The Nation Newspaper

Category: Arts & Life

  • Fuji: A Opera marks 5th anniversary, unveils 2025 edition

    Fuji: A Opera marks 5th anniversary, unveils 2025 edition

    Fuji: A Opera, the platform championing the revival and elevation of indigenous Fuji music, is set to celebrate its fifth anniversary with the 2025 edition of its flagship open-air concert, Fuji Vibrations.

     The event, themed “This is Fuji,” will hold on Thursday, December 4, 2025, at Muri Okunola Park, Lagos.

    What began in 2020 as a modest multi-dimensional exhibition at Alliance Française de Lagos has grown into a cultural movement redefining how young Nigerians experience Fuji.

    Over the years, Fuji: A Opera has become a bridge between the genre’s legends and a new wave of emerging talents, attracting thousands to its annual celebration.

    Organisers say this year’s theme reflects the confidence of a genre that has reclaimed its place at the heart of Nigeria’s pop culture.

    Once dismissed or misunderstood, Fuji is now shaping the sound, language and visual identity of modern Afrobeats.

    Creator and Founder of Fuji: A Opera, Bobo Omotayo, said the 2025 edition aims to affirm Fuji’s influence and cultural depth.

    “Fuji is no longer on the sidelines,” he said. “Today, it’s the pulse behind the sound of modern Nigeria. With THIS IS FUJI, we’re not just celebrating a genre, we’re celebrating its subculture and claiming its rightful place in the global music narrative. This edition is about identity, pride, and ownership.”

    The concert will feature an all-star lineup featuring K1 De Ultimate, Abbass Obesere, Saheed Osupa, KS1 Malaika, Adio Atawewe, Taye Currency, SK Sensation, Shanko Rasheed, and several up-and-coming acts from across the country.

    Last year, over 7,000 fans filled Muri Okunola Park, transforming the venue into a colourful festival of music and culture. Organisers say the 2025 edition will be even more immersive, combining live performances with fashion showcases, art installations, and creative collaborations.

    A key driver of the initiative has been Fuji: A Opera’s partnership with the Fuji Musicians Association of Nigeria (FUMAN), led by Alhaji Sikiru Agboola (Kolotiti). The collaboration, described as a family bond by organisers, has helped preserve Fuji’s heritage while grooming a new generation of performers.

    “Our partnership with FUMAN is proof that Fuji’s strength lies in togetherness,” said Tosin Ashafa, Executive Producer. “From day one, FUMAN has stood beside us, ensuring Fuji’s heartbeat stays strong and collective.”

    Fuji Vibrations 2025, organisers say, will also serve as one of the major openers for Lagos’ Detty December festivities, showcasing the evolution of Fuji from its roots in the streets of Lagos to its growing global acceptance.

    The anniversary edition is supported by Goldberg Lager Beer, DIAGEO, Zuri, and other partners. Attendance is free, but requires registration via Tix.Africa.

  • LAIF strengthens 2025 jury with Anietie Udoh’s appointment for OOH category

    LAIF strengthens 2025 jury with Anietie Udoh’s appointment for OOH category

    It has been a rolling season of recognition and responsibility for Anietie Udoh with his new appointment as the Out of Home juror for the 2025 Lagos Advertising and Ideas Festival Awards.

    Anietie Udoh’s year has unfolded like an unbroken chain of visibility, responsibility, and rising influence across global and local creative landscapes.

    His calendar has taken him from European jury rooms to African awards panels, from national recognitions to international appointments, and now to another defining moment, and that is his selection as a juror for the Lagos Advertising and Ideas Festival Awards in the Out of Home category.

    This latest role not only affirms his place in Nigeria’s creative community but also extends a year already distinguished by significant honours and cross-continental engagements.

    The beginning of a defining year

    His journey began in May 2025 when he earned a place on the global jury of the 9th Native Advertising Awards in Copenhagen, where he helped evaluate the most inventive content-driven campaigns from around the world.

    That international involvement set the tone for what would become a season of continuous professional elevation. By July, his credibility in the communications sector was recognised again when he served as a juror for the PR Power List curated by GLG Communications and published by The Guardian Nigeria. During the same month, he contributed to two rounds of judging for the Effie Awards in South Africa, participating first in the July 10 deliberations and later in the July 24 session, expanding his footprint in conversations around marketing effectiveness across Africa.

