture and arts. This was anchored by travel journalist, Mr. Pelu Awofeso. At the centre of the conversation that lasted over an hour, is a book The fabric of a nation: Essays on Nigeria’s history, arts and culture by Dr. Oludamola Adebowale, a seasoned writer and archivist. The book is a result of years of research, reflection, storytelling and it captures almost everything. The stories in the collection span from 2018 to 2022. The 182 page-book was published by Wildeye Creative Solutions Limited in 2025. 

    Among guests at the conversation were former Editor, The Guardian On Sunday, Mr. Jahman Anikulapo, Toyin Akinoso, Solomon Nkwagu, Chief Iyare Ehondor, Lanre Lawal, curator of Afrrobeat Rebellion, Seun Alli, Sam Osaze, US-based visual artist, Victor Ekpuk, and…………..

    Decrying the dearth of credible documentaries on the nation’s history and heritage, Adebowale described Nigeria as a nation with a zero history, adding that the huge disconnect and gaps between the people and her history brought us low.

    On the wrong notion of feminism among the Gen Z, the author explained that unknown to many young generation Nigerians, there were notable amazons in Nigerian history who fought against oppression and injustice in their hey days. “We must see feminism in Nigeria beyond Western nations’ view of feminism. Our fathers and mothers of today, fought against oppression and injustice in their school days. There were the Aba women riot, SAP riot, Alli Must Go riot, June 12 demonstrations among others. In fact, we had the Queen Idia of Benin, Queen Amina of Zaria, Funmilayo Ransome Kuti, Efunmoye Tinubu, who stood out as amazons for the womenfolk,” he said. He however condemned the misinterpretation of our culture as fetish. 

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    He recalled that his experiences during the Black Heritage Festival under Babatunde Raji Fashola’s administration exposed him to many aspects of the archiving as he was assisting in programmes, organising people and documenting the festival.

    “Over the years, one opportunity led to another. But, being around doing something and showing up, made everything fall into place. When challenges came up, I handled them. Suddenly, I found myself doing work that matters. I started taking pictures of awards and publishing them. That led to the concept behind Asiri—a way of celebrating and archiving the body of awards and achievements. I’ve continued it till now, and it grows bigger every year,” he added.

    Akinoso recalled that having interacted with Adebowale during LABAF some years ago at Freedom Park, Lagos, he knew he was a serious minded person. “That was how I began to figure out what kind of mind he is made of. 

    He has a very critical mind. And when he showed up on CNN recently, I said to myself that I need to do some more works to be on CNN,” he jocularly said.

    ’ 

    In his usual characteristics, Anikulapo who wrote the foreword to the book turned the conversation into advocacy platform urging Nigerian artists to rely less on government in making their contributions to the growth of the creative sector. “Follow who know road if you must succeed,” he said on a lighter note.

    Chief lyare Ehondor, the Ehondor of Benin reflected on the book, saying he finds the collection of articles both timely and significant. The volume, he said, is not only intellectually enriching but also serves as a vital archive of Nigeria’s historical and cultural journey.

    “The sections on the Benin Kingdom are particularly commendable. They reflect a respectful and accurate understanding of our traditions, history, and royal legacy—capturing the enduring influence. Through these well-researched pieces, you offer valuable insight into our cultural identity, while also highlighting the rich narratives of other great Nigerian civilisations,” he said.

    To Ehondor, the book is a vital contribution to cultural preservation and public education. “I commend you for documenting our collective heritage with such dignity and precision, and I trust it will continue to inspire scholars, students, and citizens alike,” he added.

    Oluwakorede Olorunfemi who edited the book, described The Fabric of a Nation as more than a collection of essays. He noted that it is a cultural archive, a historical reckoning, and a creative triumph.

    “With meticulous research and evocative storytelling, Dr. Oludamola Adébowalé traces Nigeria’s history, art, and identity, weaving them into a tapestry that is both scholarly and deeply personal.

    “As editor, I had the privilege of shaping this manuscript into a cohesive and resonant work that honours its depth and ambition. From the artistry of the Benin Bronzes to the legacy of Queen Amina, from Yoruba cosmology to Afro-Cuban heritage, each chapter opens a window into the soul of a people,” he said.

