Category: Arts & Life

  • Wrapped in tradition, framed in art

    Wrapped in tradition, framed in art

    In Nigeria’s socio-cultural landscape, Gele, the iconic head tie, does not only symbolise culture, pride and elegance, but it also occupies a significant position in the celebration of heritage among women. It is worn for special occasions.

    Its intricate folds and bold designs crown women with timeless beauty, complementing traditional attire and celebrating heritage. To many Nigerian women, Gele is not just an artistic expression, but the ultimate expression of feminism.

    Little wonder Oluwatobi Ogundunsin, a compelling voice within the world of fine art photography, is presenting a refreshing and globally relevant approach to visual storytelling on Gele.

    In his The Gele’s grace, he captures the portrait of radiating bold elegant modern African queen draped in vibrant tradition. Her emerald and crimson gele, wrapped with regal precision, crowns her like a sculpture of strength and pride.

    The reflective sunglasses, adorned with jewels and patterned with Afrocentric colours, speak of a fearless fusion between heritage and style. Her confident gaze, though hidden, commands attention, while the bold backdrop echoes her unapologetic identity.

    Adorned with golden hoops and layered necklaces, she embodies the essence of empowered womanhood unshaken, radiant, and rooted in culture. The image celebrates the harmony of tradition and contemporary expression in stunning detail.

    Like Gele’s grace, Ogundunsin presents twin portraits that celebrate the essence of beauty in its most vibrant form in Beauty wrapped in colours. Like Tiara of the Greco-Roman era, the portraits are wrapped in a cascade of rich colours and flowing textures, the subject adorned in a striking gele of emerald and crimson, emerges through soft green foliage like a vision from a dream, elegant, graceful, and unapologetically powerful.

    Her expressions shift between serene introspection and bold presence, each glance a testament to confidence and poise. The blend of fabric, skin, and nature creates a harmony that speaks of cultural pride and timeless femininity. This is beauty wrapped in colours, rooted in heritage, and glowing with quiet strength. This celebration resonates with celebrity actress Lupita Nyongo’s outfit to the Canadian premier of her film, which was a nod to the Nigerian gele phenomenon. Similarly, Beyonce also wore such artistic head tie in her Black is King music video, a confirmation of the significance of gele art, its relationship between royalty, elevated status and honour.

    The thrust of Duality of temptation and redemption is an unfolding narrative between temptation and redemption. With visual effects of darkness and light, he takes viewers on a journey into the Holy book, the contrast between redemption and temptation, which are intertwined themes. Like a moral lesson, the artist highlights redemption as being saved from sin and its consequences, often through the sacrifice of Jesus Christ.

    Temptation on the other hand is the allure to sin and stray from God’s path. In the first image, darkness cloaks a figure entwined with a serpent, clutching a red apple symbol of desire, deceit, and forbidden knowledge. His eyes are closed, as though lost in surrender or seduction, embodying the quiet pull of temptation.

    In contrast, the second image rises in divine light: the same figure, now transformed into a radiant angel, bearing both sword and apple. With wings spread wide and halo aglow, he stands in balance strength in one hand, the past in the other. These portraits speak of duality: how within every fall lies the seed of ascent, and in every heart, the struggle between shadow and salvation.

    Minds behind the talking drums captures a drummer dressed in richly patterned native attire, which embodies the rhythm and heritage of his culture. His steady gaze and confident posture reflect the depth of his artistry, while the worn surface of the drums beside him tells stories of countless performances. Behind him, a rustic window hints at the simplicity of the setting, drawing focus to the musician’s timeless presence. This portrait captures more than a moment, it honours tradition, resilience, and the heartbeat of Yoruba musical legacy.

    Ogundunsin whose work transcends geographical and cultural boundaries, founded Bigrexvisuals in 2016. His early passion for the arts laid the foundation for a photographic style that is as technically accomplished as it is narratively rich. The influence of visual pioneers such as Gordon Parks is evident in the way Bigrexvisuals handles light, form, and human expression drawing viewers into visual stories that speak universally.

    Bigrexvisuals offers a sense of intimacy and refinement. Each image is curated with attention to detail balancing elegance with depth. From conceptual portraits to expansive urban landscapes, Ogundunsin’s photographs are as much about presence as they are about perspective. The subjects often convey calm strength, subtle confidence, and layers of personality that invite closer inspection.

  • Beauties of scenic photos adorn Anthill Gallery

    Beauties of scenic photos adorn Anthill Gallery

    Anthill Global Photo Gallery, Surulere, Lagos, is one of a kind. Reputed to have some of the best and most outstanding scenic pictures of the Nigerian nation, the photo gallery owned by Engineer Adamu Ajunam is ever poised to host photo lovers from all over the world. In an interview with Edozie Udeze, Ajunam posited that he set out to establish a photo gallery different from others because of his passion and love for photos and for the Nigerian nation.