    A wider global and continental footprint

    His influence travelled even further in September when he joined the International ECHO Awards 2025 jury, an appointment that reinforced his standing within data-driven marketing circles.

    The month of October added another layer to this busy calendar as he featured as a faculty member and panelist at the 10th Nigeria Digital PR Summit in Lagos, where the profession acknowledged his growing role in shaping digital storytelling and narrative control. There, the organisers honoured him as an Ambassador, a distinction that acknowledged not only his contributions to the summit but also his expanding role in steering the philosophy of digital storytelling, influence building, and narrative management within the industry. That same month, he was selected to judge the 2025 Digital Media Awards Africa, underscoring his relevance in continental digital media evaluation.

    Honours that strengthened his national presence

    Recognition followed swiftly when, on November 4, he was named among TheIndustry’s 50 Men of Impact 2025 at a ceremony held at the Radisson Blu Hotel in Ikeja, Lagos.

    The honour reflected not only his body of work throughout the year but also the influence he continues to wield in a fast-paced communications landscape that demands balance, emotional intelligence, and depth of professional understanding. This accolade cemented his presence as a figure whose decisions, perspectives, and contributions resonate with peers across the industry.

    Why the LAIF appointment matters

    These cumulative roles set the stage for his newest appointment as an Out of Home juror for the Lagos Advertising and Ideas Festival Awards.

    The LAIF jury room is a unique space where creativity meets public engagement, and where ideas are evaluated not just for ingenuity but for how they shape the everyday lived experience of people in cities. His presence in that room brings the weight of his global exposure, continental insight, and national experience into a local setting where the standards of excellence are constantly evolving.

    For someone who has represented Nigeria in global discussions from Copenhagen to New York and who continues to contribute meaningfully to jury panels that set creative benchmarks across continents, this appointment offers a pivotal opportunity to bring global sensibilities into the evaluation of local outdoor work while simultaneously grounding those standards in Nigerian cultural and urban realities.

    A professional defined by discipline and depth

    Colleagues describe him as intentional, methodical, and calm, qualities that have served him well in jury deliberations, summit engagements, and mentorship spaces. His approach places emphasis on fairness, context, discipline, and empathy. These attributes have not only made him a respected voice but have also inspired younger professionals who see in him both a model of excellence and a reminder that influence is most meaningful when it lifts others along the way.

    A trajectory that continues to expand

    As his year continues to roll out with yet another significant appointment, it becomes clear that his trajectory is shaped by a blend of global exposure, national relevance, and local impact.

    The LAIF role is more than another addition to his list of engagements; it is a reaffirmation of trust in his judgment and an invitation to shape the creative expressions that colour the Nigerian public space.

    It completes a year of influence that has stretched across borders and disciplines, and it reinforces the belief that his evolving journey will continue to expand opportunities for practitioners within the country’s creative ecosystem.

  • Nine-year-old Ekiti author launches first book

    Nine-year-old Ekiti author launches first book

    A nine-year-old author, and daughter of the daughter of Senior Special Assistant to Ekiti State Governor on Farm Settlement and Agriculture Adewole Temijopelo, has launched of her debut book titled, “The Struggles of a Girl”.

    The ceremony which took place at the Crest View International School, Lagos, attracted dignitaries including education stakeholders and literary enthusiasts to celebrate the emergence of a new voice in children’s literature.

    Temijopelo’s book tells the story of a young girl, Blessing, who overcome life’s challenges through  determination, kindness and resilience.

    Chairman of the occasion, Chief Abiodun Oniyitan, described the book as a timely reminder that success is rooted in perseverance, not background. 

    “The story of Blessing is a powerful reminder that our circumstances do not define us, but rather our determination and resilience,” he said.

    The launch featured a series of book reviews by Adeife Abiodun Adeyemi, CEO of Ife’ctive Touch (Chapters 1–3); Coralita Yard, CEO of Kovana (Chapters 4–5); and Tony Joy, Founder of Durian Foundation (Chapters 6–10). 

    An inter-class debate added excitement to the ceremony, where Adekunle Jemima emerged Best Speaker and Amarachi Amechi finished as runner-up. 2nd Best Speaker. The winners received cash gifts from of Mrs. Ehirim & Family and Tony Joy.

