Jagabeauty, the African beauty and wellness brand, today marks its fifth anniversary with its inaugural Board of Directors.
The newly constituted Board draws together distinguished professionals whose expertise spans business leadership, brand strategy, finance, creative communications, investment advisory, and corporate governance.
Their collective experience will guide the company’s next phase of growth, particularly as it strengthens its operational structures, prepares for international partnerships, and positions itself for long-term sustainability and investment opportunities.
The Board consist of its Chairman, Group Managing Director/CEO, West Power & Gas Limited, Wola Joseph-Condotti; Business Development and Growth Advisor who is Founder & CEO, Creation One and Concept City, Zakari Atta; Brand Strategy and Creative Communications Advisor, Executive Creative Director & Partner, Imaginarium Marketing Communications (IMC), Jay Chukwuemeka; Financial and Investment Advisory Lead, Regional Bank Head, Fidelity Bank Plc, Chetachi Okechukwu.
Together, the Board brings a blend of corporate leadership, brand strategy, business innovation, financial structuring, and governance positioning Jagabeauty to build not only a successful brand, but a lasting beauty legacy for Africa and the world.
The unveiling is a vital step that signals the company’s transition into a new era of structured growth and global expansion.
Founded by Ngozi Ezeka-Atta, what began in a small home kitchen in Lagos, inspired by her personal battle with stage four acne after childbirth, has evolved into a reputable beauty brand with both NAFDAC and U.S. FDA certifications and a fast-growing international footprint.
Demand for Jagabeauty’s products continues to rise across Africa, Europe, North America, and select Middle Eastern markets, positioning the company as a formidable contender in the global beauty space.
Reflecting on the milestone, Ezeka-Atta described the moment as a defining chapter in the brand’s journey.
She noted that Jagabeauty was built on resilience, research, and a deep commitment to providing safe, high-quality, and accessible skincare for families across diverse skin types, tones, and generations.
She added that the introduction of the Board represents not just institutional maturity, but a strategic commitment to African excellence and global competitiveness.
As Jagabeauty celebrates this milestone, the company reiterates its commitment to innovation, quality, cultural representation, and community impact.
With its new governance structure and global ambition, Jagabeauty is charting a bold course to build not only a successful brand but a lasting legacy for African beauty on the world stage.
The African Fashion Designer Award (AFDA) 2025 has recognised one of Nigeria’s rising cultural voices in visual storytelling, as Kikelomo Solomon-Ayeni was announced winner of the African Iconic Fine Art Photographer of the Year category, a prestigious title newly introduced to honour excellence in visual arts beyond fashion design.
Her award-winning body of work, “African Preggy Ready to Party,” stood out for its bold, culture-rooted narrative that celebrates pregnancy, womanhood, and African identity through colour, composition, and symbolic styling. The series blends fashion, fine art, and cultural heritage, reimagining the African pregnant woman as radiant, confident, and beautifully visible.
This year’s AFDA selection process combined expert curation with public voting, giving the award both artistic credibility and widespread cultural validation. I
n the words of one of the AFDA Team, “Kikelomo’s work does more than capture maternity, it reframes it. She brings elegance, strength, and joy to, a subject often approached with limitation. This is fine art with cultural memory and modern energy.”
Other nominees for the award were Kester Kanayo Onyemaechi, Olamide Bakare, Tosin Bakre, Edirin John Duvwiama.
Solomon-Ayeni’s win is especially significant because the AFDA platform is known for spotlighting Africa’s most innovative voices in fashion, culture, and design. The expansion into photographic arts marks a deeper recognition of visual storytelling as part of Africa’s creative ecosystem.
This victory also adds to a remarkable run for Kikelomo in recent months, including international exhibitions in London, Berlin, Venice, and Spain, as well as cross-cultural projects through her organization, Red19 Global.
“African Preggy Ready to Party” continues to spark global conversations on representation, family, and the changing visual language around African women. And now, with this award, Kikelomo’s work takes its place among the continent’s most influential artistic contributions, proving once again that African creativity is not only evolving, but leading.
The sounds, stories, and silences of Lagos’ lost waterfronts found new life at the Centre for Contemporary Art (CCA), Lagos, during the opening of an evocative exhibition themed “Sea Never Dry”.
The show, presented in collaboration with Goethe-Institut Nigeria, opened on Saturday, at CCA’s gallery in Yaba.