    Adamu Ajunam is a peculiar artist. A world renowned civil engineer, he rather chose photography as his own way of showcasing his love for the nation and for the environment. After serving the Berger’s Construction Company for many years as one of the civil and construction engineers, Ajunam retired to give more time and attention to his natural love which is photography. As one of the best and foremost photography galleries in Nigeria, he has come to dominate the scene in more ways than one.
    Named Anthill Global Photo Gallery, located on Nnobi Street, Surulere, Lagos, Ajunam has all manner of photos in the studio and gallery. Well stocked and professionally ordered, Anthill showcases Nigeria to its fullest bloom with diverse pictures that depict Nigeria’s scenic views from west to east, north to south. It is difficult to really pinpoint one picture against the other as the best or the most cherished or outstanding. Each photo is history, well documented and properly presented to show a society full of those arousing scenes-natural, manmade, artificial, all that indeed make a society stick together. In reality the pictures show them all, all-glorious and appealing.
    Ajunam is passionate about what he does as he says, “All my life, I have always loved to take pictures of the environment around me. I like to see, appreciate and photograph crowd scenes, peculiar activities and actions by people. What people do interests me. The scenes they create, the environment itself thrill me to no end”. Inside his gallery as he spoke different pictures drew your attention quizzically. As your eyes roamed around, you immediately got the feeling that pictures here can fill any big library or hall of fame in the world. As the scenes stared you in the face you suddenly beheld them. But then Ajunam’s eyes glowed with warmth of recognition as the aura of different pictures held his attention. The pictures represent everything for him and he cares for them as a father would a son.
    At a cursory glance, you could see Nigeria in all its epitome-faunas, structures, monuments, ecosystem, commercial activities, the boisterous scenes of chaos or orderliness in some cases, all manner of movements, all those peculiar themes that people themselves get involved in day in day out. “In the first place my genre of photography is totally different from what others do. I get involved in photography, dealing with issues that document history, preserving what people stand for. What you see in town mostly are portraitures. Yes, that brings in more money. But I do not go for all that. What I have is to showcase Nigeria’s diverse beauties. It is my aim to educate Nigerians on the beauties and history of their environment, ecosystem, market places, even the people themselves. There’s no part of this country where you do not see or encounter scenes that are unique, good enough to be photographed and documented. I am so emotionally attached to this country even though things are not the way they should be”.

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    The idea of the Gallery is hinged on that. It is dedicated entirely to Nigeria and Nigerians. “Yes, I also do portraitures. When they call me to do so I get involved. Even this approach does not push my business as fast as it should be, it still gives me joy to do it. This place is called Anthill. Anthill moves slowly, but effectively as well. I got a logo now Global Anthill symbol. That is how it goes for me. But I know we will get there someday sooner”, he presented with a smile.
    What Ajunam does with the scenic pictures he has done is unique. On most of them he imposes collage or what can easily go as juxtaposition. Most of the pictures have been turned into artistic beauties. Unless you are told you wouldn’t know these are pictures that have now been painted as well. It is the sort of collage or juxtaposition only a well-grounded professional can achieve successfully well. It is easy for him to attain this technique because he is also a painter, a well-grounded visual artistic himself. The moment you behold those collage pieces they first draw your attention with irresistible pull. You then behold colours, wonderful colour combinations. You see real and unreal co-habiting. You see the sort of photos that are alluring in ways you can hardly define. Oh yes, these is a collage technique, it is marrying one into the next. It is like a confluence of two art pieces-photo mixing with water colours, thus producing a unique modern art form. This art form is classical; it is difficult to re-produce or copied by any other artist other than the original painter and creator.
    Engineer Ajunam then takes you round the gallery taking time to explain things more clearly, as he points and notes those that have undergone changes and those that have not been altered. “Now how to keep this gallery in its original form is my utmost concern. I am trying to figure it out in my head. Anyone with the same passion about Nigeria can be allowed to run it on my behalf”, he said.
    In the meantime, he can allow some certain artists to come in to exhibit. Probably sculptors who have works that may not occupy too much space can be allowed. He himself has also started prod ucing some decorative forms of arts like small table flower vases and others. Ajunam’s sense of artworks attracts attention because they exhibit beauties and class. “This one done with this beautiful snail shell can cost N7000. Others cost more. But the flowers on this shell show class. This one is a regular flower pot, but I have painted it in different colours, for the sake of artistic beauty. You cannot see this sort carelessly anywhere. When I was in Egypt some time ago I saw a lot of flower pots with pictures of Pharaohs and so on, on them. This one is done on calabash and adorned with different designs. It is not really a big calabash so it can be placed on a table inside an apartment”.
    Inside his studio also you see all colours of art pieces done by him which can be purchased for interior décor. The calabashes come more in miniature sizes so that they can be easily placed inside the home to arouse beautify and some deep sense of awareness. The designs, some of which look like the insibidi or the ulli depict deep African art of old. Some also have painting of flowers, figures that define exclusiveness. Any sizeable painting of this nature by Ajunam is good to adorn a center table in a home where the occupants are art lovers. It is amazing that snail shells picked from ocean shores can be turned into wonderful art pieces. Ajunam’s studio is a place to find such.
    For instance the aerial views of Idunmota and Idumagbo parts of lagos give you an impression of a people full of vibrancy. The Idunmota picture which has now become a collage displays some aplomb. It beckons you to that same euphoria of being a part of the commercial activities there. Also the picture of CMS area of Lagos beams with modernity and civilization. It shows cosmopolitan aspects of photography. The picture is clear on the boisterous lifestyle of the Marina and the other surroundings. There is also a huge picture of Eyo, the ubiquitous Lagos landmark masquerade in its unmistakable white regalia and costume. Together they all beam a searchlight into the types of photos that adorn the gallery.
    In the background also you see pictures of life on waters. There’s a dazzling picture of Makoko sitting leisurely on the lagoon near the University of Lagos. Life on the lagoons, with fishermen atop their canoes and boats doing their commercial activities without any care in the world form part of the collection. It is the beauty extended to those pictures by Ajunam that makes them outstanding. They can always be a collector’s item someday soon. They are not everyday pictures. Indeed some of the scenes have already been obliterated by events and history and so can only be seen and appreciated when viewed in the gallery. However, Ajunam believes that his works are affordable by those who understand the values of photos.
    Also pictures of traditional dances, cultural festivals and merriments, pictures of old and modern market scenes, speak volumes in the gallery. They are all colourfully printed depicting memorable events of history. The costumes are inviting. The festivals, some of which do not happen often, paint pictures of a society rich in diverse cultural razzmatazz. One thing is clear: Ajunam gives all his works profound professional touch that enhances impressionistic ideals. In all these then, it is time actually to make a deal with this Anthill that is global and that never rests nor relents. Really, here exquisite pictures breath, they hibernate, waiting for patronage.