    According to Olorunfemi, The Fabric of a Nation offers insight, inspiration, and a renewed sense of pride in Nigeria’s enduring legacy — a story that belongs not only to the past, but to the present and future of our shared humanity.

    Mr. Solomon Nkwagu of Yemisi Shyllon Museum, Pan Atlantic University, Lagos, recalled that his first encounter with Adebowale was a very fruitful discussion on collaboration and how to work on an exhibition at the museum to teach people. “I see him as somebody who is interested in transmitting knowledge and that passion is something that has really endeared me to him. Whenever we talk, we spend hours on the phone having intellectual conversations on how we can rise to change and impact in our space through art and through telling our stories,” he said. 

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  • Young author launches Echoes of Strength

    Young author launches Echoes of Strength

    • By Faith Ajiboye

    The quiet reflections of a young woman’s inner journey found expression in the launch of Echoes of Strength, the debut publication of emerging writer, Ifeoluwalose Ogunlana, a moving work rooted in identity, self-acceptance, and the resilience of the human spirit.

    The author, while sharing the inspiration behind her book, described it as a testimony of choosing personal identity beyond societal tags.

    “Echoes of Strength reveals the struggles I faced, the fears I confronted personally, and the small victories I learned to celebrate while choosing a name and identity I wanted the world to recognise,”she said.

    Ogunlana explained that the title emerged from a mantra that sustained her through adversity.

    “Never let the voice of the mockers be louder than the voice of the encouragers,”

    she recalled, adding that the phrase echoed within her until it evolved into the book’s central message.

    She revealed that the writing process demanded emotional honesty, as she revisited memories of bullying and insecurity stemming from her facial appearance.

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    “There were moments I could not look into the mirror, but through prayer, calmness, and God’s help, I found the courage to continue,” she said, noting that the book transcends her personal experience.

    “This book is not just about me; it is about everyone learning to accept themselves, just as I learned to accept myself.”

    She expressed hope that the work would serve as a source of strength for others, not simply as her story, but as a universal reflection on purpose, identity, and resilience.  The author’s mother, Mrs. Mojisola Ogunlana, spoke with deep emotion, calling her daughter a blessing and a vessel of inspiration.

    “I have never seen her as a disadvantage, but as a gift. Even when I’m afraid for her, she never sees obstacles. She believes that if others can do it, then she can too,” she said.

    A friend of the author, Pelumi Soyinka, also commended Ogunlana’s drive and commitment, recalling long nights during their school years when she laboured over the manuscript. She described her as hardworking and focused, stating that the book stands as evidence of her inner strength.

  • Textures of Humanity: A photographer’s 10-year encounter

    Textures of Humanity: A photographer’s 10-year encounter

    • By Glorious Idowu

    The Textures of Humanity, an exhibition of photographs by Reed Davis will open soon at the Nahous Residency Institute, Lagos. Davis, who spent a decade documenting communities across Africa, said the project emerged from a desire to capture the continent through intimate, human‑centred encounters rather than broad narratives. He recalled a defining moment in a rural community that shaped the emotional direction of the work.

    Explaining the symbolism behind the title, he said “texture” reflects the layers of identity, emotion, and environment that define the lived realities of the people he photographed. According to him, each community offered its own human texture that contributed to the project’s overarching conversation.

    Davis noted that only a fraction of the thousands of images captured over the ten‑year period made the final selection. Each chosen photograph, he said, convey honesty and sustain meaningful dialogue. He added that the project was approached as “a conversation rather than a lecture,” a philosophy that guided his interactions and preserved authenticity in the imagery.

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    He described the Lagos debut as personally significant, calling it a homecoming for a project that was created entirely on the African continent.

    Richard Vedelago, founder of the Nahous Residency Institute represented by Tiana Kumo, said hosting Davis’ first African exhibition aligns with the institute’s mission of nurturing interdisciplinary creativity. He noted that Textures of Humanity reflects Nahous’ vision of supporting work that deepens public engagement with African narratives.