    Several guests praised the confidence and eloquence displayed by the pupils, with Mr. Nnamdi Ehirim commending Jemima Adekunle for her outstanding performance.

    The official launching of the book was performed by a lawmaker representing Ado Ekiti constituency 1 in the Ekiti House of Assembly, Hon. Ayo Adegbite represented by Tayo Abolarinwa. 

    The Proprietress of Crest View school, Lagos,  Mrs. Adekunle, expressed pride in Temijopelo’s achievement, , noting that her accomplishment would inspire other pupils to pursue excellence.

    Among other notable dignitaries at the event were Otunba Bobakeye of Agura Kingdom, Mrs. Jude, Mrs. Esther O., Mrs. Mazogi Nwakugo (author’s grandparent), and several parents and educators.

  • Reflections holds at 202 Gallery

    Reflections holds at 202 Gallery

    Reflections, an intergenerational exhibition by the Guild of Professional Artists of Nigeria is ongoing at 202 Gallery in Ikoyi Lagos, featuring sculptures, paintings, mixed media works, and drawings by twenty-seven members of the guild.

    The exhibition, which opened last Saturday is a celebration of the guild’s long-standing culture of mentorship and artistic excellence, while exploring the dynamic relationships that shape creative growth between master and student, tradition and innovation, and the past and present of Nigerian art.

    Curated as an intergenerational conversation, Reflections brings together established masters and emerging artists, allowing resonances and contrasts to unfold naturally. According to a statement by the gallery, the dialogue between these generations highlights how influence, technique, and vision echo and diverge across practices, creating a rich tapestry of contemporary Nigerian artistry.

    Highlights of the exhibition include Ato Arinze’s 1998 bronze sculpture Torso of a Tomboy, a commanding study in form and character, and Duke Asidere’s abstract portraits, which use visual metaphor and bold colour to reflect the complexities of everyday life.

    Innovative young voices include Collins Abinoro, whose sculpture of a deer crafted from repurposed spoons transforms the ordinary into the extraordinary, and Elizabeth Ekpetorson, whose intimate paintings invite reflections on self-acceptance and emotional healing.

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    Other notable works include Gerry Nnubia’s mixed-media pieces using upcycled metal cans, Sam Ebohon’s luminous acrylic paintings on plexiglass, and Nathalie Djakou Kassi’s paired bronze figures exploring balance and femininity.

    The exhibition is also featuring emotive portraits by Olajide Salako and Edosa Ogiugo, alongside George Edozie’s impressionist compositions that explore the social, political, and emotional dimensions of contemporary life.

    Across the gallery, works by Ben Ibebe, Emeka Nwagbara, Fidelis Odogwu, Olisa Nwadiogbu, Wande George, and others showcase the remarkable diversity of techniques, perspectives, and thematic explorations within the guild.

    Reflections is a celebration of the guild’s mission to nurture excellence and uphold professional standards in Nigerian art. It offers viewers a chance to witness the meeting of experience and experimentation, mastery and curiosity, in a space that reflects both heritage and innovation. The exhibition will run till December 19.

  • Super Japan thrills audience at Lagos trade fair

    Super Japan thrills audience at Lagos trade fair

    The Super Japan exhibition at the 2025 Lagos International Trade Fair drew one of the largest youth-focused crowds with entertainment, chat shows, arts and music at the weekend at the Tafawa Balewa Square (TBS).

    The two-day cultural showcase, a collaboration between the Japan External Trade Organisation (JETRO) and OtakuTV, was held recently with overflowing halls, long registration queues and intense social media activity as Lagosians turned out in their numbers to experience anime, gaming, Japanese cuisine, cosplay and traditional performances.

    Officials said the turnout on Day 1 far exceeded expectations, crediting it to strong online buzz and the free-entry policy. Many visitors were teenagers, university students, creative artists and gaming enthusiasts, with some arriving as early as 8 a.m. to secure spots for competitions and demonstrations.

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    Speaking at the opening, representatives of JETRO said the initiative aligns with Japan’s efforts to deepen cultural diplomacy and economic cooperation with Nigeria. A JETRO official noted that Lagos’ “creative vibrancy and youthful population” made it an ideal host city, adding that the large attendance underscored the strong cultural connection between both countries. OtakuTV executives described the turnout as “historic,” saying the physical gathering surpassed the numbers they usually record during online anime festivals.