  • Let the culture sector breathe

    Let the culture sector breathe

    The year is almost over. From all indications, the culture sector has managed to be up and doing. The sector has not been completely fulfilling in actions and activities. The state of the economy has not been helpful to artists and so in most cases, some of their programmes and events have either been postponed or cancelled entirely. Most of the programmes that have even taken place did so because the organisers and owners felt that they must be in business no matter how small.

    The state of the economy has no doubt dampened the enthusiasm of business owners in the culture sector on many fronts. Apart from the slow take off of ministers particularly that of the newly created Art and Creative Economy Ministry, it appears no official direction has been defined for the sector to function to its fullest. Even though on individual and personal levels, most artists are up and doing, working, creating and ready to exhibit or organize festivals, the slow flow of the economy in terms of sponsors and so on, has been serious hindrance. A lot of art galleries have been functioning on half budget. Some of them have only been able to do one or two shows since the year began.

    In a few weeks’ time, the year would have come to an end, yet the sector is unusually quiet. Artists, some of whom have plenty of works to exhibit or sell are stuck. They are stuck because they themselves do not have enough resources to run an exhibition or organize any. It is really a sad development. As the year comes to an end soon what is uppermost in their professional life is how the economy can open up for more shows to come into operation.

    In the area of literature, the situation is not too cheering either. A few writers, just a few, have been able to gather enough resources to do self-publishing. Unfortunately more publishers keep bemoaning the state of the economy, hinging their excuses on lack of funds to engage in more commercial publications. Even then, some authors have gone to town crying openly about those who make the situation more uncomfortable for them. For instance, marketers, book-sellers, some lecturers and teachers including bookshops that collected books from them, sold them but have refused to give account. All these have come together to complicate and aggravate the already bleak resources of authors. And don’t forget that most of these authors sweated to raise the money. Some even borrowed to actualize their dream of being self-published.

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    In the midst of all these, some members of the Association of Nigerian Authors (ANA) at an unofficial level one reaching out to those who sold their books and refused to make remittances to have a rethink. They must pay the authors based on the agreement they entered into with them.

    In drama and stage plays, it is difficult to pinpoint how many plays that have been staged this year. Apart from those ones staged just to fulfill all righteousness and to ensure that the sector is not left barren, dramas, stage plays and community festivals are not as common this year as in the years past. It is actually unfortunate that this die-hard sector that quickly picked up soon after covid-19 lockdown is rather finding it difficult to stay afloat right now. This is uncalled for and so unhealthy for the sector.

    That shows you how hard it has been since the year 2023 commenced. In the area of tourism, insecurity and paucity of funds have stood in the way of both international and domestic tourism. People can hardly travel nowadays without been kidnapped. The high rate of transportation has equally worsened the situation. Bad roads, cost of transport fare, insecurity and poor state of the economy including the neglect of most tourist sites in Nigeria have all further helped to deplete and dislocate attention and activities in the tourism front.

    There is no way the sector can be buoyant as it were if these problems are not sorted out as quickly as possible. Government, business owners and concerned individuals, including stakeholders in the sector have to come in right away to infuse life into this money spinning sector for the good and progress of all.

  • Sands of Time debuts in Lagos

    Sands of Time debuts in Lagos

    Last weekend, guests and art enthusiasts were stunned by the contemporary art showcasing human history at a gallery exhibition in Lagos. The exhibition, themed ‘Sands of Time’, was curated by AmyAfrique Art Gallery and Elixzyart to reflect on yesteryear events that have influenced the world through their masterpiece artworks. OLAITAN GANIU was there.

    Seventeen stunning paintings that were displayed at the upper hall of the Lillygate Hotel, Lekki Phase I, Lagos, showcased the distinctive works of the two exhibiting artists — Okpara Amarachi and Isaac Elijah — exploring historical events in religion, civilization, culture, animals, transportation, human beings, communication, money, nature, marriage, mother and child.  Every artwork comprises two artistic elements: sand grains and acrylic on canvas. Even though the paintings differ in shape and size, they convey a powerful message and memory of our priceless years, the present, and the future.

    “Sand of Time’ offers us the opportunity to contemplate the rich tapestry of history, connecting the threads of humanity’s past to the present and inspiring us to forge a more harmonious future,” founder and director of AmyAfrique Art Gallery, Okpara Amarachi, stated.

    Amarachi, who hails from Imo State, explained that the mixed-media artworks explore the interplay of transportation, from ancient nomadic wanderers to the modern highways that connect civilizations. “It unveils the strength and resilience of warriors who shaped the course of history and the birth and evolution of societies, each with its own unique culture and values. Amidst the artworks, you can see the tangible influence of money, symbolizing the economic foundations that have united and divided societies.

    “Also, the tender bond between mother and child is a recurring theme, reflecting the universal, timeless essence of this relationship. Animals are celebrated as companions and symbols of power, intertwined with human civilization, while religion and spirituality take centre stage, illustrating humanity’s quest for meaning and connection to the divine. The concept of marriage, a cornerstone of human society, is depicted in various forms across different cultures and eras. The soothing sound of waves crashing on the beach serves as a backdrop to this exploration, reminding us of our intimate connection to nature. Throughout the exhibition, the fragility and strength of both human beings and the environment are explored.”

    As the sands of time evolve and advance, she needs to write her brand’s name on it. “Our gallery stands as a custodian of this ever-changing tapestry, dedicated to preserving and showcasing the rich diversity of artistic visions that span across cultures and eras. We understand that art has the power to transcend boundaries, connect souls, and provoke thought. With each stroke of a brush and every exhibition, we aim to keep using art as a transformative force to address pressing societal issues, promote cross-cultural understanding, and create a more harmonious future for all.”

    AmyAfrique is passionate about nurturing young talents. She has been organizing dynamic street art competitions that ignite creativity and raise awareness about the profound importance of art as a viable and enriching career option. She recently hosted a competition for street children in Bariga, Lagos, where she empowered and taught kids multidimensional art skills and drawing. She later supported participants by selling their artworks and remitting the proceeds to their families, thus fostering a cycle of creativity and support within the art community.