    The interdisciplinary effort is expressed through a private dinner curated by Chef Tolu Erogbogbo, popularly known as Chef Eros or the billionaire chef. He told journalists that his menu draws inspiration from themes in Davis’ photographs, with each course designed to evoke memory, identity and shared cultural experience. He added that culinary art and visual art naturally complement each other in African contexts where food and storytelling intersect.

    The briefing ended with organisers emphasising that the exhibition aims to spark dialogue and encourage deeper reflection on the everyday complexities that shape African life.

  • ‘Nigeria sitting on goldmine’

    ‘Nigeria sitting on goldmine’

    Tech innovator Seun Oshinaike has earned a reputation for building impactful ventures across Nigeria and the United Kingdom. In a recent conversation with the media, he celebrated the abundant potential of Nigerians in the global tech landscape while identifying areas that require improvement for Nigeria to truly embody its title as the Giant of Africa.

    For the past eight years, Oshinaike has built and led Street Tag, a UK-based health-tech and community engagement platform that gamifies physical activity and wellbeing. What began as a small experiment in Barking and Dagenham in 2017 has expanded into a nationwide platform adopted by families, schools, and local councils to inspire active lifestyles.

    The recent acquisition of Street Tag by Starr Holding Company marks a significant milestone, one that positions Oshinaike for a broader strategic role as Product Lead. It also opens doors for new innovations that connect people, data, and wellbeing more deeply.

    “Before Street Tag, I founded ventures such as Cypher App (a mental health app), Digilab (a community makerspace in East London), and Maker Room (a creative innovation space in Nigeria),” he said. “These ventures reflect my deep belief that technology should serve people, not the other way around.”

    His current pursuits also include Mooshi Farm in Ogun State, a pineapple farm and agribusiness blending sustainability, community, and technology.

    Oshinaike received his primary education in Nigeria before relocating to the UK, where he completed secondary school at Abbey Wood School in South East London. He later advanced to Palmers College in Grays, Essex, for further studies.

    Reflecting on Nigeria’s tech landscape, Oshinaike asserted that the country has made notable progress, especially when compared with more technologically advanced regions of the world. He emphasised that Nigeria’s abundant human and material resources present limitless opportunities waiting to be harnessed.

    “Nigeria is sitting on a goldmine of human talent and creativity,” he said, pointing out that the opportunities in technology extend far beyond coding. They encompass product design, user research, data science, AI, gamification, community tech, and agritech.

    “To fully leverage these opportunities, Nigerians must build for their realities; solve problems rooted in local culture, behaviour, and infrastructure,” he added. “Our greatest advantage is the ability to innovate under constraints. That’s what gave birth to Street Tag in the UK and Mooshi Farm in Nigeria. Collaboration, local storytelling, and building trust in digital systems are key. When we blend innovation with cultural intelligence, Nigeria won’t just catch up to global standards, we’ll set them.”

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    Despite the visible strides in the tech ecosystem, Oshinaike believes Nigeria is yet to reach its full potential. He reaffirmed the country’s vast capacities across diverse sectors. “Nigeria has the talent density and entrepreneurial energy that the Global North often lacks,” he noted. What the country urgently needs, he said, is stronger infrastructure, mentorship, and investment ecosystems to allow innovators to thrive.

    He also stressed the importance of reimagining Nigeria’s educational system by integrating creativity, coding, critical thinking, and soft skills from an early age.

    With such reforms, he believes the next generation of Nigerian founders will emerge from classrooms where curiosity is valued as much as academic performance. He highlighted remote work, AI-driven learning, agritech, and gaming-for-social-good as sectors where young Nigerians can excel regardless of geographical limitations.

    Although Street Tag does not yet have a physical office in Nigeria, Oshinaike revealed that the company has employed remote staff from the country since 2021, contributing to data science, customer support, and marketing.

    “I want Nigerians to know that innovation doesn’t have a postcode,” he said. “You can build from anywhere, collaborate globally, and still keep your roots local.” His mission is to deepen awareness of how technology, wellness, and community can coexist, and to show that tech is not just about apps, but about impact, joy, and collective progress.

    On his future plans, Oshinaike remains deeply optimistic.

    “The acquisition of Street Tag has opened a new chapter, not just for me, but for what’s possible when persistence meets purpose.”