    Anime booths, manga libraries, illustration workshops and production guides were crowded throughout the day. Cosplay drew significant attention as dozens of young Nigerians arrived dressed as characters from popular series such as Naruto, Demon Slayer, One Piece, Jujutsu Kaisen and Attack on Titan. A cosplay parade held around noon became one of the most recorded and shared moments of the day, trending across TikTok and X.

    Gaming stations also attracted heavy participation, with long queues forming for tournaments featuring top Japanese video games. Organisers said the gaming championship finals would hold today, with winners expected to receive merchandise and digital rewards. In another section of the exhibition, Lagosians gathered around taiko-style drumming displays, origami sessions and calligraphy demonstrations. Parents were seen guiding children through craft activities, giving the event a strong family-friendly appeal.

    The Japanese food market was one of the busiest corners of the exhibition, with visitors eager to try sushi, ramen, yakitori, tempura and street snacks. Several vendors temporarily ran out of some dishes due to high demand and had to restock. Many visitors described the experience as their first opportunity to taste authentic Japanese cuisine beyond what they had seen in films and online content.

    Trade Fair officials observed that the Super Japan debut contributed to a noticeable rise in overall visitor numbers at TBS on Friday. Although official figures had yet to be released, security personnel confirmed that foot traffic at the gates surged shortly before noon, coinciding with the start of the opening ceremony. Vendors around TBS also reported increased patronage as the crowd spilled into nearby stalls.

    Analysts say the strong reception reflects the growing influence of Japanese pop culture among young Nigerians and highlights opportunities for future cooperation in animation, digital art, gaming and creative technology. Many believe the event demonstrates how cultural engagement can drive economic and diplomatic ties between nations.

    As the exhibition enters its final day today, more performances, gaming finals, cultural demonstrations and closing activities are expected. Organisers indicated that early discussions are underway to make Super Japan a recurring feature at the Trade Fair. An OtakuTV representative said plans for future editions could include larger pavilions, film premieres, innovation labs and expanded creator-to-creator exchanges.

    With crowds returning to TBS for Day 2, the Japanese showcase appears set to conclude on a high note, cementing its place as one of the standout attractions of this year’s Lagos International Trade Fair.

  • How Radio Sunrise novel becomes a film

    How Radio Sunrise novel becomes a film

    • From Anietie Isong

    On October 1st—Nigeria’s Independence Day—I watched something extraordinary happen. A novel I wrote, stepped into a new life as a film. Radio Sunrise was released on YouTube, directed and produced by my sisters Emem and Uduak—professional filmmakers. I have written many things in my life, but few moments have moved me as deeply as watching those first scenes unfold onscreen.

    When I wrote Radio Sunrise, I wanted to explore the world of Nigerian journalism through humour and heartbreak. I wanted to show what it means for a young man like Ifiok to navigate truth in a society where truth itself can be dangerous. I did not know then that the book would win awards, or that it would resonate with so many readers. I certainly did not know it would one day be adapted into a film by my own family.

    But I did know this: stories matter. They shape us. They save us. They remind us of who we are and who we could be.

    The Niger Delta, where much of the story is set, is where I am from. It is a region that has been written about endlessly, yet so often without tenderness. Yes, there is conflict and exploitation. But there is also humour that defies despair. There is music, language, invention, and survival. In adapting the story, my sisters refused to flatten the region into a headline. They loved our home enough to show it whole.

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    Watching Bimbo Ademoye, Maurice Sam, Akin Lewis, Mr. Macaroni and others embody these characters was like meeting old friends in a new form. They captured the satire, yes—but also the quiet longing beneath it. And that, to me, is the heart of African storytelling: we laugh so we do not collapse under the weight of what we know.

    I have been asked what impact I hope the film will have. My answer is simple: I hope it reminds us that journalism, art, and truth are not luxuries. They are forms of resistance. When citizens can no longer speak openly, satire becomes a shield.

    Nigeria is changing. Africa is changing. Around the world, we are witnessing the cost of disinformation and the shrinking of democratic space. But I believe deeply, that stories still have the power to widen what is narrowing.