It brought together artists, researchers, and photographers whose works explore the memories of Bar Beach and other coastal spaces that once shaped Lagos’s cultural identity before urban development and privatization pushed them away from public reach.
Through photography, installation, and archival imagery, Sea Never Dry examines how memory and progress collide, asking what Lagos loses when its public spaces vanish under concrete and commerce.
Executive and Artistic Director of CCA, Oyindamola Faithful, said the exhibition was born out of reflections on the city’s changing landscape during a Goethe-Institut workshop last year.
According to her, the project restages the essence of Bar Beach within the gallery to remind a new generation of what has been lost.
“We thought it was important to restage Bar Beach inside the gallery and make the space accessible to people who never got the chance to go there. This work becomes a form of preservation for future generation,” she said.
Urban geographer and exhibiting artist, Pauline Guinard, whose work titled,”Where Is Bar Beach Again?,” combines thermal images and coastline sand, described the disappearance of Lagos’s beaches as a worrying reflection of growing social inequality.
“Bar Beach represents a democratic space Lagos no longer has. Public spaces are shrinking, and Lagos is becoming more divided depending on what you can afford,” she said.
Also featured in the exhibition is photographer Zaynab Odunsi, who presented a body of work drawn from her photographic archives of Kuramo Beach, captured between 2004 and 2005, before the community was displaced.
Odunsi said her work engages with questions of belonging, displacement, and memory.
Sea Never Dry is not just poetic, it’s also a warning that the sea can take back land. Development should not erase people, communities, and their history,” she said
For many visitors, the exhibition evoked nostalgia and provoked reflection on how Lagos is rapidly transforming, from Eko Atlantic to the coastal highway, often at the expense of its communal heritage.
Art enthusiasts described the exhibition as a timely reminder of the need to balance progress with preservation, noting that urban growth should not erase the collective memories of spaces that once united people from all walks of life.
Featuring works by Akinbode Akinbiyi, Christopher Obuh, Nengi Nelson, Odun Orimolade, Zaynab Odunsi, and Peter Okotor, the exhibition transforms the gallery into a site of collective remembrance and dialogue.
Running through the month, Sea Never Dry stands as both memory and metaphor, reminding Lagos that the sea, like history, never truly dries.
The vibrant fusion of music and advocacy returns as Irie Vibes marks its 7th edition this year, offering an exciting mix of reggae performances and free cervical cancer screenings; a tradition that has defined the festival since its inception.
The 2025 edition will kick off on Thursday, November 20, at Freedom Park, Broad Street, Lagos Island, from 7:00 p.m. According to the organizers, “This special edition is where the rhythm of reggae meets the heartbeat of purpose.”
With the theme “Saving Lives, One Woman at a Time,” Irie Vibes 2025 deepens its commitment to merging art and social advocacy. The event will provide free cervical cancer screening for women while showcasing live reggae and Afro-fusion performances, dance, live art, and other creative expressions that celebrate resilience and healing.
An initiative of Shimmers Services and 09.16 Enterprise, Irie Vibes has evolved into a preventive health and cultural movement that leverages the power of reggae, art, and community engagement to raise awareness about women’s health, empowerment, and early cancer detection.
“Irie Vibes is more than a concert; it’s a rhythm with a mission. We’re creating a joyful space where music heals, educates, and saves lives,” — Lucia Ikediashi, Festival Coordinator.
Irie Vibes Fest is a conscious reggae and cultural festival dedicated to promoting preventive health, women’s empowerment, and creative expression. A joint initiative of Shimmers Services and 09.16 Enterprise, the festival uses the power of music and culture to champion cervical cancer awareness, early screening, and holistic well-being.
With a gate fee of ₦2,000, guests will enjoy an evening of soulful entertainment and social impact beneath the Lagos night sky, where rhythm meets purpose.
Irie Vibes is supported by Lagos Fringe, Freedom Park Lagos, Iffizi, Nebula, Lasena, Sportdotcom, Kiss of Death, The Smileys Place, Penrated Arts, Nigerian Association of Tour Operators (NATOP), Root Entertainment Africa, Motherland TV, and Grand Express Tours. As part of the Lagos Fringe lineup of the Fringe Nights, Irie Vibes Fest 2025 continues its mission of uniting communities through rhythm, love, and purpose proving that music can save lives.