    He outlined his next steps to include: (1) Expand Mooshi Farm into an agritech hub connecting food production, technology, and local tourism. (2) Advance AI-driven community engagement, supporting councils, schools, and health systems across continents through play-based participation. (3) Invest in and mentor Nigerian innovators, building a bridge between the UK and Nigerian tech ecosystems.

    “The future, for me, is about building systems that last, and stories that inspire others to start,” Oshinaike concluded.

  • Red Cross takes disaster awareness to Lagos streets

    Red Cross takes disaster awareness to Lagos streets

    The Nigerian Red Cross Society, Oshodi/Isolo Division, Lagos State, has intensified its grassroots advocacy for environmental safety and public health, taking its awareness campaign to the streets of Lagos to educate residents on the importance of clean living and disaster prevention. The exercise, which coincided with the International Day for Disaster Risk Reduction (IDDRR), saw volunteers and officers of the humanitarian organisation marching through major streets of Oshodi and Isolo to sensitise residents on adopting safer environmental and personal practices. The campaign emphasised the need to end open defecation, avoid dumping refuse in drainages, desist from bush burning, and maintain general cleanliness in communities.

    Residents were also cautioned against erecting structures on waterways, drinking while driving, and using substandard building materials — practices the Red Cross said had contributed to the rising cases of flooding, road accidents, and building collapses across the state.

    Speaking during the campaign, Divisional Coordinator of the Oshodi/Isolo Division, Sunday Omeije, said the initiative aimed to reinforce the culture of prevention rather than response in dealing with disasters. According to him, the growing loss of lives and property to preventable incidents underscores the urgent need for collective responsibility.

    “As a humanitarian organisation, we are deeply worried about the increasing number of lives lost due to negligence and non-compliance with safety practices. This campaign is to remind everyone that disaster prevention starts with individual responsibility. We all have a role to play in keeping our environment safe and resilient”, Omeije said.

    Omeije explained that although the International Day for Disaster Risk Reduction is globally observed on October 13, the Division decided to extend its activities to the community level, bringing the message closer to the people. This year’s theme, “Fund Resilience, Not Disaster,” he noted, aligns with the Red Cross’ mission of building stronger and more informed communities capable of mitigating risks.

    “Disaster is something we live with every day — at home, at work, and in our communities. When people are aware of what to do, the effects of disasters can be greatly minimized. Many of the tragedies we experience are avoidable, and that is what this campaign seeks to address”, he said.

    The awareness walk covered several routes, including Aswani, Isolo Way, Mushin Road, the Isolo General Hospital axis, Pako, Oke-Afa Bridge, Cano Market, and Chivita Lane, before returning to Aswani where the exercise concluded. Along the route, volunteers distributed flyers, engaged passersby, and demonstrated simple safety tips to residents. The event also featured a voluntary blood donation drive conducted in collaboration with the Lagos State Blood Transfusion Service (LSBTS). Many Red Cross members donated blood to support emergency needs in hospitals across the state. Omeije clarified that blood is not sold in public hospitals, as widely believed, explaining that the fees charged are only for screening and cross-matching processes to ensure safety.

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    “Blood is priceless. When you donate blood, you save lives you may never meet. We appreciate those who volunteered today and encourage others to do the same. The fee paid in hospitals is not for the blood but for the necessary medical processes to make it safe for use”, he said.

    Omeije lauded senior Red Cross officials and instructors for their dedication, technical support, and presence throughout the campaign, noting that their participation gave a significant boost to the exercise.

    He also commended the enthusiasm and discipline of members across the Oshodi/Isolo detachment, describing them as “the engine room of the Red Cross in Lagos State.”

    “In Oshodi/Isolo, we are a group of selfless men and women committed to humanitarian service. I make bold to say that if there is no Oshodi/Isolo, there is no Red Cross in Lagos State”, Omeije stated.

    He highlighted the diversity of the local detachments, noting that while some are closed (church-based) units, others are open to the general public. “Whether closed or open, our mission is the same — to serve humanity without fear or favour,” he added.