    Radio Sunrise is a conversation. A hand extended. A reminder that we are more than our headlines. We are human beings trying, failing, laughing, hurting, loving, and beginning again.

    If our film reaches one young journalist who feels invisible, one citizen who has stopped believing in change, or one viewer who simply needs to laugh at the absurdity of survival, then it has done enough. And if it does more than that—if it inspires another African storyteller to tell their truth in their own way—then that will be our celebration.

  • Fellowship empowers young female creatives in Lagos

    Fellowship empowers young female creatives in Lagos

    A fresh wave of creativity and social consciousness is taking root in Lagos as 25 young female artists have completed the Leading with Arts Fellowship, a programme designed to use art as a tool for leadership, healing, and community transformation.

    The initiative, organised by Advocates for Health and Rights of Women and Youths Initiative (ADHERI),  funded by the Nigeria Youth Futures Fund (NYFF), and supported by Alliance Française, has grown from a modest idea into a vibrant movement driving cultural impact.

    What began as small, intimate sessions soon evolved into immersive workshops blending visual art, performance, storytelling, and activism. Participants were guided by mentors who encouraged them not only to refine their craft but to embrace leadership through self-awareness and self-expression, one of the programme’s key lessons.

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    The fellows explored themes of resilience, justice, identity, and community. Through their paintings, sculptures, and performances, they created work that reflected personal stories and broader social issues. Organisers said the goal was not merely to teach artistic skills but to help young women find their voice and use it to effect change.

    Executive Director of ADHERi, Emmanuel Etim,, Mr Emmanuel Etim noted that several participants have already launched community art projects, local campaigns and exhibitions inspired by the fellowship.

    Their works will also feature prominently at the Nigeria We Want Art Exhibition scheduled for November 30 in Lagos.

    The showcase is expected to amplify perspectives from underserved communities and highlight the role of young female creatives in national discourse.

    According to Etim, collaborations are already emerging among artists, educators and policymakers, signalling the potential of arts-led initiatives to contribute to social development.

    The fellowship, he added, demonstrates how creativity, when nurtured, can become a catalyst for leadership, empowerment and long-term community change. .

  • ‘Our vision is to make Nigeria leading destination in Africa’

    ‘Our vision is to make Nigeria leading destination in Africa’

    The Group General Manager, Continental Hotels, Karl Hala, has said that his vision is to make Nigeria a leading destination in Africa and connect it with the rest of the world. He stated that the vision remains the cornerstone of the hotels’ operations and cardinal objectives. “We remain in the new era of luxury hospitality in Lagos and Abuja,” he added.

    Hala, who spoke in a recent edition of Forbes Magazine, said the hotels are investing in creating African hospitality at its best with special attention on expansive wellness areas, upgraded culinary offerings, and premium recreation spaces.

    “Nigeria connects to the world, and the world connects here. Our mission is to make this country the leading hospitality hub in Africa, which Continental Hotels are a proud part of. This remains the cornerstone of our operations and cardinal objectives also. We remain in the new era of luxury hospitality in Lagos and Abuja.”

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    “We are investing in creating African hospitality at its best,” Hala said, adding “Nigeria has a vast demand for meetings and conferences.

    Between Abuja and Lagos, we aim to position ourselves as the signature of African hospitality,” he said.

    The youths, he added, are priority in the Hospitality Academy as part of Continental Hotels’ sustainability programme in partnership with United Nations Children’s Fund (UNICEF), International Organisation for Migration (IOM), the Ministry of Communication, GIZ, TBS, MB, ITPN, and multiple embassies.

    “For sustainability, my answer is youth. We want to show there is a future in this industry, from entry-level to leadership. The academy will provide internationally recognised certifications, opening doors in Nigeria and abroad,” Hala noted.

    He said the hotels management is also rethinking everything from energy to mobile touch-points for guests’ comfort and relaxation, noting that attention is being given local sourcing with strong support for Nigerian farmers, artisans, and manufacturers.

    “We believe in buying local. This supports the economy and ensures authenticity in what we offer and in tandem with the Nigeria First Philosophy of the President Bola Ahmed Tinubu,” he said.