The Group Chief Executive Officer of Bluechip Technologies Limited, Kazeem Tewogbade, has unveiled his memoir, Unlikely, a compelling account of his rise from modest beginnings to becoming one of the country’s leading technology entrepreneurs. The book, launched last week in Lagos, traces Tewogbade’s journey of grit, resilience and faith, detailing how he navigated challenges that once made success seem distant. According to him, documenting his life story was motivated by a desire to inspire people who may feel limited by their circumstances.
“This is not just a book to push a narrative, but a narrative to push and inspire true-life stories that help everyone at every stage. I felt it was time to document my journey, to show that however unlikely success may appear, with hard work and faith, it is achievable,” he said.
Tewogbade said the memoir mirrors the values of family, mentorship and purpose, noting that life’s unpredictability is often balanced by intentional decisions. He referenced Chapter 94, verses 5 and 6 of the Qur’an, “With every difficulty, there is ease” — as a core theme guiding his life and work.
Beyond personal lessons, Unlikely highlights principles for building partnerships, nurturing healthy work cultures, and creating sustainable enterprises.
“I wrote this for young businesses and upcoming generations to teach about partnering for success and building enterprises that can outlast their founders,” he added.
The book, now available in major bookstores and on digital platforms including Amazon Kindle, will also support scholarships, schools and research initiatives through proceeds from its sales.
The author’s wife, Adebola Tewogbade, described the memoir as a testament to his determination. She said the story will inspire people regardless of their background.
“When he told me the title, I asked, ‘What is unlikely?’ He said young people need to understand that everything has a process. His story is a typical example,” she said.
Reviewing the book, Co-founder of Bluechip Technologies and long-time business partner, Olumide Soyombo praised the memoir for revealing a deeper side of the tech executive.
“I thought I knew Kazeem well, but this book showed sides I hadn’t seen, his family values, background, and the experiences that shaped him.
It’s a story of grace, courage and taking chances. Unlikely has now become likely for future generations,” he said.
He also urged the Ministry of Education to promote a stronger reading culture and encourage more Nigerian entrepreneurs to document their journeys. “Kazeem has done that with Unlikely, contributing his experience to the body of knowledge on entrepreneurship,” he said.
Another colleague, Mrs. Deborah Elawure commended Tewogbade’s leadership and perseverance. “He always says a failed project is a step closer to success, and that philosophy runs through the book,” she said.
With Unlikely, Tewogbade joins a growing list of Nigerian entrepreneurs using storytelling to shape perspectives and show that integrity, vision and resilience can transform even the most challenging beginnings into lasting legacies.
A celebration of faith, music, and purpose filled the air in Lagos as Dr. Ajoke Olufunmilola Ogunsan, popularly known as Dr. Ajokesings, hosted the SPAW Talent Quest 2025, a gospel music initiative designed to discover, train, and empower Nigeria’s next generation of gospel artists.
The event, organized by Dr. Ajokesings Productions Ltd., marked a new milestone in the Nigerian gospel music industry, combining talent discovery with mentorship and spiritual growth.
Speaking after the grand finale, Dr. Ajokesings said that the SPAW Talent Quest was born from her three-decade journey in music ministry and her passion to nurture young voices for the Kingdom.
“This is a vision that God put in my heart to bring young people together, those who have talent in music, and help them showcase their God-given gifts to the world. It’s not just a talent show but a kingdom-driven, transformative platform designed to nurture raw potential into purpose,” she said.
The competition, which attracted over 100 participants from across Nigeria, including Sokoto, Delta, and Kwara states, was narrowed down through a rigorous selection process led by judges and vocal coaches.
One of the judges, Godwin Omooba, noted that the screening process emphasized vocal dexterity, stage presence, and technical excellence.
“From the final ten contestants, the decision became even tougher because they were all equally gifted. We had to look deeper to find the best among equals,” he said.
At the Grand Finale, Praise Moses, Dharmie Hilz, and Isioma Charles emerged as the winner, first runner-up, and second runner-up, receiving N750,000, N500,000, and N350,000 respectively.
In a surprise gesture, Dr. Ajokesings also rewarded the remaining seven finalists with N100,000 each and signed all ten finalists to a formal mentorship and recording agreement under the SPAW project.
According to the winner, Praise Moses, “This platform didn’t just let us sing and go home. It allowed us to be trained, mentored, and spiritually grounded. It’s an opportunity that has changed my outlook on ministry.”