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    While Nigerian artists are facing many challenges and setbacks, the graduate of computer science turned artist believes setting a high standard for your works is key to artists’ success.

    “I feel like artists should be original. They should place value on their work. You can’t spend hours, days, months, or weeks creating a piece with your thinking, and you sell it like you just picked it up from the road. You have to put value in that art and then make it original, make a masterpiece, and not resell it. The duplicate we have in the arts industry is too much, and that is why they don’t value it here in Nigeria. If we start having respect and value for our art as creators, people will value our works too, because you can’t expect people to value your piece when you don’t value it yourself. I understand that people are suffering and we are hungry, yet artists need to set standards for their artwork. You go to Zanzibar; they don’t sell artwork as cheaply as we do in Nigeria. You see a big work, and someone is selling it so cheaply. I feel like you’ve put in time and all that. If you have created it yourself, then you should not sell it cheap.”

    The co-exhibitor, Isaac Elijah of Elixzyart, a multidisciplinary artisan who studied General Art but specialized in painting at Yaba College of Technology in Lagos. Through his artistry, he seeks to impart deeper wisdom and contribute to humanitarian causes, thus enriching the human experience.

    His mixed-media painting explores the importance of history, especially how people and societies behaved. “What we are trying to achieve with ‘Sands of Time’ is for us to be able to evaluate ourselves by looking back at past years because the experience of yesteryear provides us with facts that are used to effect changes about today and the future. With lessons from the past, we can make better decisions about anything, including technology, government, culture, and all.”

  • Etching UNICAL’s first female VC name in gold

    Etching UNICAL’s first female VC name in gold

    The portrait painting of the Vice Chancellor entitled Emergence measuring 221.5cm x 145cm is a mixed media auto based paint on masonite board painted in 2023. It is significant as a historical cum narrative painting which illustrates the emergence of Prof. Florence Obi as the first Female Vice-Chancellor of the University of Calabar (UNICAL) since its inception in 1975.

    Emergence was painted by the Head of Department of Fine and Applied Arts, Prof Victor Ecoma. Following a proposal he was commissioned to paint the Vice-Chancellor’s portrait, which has become an important part of the history of the University Senate and the very first of its art collection.

    In all human civilizations, portraiture and other forms of artistic expressions constitute a veritable means of illustrating the human conditions either in the expression of human emotions, intellectual achievements, fulfilling societal aspirations or in honouring leadership. Paintings have remained an essential medium of visual documentation, which endures and most times outlive the artists, their patrons and audiences, and for the most part, continues to speak to future generations.

    Works of art by their very nature enable us to see and feel the sensibilities which documents, texts and words are constrained to convey, as human agencies they provide us insights into what the past was like, enable us to evaluate the present as a guide to articulate future aspirations. The painting ‘ “Emergence’’ is not just a portrait it is portraiture embedded in a narrative painting which can be analyzed and valued at several levels.

    No doubt it is a historical account of the first female Vice-Chancellor of the University of Calabar.

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    Realism and symbolism are essential components of visual literacy as a foundation for 21st century knowledge visually driven by computers, Internet, smart phones etc. This illustrates the value of art education and art appreciation.

    Sociologically, the painting speaks to issues of gender disparity, the place of the girl child education and the radiating enlightenment of university education and the radiating influence of her academic leadership. Anthropologically, the painting expresses the hybrid-aesthetics of connecting an intricate balance between African forms of art expression and those of western art in a way that not only stimulate intellectual imaginations but creates an understanding of the similarities and differences between the two cultural worlds.

    To the painter, Prof Ecoma, placing his work in a public space for a greater public appreciation is a tribute to an honest art career, and he is grateful to the Vice-Chancellor, Prof.  Florence Obi for this opportunity.

  • Art Experience: where air travellers meet

    Art Experience: where air travellers meet

    Airports across the world serve as both the welcome and farewell to the city, and in many cases it provides local, regional or cultural memories. Airport art and sculptural pieces can be valuable means of customer engagement and marketing, and an excellent stimulus to comfort, distract, and entertain. To many customers who use social media while travelling, airport artworks can be popular features to post to friends and loved ones.

    Beyond that, art collectors, connoisseurs and enthusiasts can choose from the collections while on transit or perhaps link up with the artist or curator to pick up a choice art piece later. Airports such as Houston airport, Doha Hamad, Mumbai and Singapore Changi are among the world’s airports with best artworks, according to Skyrax. 

    The recent launch of an art gallery tagged The Art Experience to mark the 16th anniversary of Murtala Mohammed Airport Terminal 2 (MMA2), organised by Bi-Courtney Aviation Services Limited (BASL), operator of the terminal is a fresh window to promote Nigerian art and artists.  The art gallery is now a place where travellers meet arts, culture and artifacts.

    Located closed to one of the exits on the ground floor of the terminal, the gallery is to celebrate Nigeria, encourage artists and collectors while enhancing the passengers experience at the terminal. No passenger walks past it and not get arrested by the quality of paintings on the white walls. Aided by the rays of the sun through the glass wall, illumination in the gallery is eye friendly, thus enhancing appreciation of the works. 

    According to Chairman of BASL, Wale Babalakin the gallery, designed to enhance the standard of operation and passenger experience, features Nigerian arts and culture, promoting innovation and providing a platform for young artists to interact with art enthusiasts.

    In a chat with The Nation, the Head Marketing Department, Bi-Courtney Aviation Services Limited (BASL), Mrs Gbubemi Aibangbee said that despite the busy nature of travellers, the airport should be engaging and not just a transit point. She believed that there are moments when travellers experience pause while at the terminal, adding that at such periods, the artworks will arrest their attention.

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    “Art and the right art will surely arrest travellers and that is what we are trying to create. It should serve as a form of relaxation while you appreciate talent. So, we want to break that trajectory of being in a hurry to transit.