    Through its ongoing community-based campaigns, the Nigerian Red Cross Society continues to strengthen awareness, promote safety consciousness, and encourage proactive measures among Lagosians — a vital step toward reducing the human and economic costs of disasters in Nigeria.

    Omeije reaffirmed the Division’s commitment to sustaining similar initiatives across Lagos emphasising that “the work of disaster prevention is continuous.”

  • NCC suspends multiple .ng domains over online piracy

    NCC suspends multiple .ng domains over online piracy

    The Nigerian Copyright Commission (NCC) has secured the suspension of several .ng domain names allegedly involved in large-scale online piracy of sound recordings and other creative works.

    The action, carried out in collaboration with the Nigerian Internet Registration Association (NiRA), followed a formal request by the International Federation of the Phonographic Industry (IFPI).

    The affected websites, val9ja.com.ng, tunesloaded.com.ng, voxnaija.com.ng, music.360media.com.ng, medianub.com.ng, naijalevels.com.ng and mp3juice.com.ng, were taken offline through their respective registrars after investigations confirmed they were engaged in the unauthorised distribution of copyrighted music and audiovisual materials.

    According to the NCC’s Special Taskforce against Online Piracy (STOP), the platforms were found to be in “blatant” violation of copyright laws, depriving rights holders of due revenue and undermining legitimate digital platforms.

    The Commission said the intervention forms part of its ongoing enforcement programme under the Copyright Act 2022, aimed at curbing online piracy across websites, streaming platforms and other digital channels.

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    The NCC noted that it is working closely with NiRA and domain registrars to ensure swift action against any .ng domain linked to copyright breaches, adding that it remains committed to protecting Nigeria’s digital creative economy.

    Director-General of the Commission, Dr. John Asein, said the suspensions send a strong signal that the country will not tolerate digital piracy. He thanked NiRA and the registrars for their cooperation and urged the public to report suspicious platforms via stop.copyright.gov.ng.

    “The Nigerian Copyright Commission remains vigilant and fully prepared to take decisive action against all forms of copyright infringement in order to safeguard Nigeria’s creative space and its digital future,” he said.

  • Significance of materials used in naming ceremonies

    Significance of materials used in naming ceremonies

    • From Funmiluyi Olaitan

    Naming is the process of giving a name to a person, place, thing or concept. In the context of human experience, naming often refers to the act of assigning a name to a newborn which serves to: identify the individual, establish their identity, connect them to family or tradition and distinguish them from others. Names can hold significant meaning, cultural significance and personal importance, often reflecting family heritage, spiritual beliefs or personal characteristics. The naming of a child is an important affair among different tribes. It is always attended with some ceremonies. These differ among the different tribes. The naming usually takes place on the 8th day of birth. It is on that day the child is for the first time brought out of the room.

    One of the most pervasive concerns of African societies is continuity. The future of the family and the group depends on the ability of the present generation to give and bear children. Also, an individual sense of social and biological completeness lies in his or her ability to become a parent, for one must depends upon one’s children for the proper respect and consideration that is due age.

    The origin of naming ceremonies dates back to ancient times and varies across cultures. Here are some insights; Ancient Cultures: in many ancient cultures, naming ceremonies were significant rituals that marked a child’s introduction to the community. These ceremonies often involve spiritual leaders or family members.

    Spiritual Significance: In some cultures, naming ceremonies were believed to conifer spiritual identity or blessings, protect the child from harm, determine destiny or character.

    Community Recognition: Naming ceremonies often served as a way to; introduce the child to the community, establish lineage or family ties, celebrate the child’s arrival.

    Cultural traditions: different cultures have unique naming ceremony, customs such as African often involve traditional leaders, music and rituals.

    Materials are often used to symbolise abstract concept, such as prosperity, peace and good fortune.

    Cultural Identity: The use of specific materials reinforces cultural identity and tradition.

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    Spiritual Significance: Many materials are believed to possess spiritual powers, bringing blessings and protection to the child. Community Bonding: The sharing of materials and participation in rituals foster community bonding and unity. The use of these materials in traditional naming ceremonies highlights the rich cultural heritage and symbolism embedded in Nigerian traditions.