  • Nigerian contemporary art and challenges of GDP growth

    Nigerian contemporary art and challenges of GDP growth

    Credit goes to Mr. President Ahmed Bola Tinubu for restructuring the former Ministry of Information, Culture and National Orientation by creating a full-fledged Ministry of Arts, Culture and Creative Economy for enhanced strategic operational efficiency. Mr. President’s action is intended to diversify, promote and invest in skills in the non-oil sector for job creation and economic growth.

    Mr. President’s vision of restructuring the Ministry was for the creative sector to participate in addressing myriads of socio-economic, political and cultural problems of the nation by engaging the contemporary art, traditional art heritage, local crafts and others into an economic force with short and long-term outcomes. However, this is yet to be attained in line with Mr. President’s administration priority areas which include to accelerate diversification, digitization, creative art, manufacturing and innovations as critical tools for the growth of the nation’s Gross Domestic Product (GDP).

    Nigerian contemporary art is a symbol of national pride and heritage and a vital part of our national life. It is also a critical national asset in culture, tourism, education and social capital which if properly organized and positioned will contribute to the nation’s GDP. The recent exhibition of my artworks in May 2025 at the National Museum, Lagos clearly showed that Nigerian contemporary art lacked organization and artists were not faring well like their contemporaries in other climes. Though Nigerian contemporary art is robust in production, rich in diversity and excellent in creativity but the national cultural institutions responsible for arts management are starved of funds and hardly ever having the ideal capacity to promote, support and mobilize audiences of the corporate world, international agencies, wealthy corporations and individuals for art patronage.

    The above points to the fact that there is no crowding in by government in which increased spending or investments on contemporary art leads to higher private sector participation and overall economic growth which will accelerate public and private investments on contemporary arts. Such will create the possibilities for commerce, businesses, financial growth, skills development, entrepreneurial ventures, network building, skills monetization, career advancement, factory productions, industrial development, and overall job creation and GDP growth.

    There is the problem of directed leadership to provide the necessary intellectual focus at the various levels of headship positions either at the ministerial or parastatal levels.

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    By this, I mean appointments should be based on merit of those with relevant credentials and experiences in arts and culture, art administration, art management and art scholarship. To paraphrase Chinua Achebe “you cannot understand a man whose language you do not speak”, in order words non-artists by training cannot understand issues about art management and development, the strategic priorities and interests of artists no matter how well intentioned such appointee may be. It is the appointment of the right leadership that sets the tone for service delivery.

    The Ministry of Arts, Culture and Creative Economy and its parastatals should be run in a way that speaks the minds of artists and creatives. Its budget implementations should prioritize arts and culture as the central objectives. This will enable the ministry to drive the Nigerian contemporary arts efficiently to hook up with the global arts and leisure industry that ties the Western and non-Western arts in a network of businesses. The Nigerian Contemporary arts and artists need to be connected to international networks of collaborations and cultural exchanges with the attendant benefits of contributing to the nation’s GDP.

    2026 Venice Biennale

    Venice Biennale Is the world’s largest and most important international cultural exhibition covering contemporary arts, dance, architecture, cinema, music and theatre and holds annually and/or in alternate years in Venice, Italy. It is a platform where artists and curators explore the year’s theme in the highest form of creativity and originality which thrill visitors and remind them that art is not just for viewing but something to live with. Countries participate by building their national pavilions in the biennale which mirrors the world’s mosaic of creativity in its highest form. The biennale creates a bridge between the past, the present and the future, and provides a voice for countries in a world culture.

           The biennale is the visual arts version of the “World Cup” as in football, and also referred to as Arts World Olympics. It was founded in 1895 with the main goal to establish a new market for contemporary arts. It had sales office which assisted artists find clients and sold their works. Nigeria the emblematic of Black African arts and culture should provide the lead of proof that African arts exist in contemporary form by helping to expand the space it occupies internationally. From inception the biennale has stood as the world’s most enduring spaces for modern art by providing nations the spaces to project their cultural identities and for their artist to push boundaries beyond the borders of what is creatively possible.

           The Nigerian Ministry of Arts, Culture and Creative Economy should laisse with the Italian Ministry of Culture to build a pavilion in Venice Biennale and ensure regular participation of contemporary Nigerian artists alongside counties like Australia, Austria, Canada, France, Germany, Morocco, United Kingdom among others. This will mean setting the implementation of Nigeria’s Cultural Policy right. Nigerian’s non-participation in Venice Biennale will isolate her politically, economically and culturally from the rest of the world. The next year’s Venice Biennale is scheduled to run from 9th May – 22nd November 2026.