    Everyone appreciates art. It’s described as elitist. However, if you find art that speaks to you, you would want to procure it or, at the least, look at it. Appreciation is on another level, affordability is a different case. Most people don’t know they like art until they come here and they are helped because they’ve not paused. The right art will direct you,” Aibangbee said.

    She disclosed that the artists who produced the colourful collection of paintings were selected based on their creativity, quality of work, dedication, ability to understand what they want to convey, attention to details and originality. She stated that the collection currently on display is deliberately selected to reflect the diverse nature of Nigerian culture.

    “We are setting up this gallery space alongside the Premium Lounge, where we have large pieces of artworks for collectors. Together, we have over 60 pieces. By the time we bring back the remaining batch of 40 artworks that will be over 100 pieces,” she said of the size of collection.

    Aibangbee disclosed that the gallery gets its works through one artist who also coordinates other works from other artists. “For we are not dealing with individual artists but there is one resource person who liaises and coordinates the others. We are thinking of adding sculptures and other media so it is not just painting,” she added, noting that most of the paintings in the gallery are produced by J.J Dokubor (Tikkabay).

    Interestingly, it is reported that many passengers who took brief look at the works in the gallery, admitted that the works are affordable. 

    “Surprisingly, people have passed through here and said the art is cheap, let’s buy it. We have works as low as 50,000 or 40,000 naira. There is no artwork here that costs 1.5 million naira. The paintings here are in hundreds of thousands of naira. So, to that extent, they are affordable and pocket friendly.

  • ‘We are the voice for the voiceless’

    ‘We are the voice for the voiceless’

    It was time for celebration and reflection, when a women delegation, under the aegis of National Council of Women Societies of Nigeria (NCWS) Lagos State Chapter, thronged the Airport Hotel, Ikeja to celebrate the achievements of some of them. They called for a more gender inclusive society. EVELYN OSAGIE, KEHINDE ABAYOMI and MMESOMA OZOR write

    At a juncture in our history, where the empowerment of women and the eradication of poverty are more crucial than ever before, some women advocates, under the auspices of National Council of Women Societies of Nigeria (NCWS) Lagos State Chapter, have made case for women’s rights to gender equality, particularly in politics.

    The event called to mind the Seneca Falls Convention in the United States that launched the women’s suffrage movement, which more than seven decades later ensured women the right to vote.

    According to the group, the COVID-19 pandemic has presented unprecedented challenges, disproportionately affecting women and exacerbating poverty levels across the country, followed by the dispassionate news of military reign of power in some African countries, causing economic trans-trade challenges. They called for an all-inclusive environment that would be favourable for women to thrive.

    They made the submission at a high-powered event, featuring NCWS induction/award of excellence ceremony held at Airport Hotel.  It had as special guest of honour the First Lady of Nigeria, Senator Oluremi Tinubu; while Alhaja Chief Mrs Lateefat Olufunke Gbajabiamila was the mother of the day.

    At the one-day event, the First Lady of Lagos, Dr. Claudiana Ibijoke Sanwo-Olu, called for the mobilisation and enablement of more women into political offices – not just by government, but by those who are also well to do. In her view, encouraging more women to go into governance and politics would bring about economic empowerment and financial stability of the womenfolk. While enjoining women to build and support one another, she charged the leadership of NCWS to mobilise more of its members to vie for political office.

    “We must always endeavor to lift each other up; that is what women are known for. To have financial stability, we must seek self-empowerment – so that we can have financial independence and be able to make our own contributions to our family, state and humanity. Women should take care of women. Let’s ensure that women are lifted up by encouraging the mobilisation of more women to go into governance and politics.

    “As leaders, we have a lot to do in promoting the economic and social welfare and progress of women, youths, people with disabilities and children. We are the voice for the voiceless. There are so many people that need our assistance out there. As a group and as mothers, let us lay emphasis on health, education (including vocational and entrepreneur), economic and social empowerment.”

    Dr. Sanwo-Olu, who was one of the awardees, was also inducted at the event. She urged the group to champion diverse societal causes.

    “Lagos is not just for show, it is for action. In Lagos, we don’t just talk, we act. And communication is key in development. We remind our women that one power we have is our mouth (our tongue) and we must use it constructively to develop this country, our state, society and family. We are not going to be seen as women that just talk and scatter.

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    “Today sexual and gender-based violence and drug abuse are very rampant. The war against these vices and others should not be left for the government alone. It is we, the women that are going to fight these wars. Whether it is your biological child or not, when you see something say something, do something.”

    The keynote address was delivered by Permanent Secretary for Lagos State Ministry of Women Affairs and Poverty Alleviation (MWAPA), Mrs. Oluyemi Kalesanwo. According to Mrs. Kalesanwo represented by Mrs. Olufunke Shyllon, during times like these that women’s collective strength and resilience should shine through. In her words: “It is also noteworthy to say that women are no longer considered as second class citizens, but rather as people to be reckoned with in the society. Draw inspirations from those who have gone ahead of us and let such inspiration drive you to make your own mark on the world. Find inspiration in just some of the many women who shifted our culture in meaningful ways. We must continue to foster collaboration, share knowledge and expertise, and amplify the voices of marginalised women across Nigeria. Together, we can create meaningful change and build a brighter future for all.”

    While commending NCWS for its tireless efforts in championing the cause of women’s empowerment and poverty alleviation in our great nation, she observed that the association’s unwavering commitment to promoting gender-equality and supporting marginalised communities, is truly commendable.

    “Having worked in close – knit agenda (Our Amiable Governor )Mr. Babajide Olusola Sanwo-Olu, who had taken social inclusion as one of his focal pillars of development , I assure you of this present administration’s unwavering support in addressing these challenges (all burning Issues). The Lagos State MWAPA remains committed to working hand -in – hand with the NCWSN to implement effective policies and programmes to uplift women, alleviate poverty and create an inclusive society for all. I also urge the inductees to ensure that women are adequately empowered and given the opportunities to occupy their rightful spaces in the society.”