Reverb Studios’ representative, Mariam Haruna, announced a comprehensive mentorship package for all finalists, including free rehearsal and recording sessions, skill development, and coaching on professionalism and public conduct.
“For the top three, there will be extended studio access and mentorship. The winner, Praise Moses, will record his debut single with us and undergo six months of structured training,” she said.
Manager of Dr. Ajokesings Productions Ltd, Adetunji Alabi, revealed that plans were underway to expand the SPAW Talent Quest across Nigeria’s six geopolitical zones to reach more aspiring gospel artists.
“Dr. Ajokesings is passionate about supporting young people and making opportunities accessible to them regardless of their location or background,” he said.
Commending the initiative, General Manager of Executive Hotel & Suites, Adebayo Adekunle, one of the project’s major partners, praised Dr. Ajokesings for her dedication to youth empowerment through music. “She has a genuine love for young talents. I encourage the winners to stay humble, remember their source, and continue using their gifts to glorify God,” she said.
Barely a week to this year’s National Festival of Arts and Culture (NAFEST), Enugu State has reassured that it is leaving no stone unturned in hosting a landmark cultural event holding between November 22 and 29. The Director-General, National Council for Arts and Culture (NCAC), Obi Asika, has confirmed that the Coal City is fully prepared to welcome participants, delegates, tourists, and cultural enthusiasts from across the nation.
Asika commended Governor Peter Mbah’s hands-on leadership, which he described as exemplary in both vision and commitment. “Enugu has demonstrated outstanding organisational capacity. Governor Mbah and his administration have ensured that every detail, from logistics to hospitality and security, has been meticulously planned,” he stated. The DG highlighted the strong Local Organising Committee, chaired by Honourable Commissioner Dame Ugochi Madueke, as central to the smooth coordination of the festival’s numerous moving parts.
According to Asika, more than 26 states and the Federal Capital Territory have already confirmed participation, with expectations that additional delegations will join, surpassing last year’s record of 28 states and the FCT. “NAFEST is no longer just a cultural display; it has evolved into a national platform for the creative economy, tourism promotion, and cultural diplomacy. States now understand that participation goes beyond performance—it is a chance to showcase their identity, heritage, and investment potential,” he explained.
The DG noted that the recent Culture and Creative Economy Pre-Summit held in Enugu played a critical role in generating nationwide enthusiasm. The summit, which brought together commissioners of culture, creative industry leaders, and private sector partners, created a renewed sense of ownership and anticipation among the states. “Governors and Commissioners are approaching NAFEST with seriousness, recognising that this is a festival that merges culture with economic opportunity,” Asika said.
Enugu’s reputation for orderliness, hospitality, and charm, he added, provides a fitting backdrop for the week-long celebration. Delegates and visitors can expect high-quality infrastructure, well-maintained venues, and seamless logistics, ensuring that all participants focus on cultural performance rather than operational challenges. “The city’s capacity to host large events, demonstrated over years of political, religious, and entertainment gatherings, gives confidence that NAFEST 2025 will be executed flawlessly,” Asika affirmed.
He spoke of the enthusiasm displayed by participating states, many of whom are upgrading performances, improving choreography, redesigning costumes, and preparing elaborate showcases of music, dance, drama, culinary arts, and fashion. “The festival is a convergence of tradition and modern creativity. Young creatives, artisans, and professionals are being integrated into performances, ensuring a fresh and innovative presentation of Nigeria’s cultural wealth,” Asika noted.
He emphasised that NAFEST 2025 is not only about entertainment but also about economic value. “Every aspect of the festival, from performances to workshops, is designed to stimulate economic activity. Hotels, restaurants, transport providers, and local artisans all stand to benefit from the influx of visitors, creating an ecosystem where culture translates into commerce,” he said.
Security, hospitality, and transport arrangements, he added, have been prioritised to ensure that visitors enjoy a safe, welcoming, and comfortable environment. Local stakeholders have been engaged to complement state security efforts, providing additional layers of protection and support for participants.
Asika expressed confidence that Enugu 2025 will be remembered as a defining moment in the evolution of NAFEST. “This festival represents the pinnacle of cultural celebration in Nigeria. It is where heritage meets innovation, tradition meets enterprise, and unity meets diversity. Enugu 2025 will leave a lasting impression on participants and visitors alike,” he said.