         Gross Domestic Product (GDP) growth of any nation in simple terms refers to “rewards on investments”. If the right investments are made in the multifaceted sectors of the Creative Economy alongside a viable public and private sector partnerships the economy will resonate in GDP growth. The contemporary artists, designers, craftsmen, artisans, talented individuals, innovators, fashion designers, industrial designers, interior designers, shop dealers and all other key players in the creative ecosystem will function in full capacity. This will lead to job creation, employment generation, business growth, revenues and tax collections, increase in consumer spending, workers in the formal and informal sectors, and all those with hard and soft skills will enjoy an improved standard of living. Thus, arts, culture and its components of the creative economy are vital economic index for GDP growth.

          Prof. Ecoma is of Department of Fine and Applied Arts,

          University of Calabar.

  • Ill-fated NAFEST 2025: Like Bayelsa, like Enugu

    Ill-fated NAFEST 2025: Like Bayelsa, like Enugu

    What befell Bayelsa state 19 years ago, repeated itself last Friday night. Enugu state lost the chance of hosting this year’s National Festival of Arts and Culture (NAFEST), Nigeria’s flagship cultural festival. The glittering lights and burgeoning economic activities in Coal City, that characterised its preparation for the hosting of this year’s NAFEST, suddenly lost their verves. No thanks to last minute postponement of the festival by the Federal Ministry of Art, Culture, Tourism and the Creative Economy due to state of insecurity in the country, Assistant Editor (Arts) OZOLUA UHAKHEME reports.

    Few days to the opening of this year’s NAFEST, preparations and expectations were quite high. Enugu, the host state, reassured participating states of its readiness to host a memorable cultural festival like no other. NAFEST was scheduled to hold between November 22 and 29.

    Like Bayelsa state, the notice of postponement of this year’s festival was not only sudden and shocking, but also destabilising to the organising agency, the National Council for Arts and Culture (NCAC), the participating states as well as Enugu artists’ community.  

    As at Friday November 21, no fewer than 26 states contingents were on ground in Enugu including a trailer load of horses by Katsina state delegates who had arrived much earlier. Katsina was to hold a mini-Durbar at the festival. The 84-member team of the organising agency, NCAC, was also in Enugu by Friday evening to put finishing touches to the colourful opening ceremony on Saturday that never was. They had to return to Abuja on Sunday after a briefing by Enugu State Commissioner for Culture and Tourism, Mrs Ugochi Madueke on Saturday morning.  

    Among the states contingents that arrived Enugu on Friday were Lagos (100 delegates) Benue (120 delegates), Ebonyi (80 delegates), Oyo (120 delegates), Sokoto (70 delegates) Jigawa (120 delegates), and Delta (150 delegates). Others were Nasarawa (150 delegates), Niger (120 delegates), Plateau (110 delegates), FCT (60 delegates), Adamawa (70 delegates), Kwara (78 delegates), Ondo (50 delegates), Imo (100 delegates), Yobe (220 delegates), Osun (60 delegates), Abia (110 delegates), Cross River (80 delegates), Rivers (235), Ekiti (103) and Katsina (171 delegates).

    Unfortunately, many of the contingents returned to their home states without a single appearance on stage leaving a trail of losses and frustrations. Some had to turn back on the way to Enugu. Michael Okpara Square and the International Conference Centre, Enugu, which wore new looks as venues of the cultural festival lost the opportunity of adding the festival to its A-list events. 

    The rhythmic dance steps of the various states contingents that would have flagged off the festival turned cold and still. The vibrant, energetic and acrobatic dance of Atilogwu dancers and its vigorous but seemingly effortless movements were missed. Mmanwu masquerade from host state, Enugu, couldn’t showcase its elaborate costumes and performances. And from Benue state, the popular Swange, a lively and rhythmic dance of the Tiv people, couldn’t find its rhythm and so for all the cultural events lined up for the festival.