    22 other personalities received awards of excellence, alongside Mrs. Tinubu and Dr. Sanwo-Olu. They include former Deputy Governor of Lagos Princess Sarah Sosan Senator Ganiyu Olarenwaju Solomon.

    NCWS National President, Hajiya Lami Adamu Lau, called on the Tinubu-led association to ensure more women are given political positions, saying on “35% inclusion of women in politics, we stand”.

    On what role NCWS has been playing to ensure more women participate in politics, she said: “We have always been and are still urging more women to participate in politics. We’ve been lobbying for our women; and urging that especially those who have contested and lost should be considered so that we don’t discourage our women. Nigeria has capable women in all fields of endeavor. We are up and doing, and highly productive. The government and politicians in general should harness the leadership potentials and skills of our women which begins at home but does not end there.”

    “I’d advice our women, especially youths to be self-reliant; our women know how to take care of themselves, them extend to their service to the nation and humanity. We know the times a hard, so let show our resilience and meticulousness by using the little we have to care of our families and love ones without slacking on our duties and wives, mothers and leaders of the society.”

    The induction ceremony, according to her, is borne out of the association’s commitment towards improving the welfare of women, with deliberate effort to establish their resourcefulness.

    “It signifies a new chapter in the journey of the National Council of Women Societies of Nigeria. It is a moment of celebration and reflection, as we gather to acknowledge the incredible achievements of this esteemed organization and envision a more prosperous future.”

  • Rainbow Book Club hosts playwrights

    Rainbow Book Club hosts playwrights

    The Banquet Hall, Hotel Presidential, Port Harcourt, Rivers State was aglow penultimate Sunday with a plethora of cultural displays when Rainbow Book Club, in conjunction with Nigeria Liquefied Natural Gas (sponsor of the literary award), celebrated three playwrights  in contention for the 2023 Nigeria Prize for Literature.

    The event featured dance, drama, quizzes, readings and a panel discussion. On August 29th, a shortlist of 3 was announced and they are Abideen Abolaji Ojomu (Ojuelegba Crossroads), Henry Akubuiro (Yamtarawala–The Warrior King) and Obari Gomba (Grit). While the duo of Henry Akubuiro and Obari Gomba were physically on ground, Canada-based Abideen Abolaji Ojomu joined the event virtually.

    General Manager, External Relations and Sustainable Development at NLNG, Mr Andy Odeh, commended the shortlisted writers, who emerged from the 143 works submitted for this year’s prize.

    He expressed delight in bringing the shortlisted playwrights to Port Harcourt, World Book Capital 2014. He stated that the excellence exhibited in the shortlisted works was a testament to the Nigerian writer’s highly creative and resilient spirit. He said The Nigeria Prize for Literature owes its success to Nigerian writers who have entered the prize, which has recorded well over 2,500 entries and celebrated 17 winning works.

    Founder and Chief Executive Officer Rainbow Book Club, Mrs. Koko Kalango (MON), represented by Mrs Ijeoma Aruba stressed the need for stakeholders in Port Harcourt to collaborate and bring back the glory of Port Harcourt as the 2014 World Book Capital.

    Read Also: Amadi wins NLNG’s $100,000 prize for Science

    “We must all join hands to bring back our World Book Capital. Nigeria LNG has set a good precedence by hosting this bookfest. But, it would take a collective effort to bring back our World Book Capital City and we all have a role to play. We can begin by bringing back our week-long Port Harcourt Book Festival. Our festival was a confluence of our city’s creatives, a melting point for information and ideas,” she stated.

    On a panel moderated by Margaret Nnennaya Ukwu (Lecturer, Dept. of Theatre and Film studies, Uniport), Obari Gomba said he wrote Grit first in his head. “I kept imagining live actors and directors in real plays while I wrote it. The characters are colourful because they forced themselves on the play”.  Gomba stressed the importance of fixing Nigeria’s economy because it will enhance the reading culture. “If someone has to choose between a pot of food and a book, most times, they will choose the pot of food,” he added.

    Author of YAMTARAWALA: The Warrior King, Henry Akubuiro said coming to the Garden City for the event was a moment of nostalgia because as a journalist, he had returned to the city year after year, to cover the Port Harcourt Book Festival. While answering questions about his book, Akubuiro said it is intended to rejuvenate theatre practice in the country, advising on how to key into contemporary trends on social media. He said: “We can break plays into skits on social media and make money while waiting to put it on the stage.”  Unfortunately, persistent internet glitches didn’t allow the audience enjoy the contributions of Abideen Abolaji Ojomu.

    Some of the guests who graced the event were past President Nigerian Bar Association, Chief O.C.J. Okocha; former Rivers State Commissioner for Information and former MD NDDC, Ibim Semenitari; Nollywood actor, Sam Dede; former Bonny Gas Transport Director, Mrs. Aleruchi Cookey-Gam and former Director of Tourism Rivers State, Yibo Koko.

  • Symphony of boundless colours

    Symphony of boundless colours

    Buoyed by over two decades of consistent studio practice, Joshua Nmesirionye is celebrating his rich experiences in a solo art exhibition tagged Symphony that breathes freshness onto the Lagos art circuit. 

    Currently showing at Yenwa Gallery, Muri-Okunola Street, Victoria Island, Lagos, and ending tomorrow, the exhibition comes at a time art appreciation space of Lagos is connecting old and new generation of art followers. Nmesirionye belongs in that generation of artists representing the resilient past and emerging new energies of contemporary art.

    He shares similar status of connecting diverse textures of art with newly opened Yenwa Gallery, founded by independent curator, Ugonna Ibe in 2021. Yenwa Gallery was launched, as a facility, in April 2023 with maiden exhibition titled Inner Space

    that featured nine contemporary artists across two generations.