Already, enthusiasm across Nigeria is building, as states finalise preparations to ensure their best representation on the Coal City stage. Asika urged Nigerians to witness the coming together of the nation’s cultural richness, promising that NAFEST 2025 in Enugu will be an unforgettable showcase of Nigeria’s heritage, creativity, and spirit of national unity.
Enugu State Commissioner for Arts and Culture, Honourable Ugochi Madueke assured that every detail has been planned with precision. “From logistics to security and hospitality, Enugu is ready to welcome the nation with warmth and world-class organisation. We are proud to host this cultural Olympics and showcase the very best of the Coal City,” she said. Enthusiasm is building nationwide as states finalise their delegations ahead of the festival’s opening ceremony.
In a nation beset by misinformation, political tension, and social complexity, editors serve as guardians of clarity and conscience. Beyond headlines and deadlines, editors mentor, verify and guide public understanding, shaping narratives that define collective memory. Each story they publish—or choose to hold back—is a deliberate act of nation-building, reinforcing civic trust, strengthening democracy, and quietly forging the moral and intellectual foundations on which an informed society can stand, reports Associate Editor ADEKUNLE YUSUF
The conference hall in Abuja hummed with a quiet intensity that morning—an energy heavier than the soft lights above and deeper than the carpeted floors beneath. It was the kind of atmosphere that forms when people who shape the nation’s conscience gather in one room. Editors from across Nigeria—seasoned, battle-scarred, quietly determined—took their seats, not for ceremony but for reflection, renewal, and responsibility. They had come to interrogate their own relevance, but in the process, they illuminated something far bigger: the enduring truth that editors are not just newsroom managers; they are nation-builders.
Annually, under the umbrella of the Nigeria Guild of Editors (NGE), these custodians of information gather to discuss critical national issues and professional matters. This year’s 21st All Nigeria Editors Conference (ANEC 2025), held in Abuja from November 11 to 14, was no exception. With the theme Democratic Governance and National Cohesion: The Role of Editors and the sub-theme Electoral Integrity and Trust Deficit: What Nigerians Expect in 2027, the event drew more than 500 editors from print, broadcast and online platforms. The sessions moved from the grandeur of the Presidential Villa Banquet Hall to the NAF Conference Centre in Jabi, echoing the seriousness of purpose that defined the gathering.
There was a time when an editor’s work was seen as largely mechanical—fix copy, curate headlines, ensure accuracy, send the newspaper to bed. But as speakers mounted the podium, a more profound portrait emerged. Today’s editor carries a burden far heavier than grammar and layout. In an age of algorithmic noise, political divisiveness, misinformation and public distrust, the editor has become the last custodian of meaning. They sift chaos into clarity, help societies remember what matters, and steady the ship when public conversation tilts toward hysteria.
Nigeria, perhaps more than many other nations, needs this steadying hand. Her democracy is young, restless and often vulnerable to distortion. Powerful interests tug at narratives. Unchecked rumours metastasize into public anxiety. Across this landscape stands the editor, insisting on accuracy where there is convenience, on context where there is sensationalism, on truth where there is pressure. The job is not merely to manage words—it is to defend the republic of reason.
NGE President, Mr. Eze Anaba, set the tone early, reminding participants that editors build nations not by shouting the loudest, but by thinking the clearest. “How can editors contribute to credible elections, national dialogue, peace-building, and inclusive governance?” he asked. “How can they adapt to new technologies and evolving newsroom realities without compromising ethical standards?” The questions underscored a simple truth: no nation rises above the quality of the information it consumes. In a democracy still finding its footing, the media is both compass and conscience.
President Bola Tinubu, who declared the conference open as Special Guest of Honour, reinforced the strategic importance of the media in nation-building. He urged editors to uphold the highest standards of responsible journalism, warning against misinformation and stressing verification, balance and professional judgment. “Report boldly, but truthfully; critique government policy, but do so with knowledge and fairness,” he said. “Your aim must never be to tear down, but to help build a better society.” Tinubu’s words were more than ceremonial; they were a reminder of the immense responsibility editors carry. They are architects of understanding, balancing the public’s right to information with the often-conflicting demands of politics, business, and society. Every headline, every story, every editorial choice reverberates through the nation’s consciousness. In their hands lies the fragile bridge between information and national progress.