    The Federal Ministry of Art, Culture, Tourism and the Creative Economy on Friday night announced the postponement of the festival due to state of insecurity in the country. The decision, according to the Ministry followed a careful assessment of the national mood amid rising insecurity across various parts of the country.t

    “In solidarity with affected families and communities, and out of deep respect for lives lost, the Minister, Hannatu Musawa, in consultation with stakeholders, has approved postponing the festival to a later date.

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    “NAFEST has always played a powerful role in nation-building by bringing Nigerians together, strengthening social cohesion and offering a platform for cultural diplomacy and soft power.

     “As one of the few national events capable of projecting a positive and inclusive image of Nigeria, showcasing unity, hospitality and national confidence, this year’s edition, with over 28 states preparing to participate, was poised to send a strong message of resilience and unity.

    “However, given the current national mood, the Federal Government believes it is more respectful and responsible to postpone the festival rather than proceed while many citizens are grieving,” the statement added.

    The Minister emphasised that the decision reflects values of empathy, national unity, and collective sensitivity. A new date for NAFEST 2025 will be announced following further consultations with stakeholders, including security agencies.

    “The Ministry appreciates the understanding and support of participating states, cultural troupes, partners, and the Nigerian public. Our commitment to showcasing Nigeria’s rich cultural diversity remains unwavering and we look forward to delivering an even stronger, more unifying NAFEST at the appropriate time,” she added.

    Reacting to the postponement of the festival, Enugu state government expressed disappointment and understanding. According to a statement issued on Saturday, Enugu State Commissioner for Culture and Tourism, Mrs Ugochi Madueke, said the decision was painful, especially when Enugu had concluded preparations to host thousands of delegates from across Nigeria. She stated that cultural troupes, support staff and officials had already arrived in the city in anticipation of the festival’s opening activities.

    Madueke noted that although the postponement came at a time when the state was fully ready to showcase what she described as “one of the most anticipated cultural festivals in recent years,” the government understood why the Federal Ministry had taken the step. According to her, the escalating security concerns nationwide made it necessary for authorities to prioritise the safety of participants, visitors and residents.

    While urging delegates, partners and the cultural community to remain calm while awaiting further communication from the Federal Government on the next steps, she assured that Enugu’s readiness had not diminished. She noted that the state would continue to work with all relevant agencies to ensure that NAFEST takes place under conditions that guarantee the safety and enjoyment of everyone involvement. She commended the efforts of Minister of Art, Culture, Tourism and the Creative Economy and the Director General National Council for Arts and Culture, noting that their leadership reflected a responsible approach in a period of heightened national concern.

    She also commended the Governor of Enugu State for his support throughout the preparations and assured stakeholders that the state remains committed to hosting the festival once a new date is announced.

    Recall that in September 2006 NAFEST was cancelled in honour of the military personnel that died in a plane crash in Benue state. Then acting Governor Goodluck Jonathan did the opening and closing of the national festival same day.

    The plane crash involved military officers comprising 10 army generals, a lieutenant-colonel, and two wing commanders who were on a Dornier 228-212 aircraft. The officers were heading to the Obudu Cattle Ranch in Cross River state for a retreat.

    Nineteen years after, the same fate has befallen Enugu NAFEST 2025 due to insecurity in the country, particularly the recent attack of the CAC Church at Eruku, in Kwara state and abduction of school girls in Maga, Kebbi state last Monday.  Fortunately, 38 of the Kwara abductees and 51 Niger pupils were rescued by security forces on Sunday and have since returned home.

    President Bola Tinubu reassured Nigerians of their safety anywhere in the country adding, “Let me be clear. I will not relent. Every Nigerian, in every state, has the right to safety. Under my watch, we will secure this nation and protect our people,” he said.

    Part of the fallout of the postponement is the economic loss incurred by many players in the creative sector. From travel to leisure operators, hoteliers, artists, arts and crafts dealers and food vendors in the Coal City. Their losses are better imagined.

    Hotels such as Utopia Hotel, which accommodated some of the NCAC team from Abuja, only provided two night services before they returned to Abuja, thereby losing about six days revenue from lodging. Others such as Universal Hotel, Bon Platinum and Carlton Swiss were expectant, but never got clients before the postponement of the festival. In particular, Bon Platinum and Carlton Swiss were contacted for reservations, but didn’t get any guest.