    Nmesirionye’s creative wellspring, according to Yenwa Gallery, draws from the manifold sources of people, the environment, and the boundless realms of imagination. The gallery said that the artist’s multifaceted approach imparts a profound richness to his artwork, creating a dynamic fusion of influences that beckon viewers into an immersive world of reflection and contemplation.

    “In this body of work, Nmesirionye`s paintings masterfully convey a sense of movement that is both mesmerizing and evocative,” Ibe added, noting that “the brushstrokes seem to dance across the canvas, creating a dynamic interplay of forms and colors that hint at the transient nature of existence.”

    In a curatorial statement, Ibe noted how the subdued tones employed by Nmesirionye lend his works an aura of tranquility or perhaps a touch of melancholy, yet he leaves it to the audience to discern the emotions evoked. For each of the strokes, viewers are invited ‘to embark on a personal journey of interpretation, allowing them to find their own meanings and emotions within the canvas.’

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    According to her, “In contrast, his sculptures exude a serene calmness that commands a quiet yet powerful presence. The sculptures stand as stoic sentinels, inviting contemplation and introspection. It’s as if they hold within them the secrets of time and wisdom, encouraging viewers to pause and listen to the silent narratives they whisper. The juxtaposition of the sculptures’ quiet confidence against the vibrant energy of the paintings creates a harmonious dialogue within Symphony.

    Symphony marks a significant milestone in Nmesirionye’s artistic journey as he takes center stage to present a collection that reflects his unique vision and creativity.”

    Born in Umuahia, Abia State in1968, Nmesirionye completed his Higher Education at the famous School of Art and Design, Auchi Polytechnic, Edo State in 1998 with a Higher National Diploma (HND) in painting. He had his post-school training from notable Nigerian master, Abiodun Olaku.

    His most recent group exhibitions are Legacy (I) and (ll), at Mydrim Gallery 2021, 2022 respectively; Infinite Treasures, Terrakulture Lagos in 2017; October Rain, National Museum Lagos 2016; and Mutual Art Inspiration, Zoetemeer, Netherlands 2016 among others.

     Nmesirionye is a multimedia artist, committed to studio practice. He tells his stories through textured surface canvases. Inspiration for his works comes from people, his environment and imagination. His goal is to connect representational art with abstract and contemporary sensibilities through the physicality of paints on the canvas.

     Nmesirionye is a member of the Universal Studios of Art, Lagos, where he practices. He also finds time to instruct and mentor students of art and upcoming artists. He is a member of Society of Nigerian Artists (SNA), and Guild of Professional Fine Artists of Nigeria (GFA)

  • Rethinking palliative delivery

    Rethinking palliative delivery

    Can the Federal Government’s palliatives be managed more effectively? Transportation experts believe so, revealing their to-do list last week. ADEYINKA ADERIBIGBE reports

    During a recent Zoom webinar organised by the road sub-committee of the Chartered Institute of Transport Administration of Nigeria (CIOTA) to evaluate the distribution of palliatives in response to the removal of fuel subsidies, the verdict delivered was disheartening and alarming. It pointed towards potential failure. However, as the experts emphasised, a critical turnaround is essential if the Federal Government is genuinely committed to alleviating the burden on ordinary citizens who bear the brunt of this economic policy.

    Comprising individuals from academia, industry stakeholders, and seasoned economic experts, CIOTA, a consortium of transportation professionals, convened for a “Roundtable Discussion on Effective and Defective Palliative Delivery Strategies.” Their objective was to provide a practical blueprint that, if embraced, could significantly enhance the distribution of palliatives. Professor Samuel Odewumi, the former Dean of the School of Transport and Logistics at Lagos State University (LASU-SOT-L), and other participants at the webinar passionately advocated for more efficient and sustainable palliative delivery methods. Odewunmi, who also serves as the Chairman of the Road Transport Committee and organised the webinar, asserted that the optimal course of action for the Federal Government would involve subsidizing fertilizers for farmers, supplying crude oil to local refineries, and extending tax relief to manufacturers.

    Odewunmi, who intoned that insecurity is still a major menace said: “Everything possible should be done to ensure the security of lives and property in the land, a significant increase in crude production to shore up revenue which would strengthen the naira, expose and prosecute the oil thieves in order to put a stop to the larceny going on in the Niger Delta.”

    While speaking on the sub-topic, “Getting it Right: Effective and Sustainable Palliatives,” Odewunmi advocated payment of hardship allowance, sustainable salary increase for workers, payment of retirees’ pensions and arrears and all debt owed workers. He also advocated that the N5 billion given to each of the 36 state governors should be deployed to roll out gas conversion and dispensing infrastructure; and that the government should direct and assist petrol stations to be able to achieve triple simultaneous dispensing of fuel, gas and electricity.

    Odewunmi urged the government to carry out palliative work on the roads to make them passable for all, facilitate fuel distribution by the tankers and trailers and use trains to cheaply and securely move wet and solid cargoes to relieve the roads of excessive weight; and increase refined fuel supply. Admitting that the removal of the subsidy is laudable and inevitable, Odewunmi maintained that delaying the total withdrawal till now ends up making the pain more excruciating.

    Read Also: 26,852 students get N10,000 each as palliatives in Kwara

    On the defects of the current palliative distribution, Odewunmi said allocating the same amount of N5 billion to all the states of the federation without any regard to their population size or peculiar demands/needs and circumstances is anything but a total lack of depth in thought. Callistus Ibe, a Professor of Transport Management at the Federal University of Technology Owerri (FUTO), Imo State, wondered why the government which pretended to know how to alleviate the suffering of the people could end up fish-feeding them rather than giving them the requisite skills on how to catch fish by themselves. Ibe, who is the Chairman of the Training Committee at CIOTA said like previous governments, the Tinubu administration, in handling palliative distribution, fell to the old gambit of throwing food to the poor to scramble leaving unresolved the fuel consumption and importation conundrum.