Besides the President, the voices of other speakers also resonated with insight and challenge. Minister of Information and National Orientation, Mohammed Idris, urged editors to partner with government in telling the Nigerian story with truth, balance and optimism. “Constructive criticism is vital to the nation’s renewal,” he said, emphasising the media’s role in shaping not just narratives but attitudes. Gov. Hope Uzodimma of Imo, keynote speaker, likened the press to a goldfish that had no hiding place, stressing that editors’ objectivity was indispensable, particularly as the 2027 elections approach. He called for accuracy over speed, verification over vitality, and context over clickbait—a call to rigour in a time when the digital age often rewards the sensational.
Academia, law and security experts also provided depth to the discourse. Prof. Awa Kalu, Senior Advocate of Nigeria, dissected legal constraints and electoral reforms, while retired Gen. Lucky Irabor emphasised the critical partnership between media and security agencies in counter-terrorism. “The complex nature of terrorism in Nigeria underscores the urgent need for collaboration between media and security institutions,” he said, urging editors to maintain vigilance without compromising ethics. Prof. Abiodun Adeniyi of Baze University explored the evolving challenges of misinformation and AI disruption, reminding journalists that credibility remains the currency of influence.
The discussions were far from abstract. They cut to the heart of the profession, demanding reflection on daily choices. Editors spoke candidly about dwindling revenues, shrinking staff, digital disruption, legal harassment, and political intimidation. Some recounted nights negotiating with hostile forces who wanted stories buried; others described the toll of burnout in overstretched newsrooms. Yet, in this crucible of pressure, resilience emerged as a defining trait. One editor described the role as “holding the country’s mirror steady even when the reflection is painful.” Another spoke of “the quiet work of persuasion and protection,” a reminder that much of the editor’s influence is subtle, living in the margins of newspapers, in broadcast tone, in the questions asked at editorial meetings.
Indeed, much of the conference reinforced the idea that editors are quietly remaking their profession for a new era. They are becoming data analysts, digital strategists, conveners of public dialogue, mentors, and ethical watchdogs. If the newsroom is a classroom, the editor is its head teacher—patient, demanding, nurturing, and fiercely committed to standards. One cannot build a nation without first building people, and editors are doing both.
The conference also highlighted the role of fiscal and legal reforms in sustaining media as a public good. Anaba outlined recommendations, including corporate tax relief for media houses, VAT exemptions on inputs, incentives for advertisers, and access to affordable financing for news organisations. He proposed the creation of a Media Development Fund to support digital innovation and newsroom transformation, managed by an independent board.
He called for the repeal of laws that hinder press freedom and the establishment of a Media Freedom and Safety Charter endorsed by the Presidency, Legislature, and Judiciary.
Political and former government figures recognized the critical role of media in governance. Prof. Nantawe Yilwatda, APC National Chairman, praised constructive media criticism as essential to improving governance. Peter Obi, former Anambra governor, echoed the sentiment, describing editors as more than chroniclers of events—they are the conscience of the nation, shaping narratives, correcting distortions, and reminding leaders of truths they might prefer to forget. Ex-Minister and former Rivers governor, Rotimi Amaechi, also lent his voice to discussions on achieving a better country and underscoring editors’ central role.
Yet, ANEC 2025 was not all work. It was also an opportunity to celebrate excellence. A Gala night at Chida International Hotel, Utako, saw senior editors inducted as Fellows of the NGE, including former Editor-in-Chief of NAN, Ephraims Sheyin, Arinze Azu, Casmir Igbokwe, Dr. Sulaiman Ya’U Sule, and Chief Ken Njoku. New members of the guild were welcomed with fanfare, highlighting the profession’s dedication to continuity, mentorship and high standards.
The evening was marked by laughter, music, and dancing—a reminder that the human side of journalism, camaraderie, and shared purpose is as vital as any editorial decision.
Throughout the conference, panels returned to a common refrain: editors build nations not by shouting the loudest, but by thinking the clearest. They help citizens make informed choices, elevate public debates beyond gossip and grievance, and create space for accountability, urging leaders to act better, think deeper, and serve more honestly. Every balanced headline, every carefully investigated story, every decision to publish or hold back is an act of nation-building. The tools may appear simple—red pens, keyboards, newsroom meetings—but the consequences ripple across generations.
The 21st ANEC 2025 reminded participants, and the public, that nation-building is not the sole responsibility of government. It is a shared, ongoing enterprise, one where information, truth, and accountability serve as pillars. Editors are not merely observers of history—they are its shapers, the guardians of memory, the interpreters of meaning, and the builders of a resilient, informed society.