    The specific significance and purposes of these items vary across cultures and traditions. Various items are used to symbolise good wishes, blessings and spiritual significance for the newborn. The items/diagram are as follows:

    Water: represents purification, cleansing and renewal. They are used for spiritual blessings, preparing them for life’s journey.

    Kolanut: symbolises fertility peace, unity, hospitality, often used to invoke blessings while also repelling evil and breaking barriers,

    Bitter Kola: It represents longevity and a healthy life.

    Honey: sweetness in life, symbolising a pleasant and joyful existence.

    Cowry Shells:These signify wealth, prosperity and spiritual connection. Often used in divination and rituals.

    Palm Oil: It signifies smooth passage through life, free from frictions and difficulties.

    Dried Fish: It signifies adaptability and thriving in one’s environment.

    Pepper: prolific life, fertility and abundance.

    Gin: used in some cultures to signify that the child won’t become a drunkard.

    Yam: symbolises hunger free life, abundance and prosperity.

    Coconut: It signifies breaking through problems to reveal goodness and success.

    These items are often used in different Nigerian cultures. Elders rub these items on the child’s lips or tasted them on behalf of the child, symbolising good wishes.

    The effects of Christianity and Islam on traditional naming ceremonies in Nigeria

    The effects are significant, reflecting the country’s diverse cultural and religious heritage.

    Timing: Christianity has influenced the timing of naming rituals with some communities adopting Western Style naming ceremonies shortly after birth, unlike traditional ceremonies which often take place on the seventh or eighth day.

    Traditional Roles: Christianity and Islamic influences have also affected traditional families roles in naming ceremonies with some families adopting new practices.

    Types of Names: Christian and Islamic names have become more prevalent reflecting the parent’s faith and values, believing these names bring blessings and protection. Christianity and Islamic religion have shaped traditional naming ceremonies in Nigeria introducing new practices and influencing the choice of names, while also preserving cultural heritage and identity.

    • Funmiluyi Olaitan is Assistant Director (Education) at National Museum Onikan, Lagos
  • How I combine stage management, music video production — Andrawine

    How I combine stage management, music video production — Andrawine

    Popular music video producer, Agah Chinecherem Alexandra, widely known as Andrawine has opened up on how she merge being a stage, floor manager and music producer simultaneously.

    The very experienced music video producer who has worked with top artistes like Asake, Rotimi, Tiwa Savage, Adekunle Gold, Burna Boy, Fireboy, Davido and a host of others noted that working as a stage and floor manager at major events across Nigeria has been both intense and rewarding while also relieving the challenges

    “It taught me how to think on my feet, coordinate large teams, and keep every moving part aligned no matter how chaotic things get backstage,she said. That experience sharpened my eye for timing, structure, and audience flow skills that translate perfectly into music video production.

    “Merging both worlds has been very natural for me. Stage management gave me discipline, organisation, and the ability to anticipate problems before they happen. Music video production allowed me to bring in creativity, storytelling, and visual direction. So together, I’m able to balance the artistic side with strong technical and logistical execution. It’s helped me become a producer who not only understands the creative vision but also knows how to run a set efficiently and deliver high-quality results under pressure.”

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    Speaking on the most challenging stage she has managed, she said “One of the most challenging stages I’ve managed was Lagos countdown 2019 concert which was the largest event in Nigeria at the time, where multiple performers, live bands, and technical teams were rotating back-to-back with almost no buffer time. Everything depended on precise timing, and one small delay could have thrown off the entire lineup.

    “What helped me overcome it was preparation and communication and team unity. I created a tight running order, made sure every department understood their cues, and stayed in constant contact with sound, lighting, and backstage teams. During the event, I had to remain calm, make quick decisions, and trust my team. In the end, the show ran smoothly, and it reminded me how important structure, teamwork, and clear leadership are in high-pressure environments.”

    Andrawine has contributed to some of the biggest productions in the country, including Lagos Countdown 2019, Africa Magic Viewers’ Choice Awards (AMVCA), Lagos State Marathon, Kwese TV, The Headies, Soundcity MVP Festival, and Africa’s Champion Athletes, among others.