    Speaking on the topic “Offering the Politicians Suggestions on Palliative Delivery; the Productive Ways of Effective Palliative Delivery,” Prof. Ibe said whenever the transport sector sneezes; all other sectors catch a cold. According to him, the sneezing of the transport sector as a result of fuel subsidy removal has brought intense hardship on the people; leading to an increase in the cost of living and poverty. Prof. Ibe added that a productive way of distributing palliative ought to be by deliberate, focused, persistent, patriotic and sustainable government policies and not tokenism.

    On what he called proper ways of delivering palliatives, he talked about initiating greener mass transportation alternatives and productive distribution. He said: “The present act of distributing raw food items to the poor folks badly affected by the removal of fuel subsidy is, at best, a fire brigade approach, as it is neither focused nor persistent and cannot be sustained.” For him, such a step was a non-productive process that is based on consumerism rather than a productive approach that would have reduced the sufferings occasioned by the fuel subsidy removal.

    Ibe stated that the consumerism approach might have created a new set of billionaire businessmen and women overnight who buy off these food items in the market; thereby compounding the initial problems the policy is meant to address. For Ibe, the more effective and productive way of reducing the suffering of the people is to reduce the cost of transportation through mass transportation and alternative energy sources. “This productive approach would create jobs, open up employment and income will be earned. This single approach will have positive multiplier effects; it will be focused, persistent, patriotic and sustainable. The operators of the mass transit would be given guidelines to form business combines among themselves through co-operatives and vehicles would be allocated through the co-operatives and not individuals,” among other ways.

    While speaking on the NITT template of effective technological palliative, the Director-General/Chief Executive Officer of Nigerian Institute of Transport Technology (NITT) Zaria, Dr Bayero Salih Farah, began by taking participants through the regimes of fuel subsidy in Nigeria, said fuel subsidy became institutionalised in 1977, following the promulgation of the Price Control Act, which made it illegal for some products (including petrol) to be sold above the regulated price. He stated that while the concept of subsidy itself is noble, its administration in Nigeria has been plagued with severe challenges, which include the unsustainable financial cost of the subsidy, economic distortion, smuggling of fuel outside the country, endemic corruption and reduced investment in the downstream sector, among others.

    On what he called the NITT Initiative, Dr. Farah said “Saddled with the mandate to drive innovations through the development of new technologies to meet the demands of the transport and logistics industry, the Institute is researching and developing alternative fuel solutions for the transport industry. These initiatives include Bio-fuel from different sources for example, jatropha, hibiscus, organic wastes and sunflower; electric vehicles solutions with emphasis on renewable charging solutions, and autogas (both LPG and CNG) solutions through conversion of fossil fuel engines to autogas fuel engines or hybrid engines.”

    Farah also stated that the Institute is adopting a tactical technological transformation and migration to alternative fuel (autogas), especially for the transport and other economic sectors through the production of grassroots manpower to drive the migration and through the provision of enabling facilities, equipment and infrastructure to support the migration. Leveraging the mandates of the Institute and the emerging technology in autogas (LPN and CNG), according to him, the Institute initiates actions that could stimulate vehicle and other equipment conversion in a more formal and standardised way (best practice) across the country.

    He said the NITT aspires to provide a pool of qualified technicians for the conversion, repair and maintenance of CNG-powered vehicles; and provide centres across the country for vehicle conversion and training technicians; among others. He also reeled off the NITT vision on palliatives which include making vehicle conversion simple for everyone in the society, minimising the effects of fuel subsidy removal on the poor; promoting autogas as an alternative transportation fuel; providing economic opportunities by creating new jobs and growing a low carbon skills-based through innovation; and creating a flexible, smart and digitised autogas conversion system.

    The Executive Secretary of the Centre for the Promotion of Private Enterprise (CPPE), Dr Muda Yusuf wondered why the government would continue to distribute tokens to the people, when it could deploy the same funds to stimulate the economy, particularly the manufacturing sector; thereby ameliorating the pressure being brought to bear by subsidy removal. He challenged the Federal Government to go beyond the N100 billion loan proposed for the manufacturing sector to introduce tax reliefs and other such initiatives to encourage the productive sector to get back to work and remove the pressure on forex thereby improving the living condition of the average Nigerians who can be productively engaged rather than resorting to a monthly stipend from the government.

    Yusuf said no country avoids subsidising its economic growth and no government willingly subjects its economy totally to market forces the way we do in Nigeria, knowing that the capitalist economists exist only for the optimisation of profits. He said now that the Federal Government is making more money, there should be a careful and deliberate redistribution of these resources so that it reaches the nook and cranny of the country and touches the poor from whose pockets these monies are being made.

    “The government must ensure that they avoid the situation where new millionaires and billionaires are being made as a result of any of the initiatives aimed at ameliorating the suffering of the poor. The government must be deliberate in ensuring that they assuage the suffering and pains of the very poor which are making more money available for the government to spend,” he said.

    The Dean of the School of Transport and Logistics at LASU, Prof. Charles Asenime opined that because palliatives are temporary solutions that ameliorate the pains but do not solve the problem, deliberate attempts must be made to ensure that the palliatives achieve the intentions of the government who put them together. He said the current palliatives are a far cry from what could assuage the pains of the common folks, adding that transportation remains crucial if the government must achieve any success.

    The former Permanent Secretary of the Federal Ministry of Foreign Affairs, Ambassador Anthonia Ekpa noted that beyond the provision of mass transit vehicles, the government must work on rural roads, many of which she said are no longer in existence. Dr Ekpa, a former Permanent Secretary of the Federal Ministry of Transportation said the ministry carried out a road audit and would be in a better position to proffer solutions on how to go about achieving the best result in palliative intervention by the government.

    Participants at the webinar agreed that, as a partner in progress, CIOTA should make the communiqué at the end of the webinar available to the Secretary to the Government of the Federation as well as Secretaries of State Governments in all the 36 states of the federation and ensure they collaborate with the government for their implementation.