As editors returned to their various newsrooms across the country, they carried with them a renewed sense of purpose. In a nation still learning to articulate its best self, editors remain indispensable guides—builders of narrative, guardians of truth, and keepers of the fragile bridge between information and national progress. They may not wield hammers or cranes, but with pens, keyboards, and unflinching commitment, they erect structures of understanding, pillars of democracy, and foundations of a cohesive society. Each headline, each story, each act of editorial courage, no matter how quiet, contributes to the grand project of nation-building. And in that quiet, persistent labour, Nigeria finds one of its truest guardians: the editor, unwavering, steadfast, and indispensable.
Afrobeat Rebellion exhibition returned home to Lagos after its debut in Paris, celebrating the life, art, and activism of Fela Anikulapo Kuti. Hosted at the Ecobank Pan African Centre, it brought together archives, photographs, and performances that reflect Fela’s enduring impact. In this conversation with GLORIOUS IDOWU, Seun Alli, who curated the Lagos edition, speaks about her motivation, the challenges, and what visitors should expect.]
Lead us to the background of the exhibition project and your involvement
Beyond being the curator of the exhibition, I am also the founder and chief executive officer of Dune Creative Art Advisory, a Lagos-based agency that supports artists, collectors, and institutions. We handle exhibition production, programming, curation, and advisory services across the African art market.
In fact, this exhibition was first shown in Paris, France, a few years ago and it’s no big surprise that one of the biggest partners of this exhibition is the French Embassy in Nigeria.
What made you decide to bring it to Nigeria and make it even free to the public?
The original exhibition was held at Philharmonie de Paris in 2022, and this Lagos edition is part of the travelling version meant to strengthen the cultural relationship between France and Nigeria. It is executively produced by the French Embassy in Nigeria, with support from Philharmonie de Paris, which helped ship materials here.
I owe a lot of gratitude to Widespace Creative Agency, AWCA Foundation, the Kuti family through Felabration, Open Society Foundations, and Ecobank, which is generously hosting us for three months. When I was approached to curate, I knew it had to be accessible. Lagos was Fela’s base; this is where Afrobeat was created and where his activism grew. It only made sense for people to experience it freely.
What were some of the challenges you faced in putting the exhibition together?
One main challenge was how to contextualize Fela’s background. We all know his music, but there’s much more to his story — his mother’s activism, his political views, and his influences. We also discovered how much unseen material existed. We had access to about 96 boxes of archival documents belonging to Dr. O. O. Fumilayo and some critics, and we had to sort through tons of correspondence. It wasn’t surface-level work; we had to dig deep to present Fela not only as a musician but also as an activist and an intellectual who shaped Nigeria’s political and musical scenes.
What did you personally find most intriguing while curating the show?
Seeing the level of dedication Fela had for his craft and how intentional he was with everything, from his music to his public image. He used the media so well, not just for publicity but to send a message. The consistency, the courage, and the way he stood by his beliefs despite pressure — all that was striking. You know someone is an icon, but when you look through the archives, you see the person behind the legend.
What should people expect when they come to see the exhibition?
They should come with an open mind. It’s not just an exhibition; it’s a full programme. Over twelve weeks, there will be live performances, talks, workshops, film screenings, and competitions. The weekends are especially packed: book chats, conversations with musicians of all ages discussing the evolution of Fela’s music, and many other activities.
There’s something for everyone — those who saw Fela in his time and those just discovering him. We even have photos by the late Biyi Bandele from Fela’s 1991 Lekki Sunsplash performance. For some, it’s nostalgia; for others, discovery.
Outside this exhibition, what should we expect next from you?
Maybe I can retire now! But seriously, it’s about continuing the work we do. Whether it’s Fela or a young artist who has never exhibited before, we give the same level of care and attention. For us, the artist is always at the centre. That won’t change.
What personal philosophies guided this exhibition and your work in general?
I think I’m naturally a recluse, but I’ve learned you can’t do anything meaningful alone. Everything I’ve achieved has been with the help of others — colleagues, mentors, and friends. Yoruba people say eniyan laso mi (people are your covering). That’s how I live and work. It’s not about carrying people along as a duty; it’s about knowing your community will be there for you, and you’ll be there for them too. That sense of community support drives me personally and professionally.