  • Anietie Udoh shines in Ghana as Marketing Advocate of the Year

    Anietie Udoh shines in Ghana as Marketing Advocate of the Year

    • …Marking an unstoppable run of global honours

    Like a diamond that shines bright no matter where it is placed, Anietie Udoh’s brilliance has continued to illuminate the marketing landscape with a radiance that refuses to be dimmed.

    Excellence always finds expression, and his dedication to his craft keeps speaking loudly across borders. He has become a light on a hill, visible to all, a beacon of inspiration for peers and institutions across continents.

    Now, in yet another compelling affirmation that true greatness cannot hide, he has been crowned Marketing Advocate of the Year at the 14th Marketing World Awards, held on November 27th at the Labadi Beach Hotel in Accra, Ghana.

     It is a recognition that confirms he is a treasure worth discovering, a gem whose shine continues to captivate the industry.

    The ceremony, organised by the respected Instinct Wave Group, celebrated outstanding leadership and innovation in the marketing and communications community. The organisers highlighted that this recognition stands as a celebration of exceptional marketing achievements. Instinct Wave Group, an ISO 9001:2015 certified B2B events, media and digital consultancy with active presence in Nigeria, Ghana, Rwanda, Botswana and Kenya, prides itself on spotlighting professionals whose work moves industries forward.

    Their message echoed a truth many in the industry already understand and that is, excellence can never be passed by or ignored, it must be acknowledged by those who truly recognise its value.

    And indeed, this Ghanaian honour travelled across borders as if guided by purpose. It crossed distance, language, race, tribe and class to find a man who has consistently given his best, not for applause, but because excellence is his nature.

    It is remarkable to imagine how excellence journeyed from Ghana to locate an individual simply doing his work with distinction. Though excellence and hard work belong to no tribe, language or race, they always belong to those who commit themselves wholeheartedly to their craft.

     For years, Anietie Udoh has poured himself into leadership, brand building and strategic marketing with intentionality. He has never waited for recognition; he has simply insisted that the best must remain the best.

    This accolade becomes even more meaningful when placed within the context of what has already been an unstoppable season of accomplishments. His year has unfolded like a masterclass in global visibility and professional elevation.

    He has represented Nigeria on some of the biggest creative and marketing stages,  from the Native Advertising Awards in Copenhagen to the Effie Awards in South Africa, and the International ECHO Awards 2025 jury.

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    His influence has also shaped continental dialogue through the Digital Media Awards Africa, among others. Each appointment has amplified his voice in conversations that define modern storytelling, marketing effectiveness, and data-driven creativity.

    Back home, his impact has been equally profound. At the 10th Nigeria Digital PR Summit in Lagos, he served not only as a panelist but was also honoured as a PR Ambassador, a distinction that acknowledged his growing role in shaping digital communication, influence building and narrative management within the industry. He has shown a rare blend of humility, firmness, discipline and empathy  qualities that consistently reflect in his leadership and interactions.

    And now, as the year draws toward its close, the Lagos Advertising and Ideas Festival (LAIF) has appointed him as a juror in the Out of Home category for its landmark 2025 edition. This new role places him at the core of Nigeria’s creative evaluation ecosystem, allowing him to bring into LAIF’s jury room the global exposure he has earned and the local sensibilities he deeply understands. It is yet another proof that when a professional masters his craft with consistency, the world responds with trust.

    The 14th Marketing World Awards itself emphasises why industry participation matters. It urges brands and professionals to showcase their achievements, boost morale, gain competitive advantage through strategic marketing, and network with leaders and specialists who shape the future of the industry. It is a platform built on the principle that excellence deserves visibility and Anietie Udoh’s win represents that ideal perfectly.

    His story is a reminder that recognition may sometimes take time, but when excellence calls, the world answers. It shows that honour is not determined by proximity but by merit. It proves that the universe has a way of spotlighting those who pour their hearts into their work. As this unstoppable run of accolades continues, one thing becomes clear, which is, that, Anietie Udoh is not just collecting honours, but  building a legacy that transcends borders, disciplines and generations.

    And through it all, he remains the same topnotch brand building expert whose work continues to speak loudly and whose journey keeps inspiring a continent.