Title: Àdùfẹ́: From Fun-Loving Woman to Prophetess & Founder of the Church of Sweet Lies (Ijo Etanlayefe)
Author: D. Fred Adeyegbe (translated from Yoruba by Olusola Adeyegbe)
Publisher: Cowrie Mindworks Limited
Reviewer: Raymond Mordi
Pagination: 53
Few works manage to combine moral fable, social critique, and human drama with the precision of Àdùfe. Written in Yoruba by D. Fred Adeyegbe and translated into English by his son, Olusola Adeyegbe, the novel chronicles the turbulent rise and fall—and uneasy transformation—of a woman whose insatiable hunger for affirmation propels her from innocence to ruin, and from repentance to perilous power.
The story revolves around Àdùfe, a beautiful, enigmatic, and troubled young woman seeking her place in life. The setting is Obuntedo, an idyllic but imaginary village somewhere in the western part of Nigeria. Àdùfe is introduced as a compelling figure—charming yet reckless, alluring yet vulnerable. Her early adventures, against a backdrop of village life and youthful folly, establish her as both a sympathetic and a cautionary character.
Adeyegbe’s prose—dignified, rhythmic, and steeped in Yoruba idiom—captures not only Àdùfe’s allure but also the society that shapes and indulges her. The translation preserves this cadence admirably. It never flattens the cultural texture but allows the richness of expression to breathe in English. The result is a lyrical, emotionally-layered work of seven chapters, with a narrative voice that feels both folkloric and intimate.
The novel’s middle arc is especially gripping: Àdùfe’s reinvention as “Maria,” a penitent preacher in the clamorous streets of Lagos. Adeyegbe excels at capturing the contradictions of modern Nigerian life, portraying the city as both a place of redemption and corruption, hope and illusion. Maria’s street sermons, laced with raw confessions of her past, draw crowds not because of theology but because of their vulnerability. Yet, even in this posture of repentance, the novel foreshadows her entanglement with ambition.
The final chapters transform Maria’s tale into tragedy. Returning home, she encounters her old mentor Bamise, whose disillusionment with the misuse of spiritual gifts becomes one of the book’s most haunting moments. Their meeting shifts the story from one of sin and repentance to a meditation on power, manipulation, and the hunger of a people too willing to trade discernment for certainty.
Through Bamise’s reluctant reintroduction of sacred tools—the omi ìwejú and àfose—Maria steps fully into her role as Woli Maria, prophetess of the “Church of Sweet Lies.” Her ministry, a blend of spectacle, fear, and commerce, crystallises Adeyegbe’s critique of the prosperity gospel and spiritual exploitation that were already emerging in his time. Written over five decades ago, the critique resonates powerfully in today’s Nigeria and beyond.
And yet, the novel refuses to reduce Maria to caricature. In the closing chapter, “The Unbroken Mirror,” she experiences a fleeting moment of clarity—a whispered plea not to forget who she was. This moral ambiguity is central: Maria is neither saint nor villain, but a mirror reflecting a society caught in cycles of seduction, compromise, and the longing for certainty.
The Afterword by Oluwole Adeyegbe, the translator’s brother, situates the novel in its cultural and familial context, underscoring its quiet but enduring place in the author’s body of work.
The translator’s “Concluding Reflections” extend the story into a didactic meditation, urging readers to confront the illusions of power and the craving for spiritual shortcuts, and to rediscover love as the only true liberating force.
As literature, Àdùfẹ́ is compelling in its structure, alternating between character study and allegory. As social commentary, it is prescient, diagnosing the dangers of charismatic religion long before they became defining features of Nigeria’s spiritual landscape. As a moral fable, it refuses to provide closure, leaving the reader to complete the arc in conscience rather than in fiction.
The translation reads smoothly while retaining the rhetorical richness of Yoruba expression. At times, the didactic passages may feel heavy to readers unfamiliar with the moral storytelling tradition, but they are integral to the book’s purpose. Far from being a flaw, they remind us that Àdùfẹ́ is meant not only to entertain but also to instruct, warn, and awaken.
For the contemporary reader navigating faith and disillusionment, Àdùfẹ́ resonates with uncanny relevance. Its heroine lingers in memory, its message unsettles, and its cultural insights endure. More than a story of one woman’s fall and rise, it is a meditation on power, conscience, and the perilous beauty of the human heart.
In the end, Àdùfẹ́ stands as a haunting and necessary work of moral fiction—reborn in translation with clarity and reverence. It is not simply a tale to be read but a mirror held to every generation searching for truth amid the fog of performance and power.
