And how hurt we feel when they abuse this power they possess
And the mess that is our power industry – we – in-this-country, continue to be the casualty of a dysfunctional polity,
buried in the depth of duplicity and disparity that continues to breed disunity among each ethnicity,
And so we will continue to wander within the limits our history circumscribes
Until we all become scribes for a new story, with each chapter embodying the character that will build an enduring legacy,
And there is no exception for leader or laity,
So, this is for the country formed from each protectorate,
To those who have lost faith in the inequity of the polity and
To those who continue to use force to steer her down the course of chaos –
Because, every choice has a voice that echoes consequence
For every actor in this script of deceit
And no matter how intense moments get –
Never forget that the resilience of (a people) will continue to be their defense.
Ugochukwu J. Echeazu is a passionate creative personality – pianist, poet, and Project Management Professional (PMP). He studied architectural technology at the University of Salford in the United Kingdom (UK), where he currently resides. He still plays, writes, hopes, and prays that Nigeria isn’t a lost cause.
French Prime Minister Emmanuel Macron has called on Europeans, Americans, Asians and Africans at home and in the diaspora to come together to harness and promote African cultural and creative industries.
He made the call at the opening of a forum titled: Forum Creation Africa Lagos. Speaking to the conference via zoom, Macron noted that Nigeria is the hub of African creative ideals.
He said that the first edition of the cultural and creative industries forum which took place in France in 2023 was a prelude to this year’s edition happening in Lagos.
The three-day international conference, according to Macron, is to build the momentum in this digital era where the youths have the freedom to develop and grow their talents.
For him, at the intersection of arts and cultural industries is the yawning space for entrepreneurs to come together and make money from the creative industries in Africa and other places.
He commended Nigeria as “the greatest home where music, crafts, paintings, writings, and all forms of the arts reside.”
In just three weeks, Nigerian musician Samsix’s latest single “Melody” featuring Liya has hit 1.6 million views on YouTube, landing at No. 2 on YouTube Trending Nigeria. Liya, who won Best Female Vocal Performance at the 17th Headies, delivers vocals that perfectly complement Samsix’s, adding depth and emotion to the song.
The track’s success comes down to a combination of factors. It boasts a catchy and memorable melody that resonates with listeners, making it easy to sing along. The vocals by Samsix and Liya are engaging and emotionally expressive, helping deepen the connection with the audience. Its lyrics inspire motivation and perseverance, themes that many fans find relatable and uplifting.
Speaking on the inspiration behind the song, Samsix said: “Melody was inspired by memories and life experiences, and also by the hustle and struggle of being a musician. It has a relatable melody and chorus that everyone can sing along to. That’s how the words Do Re Mi in the chorus came to inspire the title of the song, ‘Melody’.”
He described the creative process as almost accidental: “After meeting her and building a friendship, what drew me to collaborate with Liya was her natural fierceness, aggressive energy, and hardworking personality. The song came naturally, almost like a mistake, because the original song we were supposed to do was scrapped and ended up as a solo single instead.
The first song was great, but she encouraged me to work with her classic producer, Amujei, whose music abilities in the studio were far beyond my expectations. After taking her advice, ‘Melody’ was born.”
Fans say the music videoplays a huge role in the song’s success. Its strong visual storytelling keeps viewers engaged, mirroring the struggles and triumphs described in the lyrics. Meanwhile, Samsix’s on-screen presence, full of energy and charisma, makes the video replayable and shareable, encouraging fans to watch again and again.
For Samsix, the song represents a breakout moment: “Melody being called a breakout already is refreshing for me, considering I’ve been dropping great songs consistently for a while. It seems the relatable melody and lyrical content caught people’s attention quickly. My plan for this song is to understand the universal potential behind its sound and to expand its reach beyond the Nigerian music scene. I believe that the perfect mixture of Yoruba, English, and Pidgin gives it an amazing opportunity to do well globally.”
But beyond numbers and trending charts, “Melody”is a reminder of something simple yet universal: the songs that truly connect are the ones that mirror real life, its struggles, hopes, and beautiful accidents.
On Saturday, October 11, 2025, the picturesque town of Ile-Isoya in Ife, Osun State, played host to an array of high-profile guests and a significant cultural event as media entrepreneur and public relations expert, Oladapo Adekunle Sofowora, was honoured with the chieftaincy title of Bashorun Ile-Isoya Ife.
The ceremony, presided over by His Royal Majesty, Oba Muriana Adedinni, the Asoya of Ile-Isoya Ife, coincided with the Oba’s 15th coronation anniversary, marking a double celebration steeped in tradition and significance.
The installation rites commenced in the grand palace, where many dignitaries and fellow kings gathered to witness this momentous occasion. Dressed in vibrant, traditional Aso-Oke attire adorned in wine and green hues, Oladapo was accompanied by his wife, Mrs Adunola Sofowora, mother Mrs Olufunke Sofowora, Aare Bashir Olawale Fakorede, and Princess Toyin Kolade Iyalaje Oodua as they participated in rituals that underscored the rich cultural heritage of the Yoruba people.
The ceremony was imbued with prayers and blessings, culminating in Oladapo being crowned with a ceremonial chieftaincy cap. The Asoya presented him with intricate neck and hand beads, a staff, and an official certificate, affirming his new position as Bashorun Ile-Isoya.
A successful businessman, media consultant, and the founder of Rudder Blade Global Company, Oladapo made it a point to celebrate this significant milestone with an extravagant reception that welcomed friends, family, and associates. The soirée was a lavish affair, featuring an impressive array of high-end beverages and a culinary feast that delighted all attending guests. He spared no cost to ensure everyone who attended was treated like royalty.
The London School of Journalism-trained publisher of Cityspy Newspaper took the opportunity to express his gratitude for the title, which he believes reflects his unwavering commitment to the development of Yorubaland and, by extension, Nigeria. His contributions to cultural initiatives and developmental programs locally and abroad have been pivotal in uplifting the Yoruba community.
In 2024, Oladapo was recognized with the UNESCO Children of African Descent Award in New York, a testament to his dedication to social causes and the fight against human trafficking. Following the installation ceremony, he was graciously received by Ooni of Ife, His Imperial Majesty Ooni Adeyeye Enitan Babatunde Ogunwusi Ojaja II CFR at his majestic palace in Ile-Ife. The Ooni offered prayers and heartfelt congratulations, urging Oladapo to continue prioritising the interests of Yorubaland and to uphold the cherished Omoluabi Mantra, which emphasises integrity, honour, and community-oriented values.
This historic event not only solidifies Oladapo Sofowora’s rightful place within the cultural tapestry of Yoruba tradition but also inspires a renewed focus on collective growth and development for the region.
The newly appointed Director-General Nigerian Tourism Development Authority (NTDA), Mr. Olayiwola Awakan, has pledged to usher in a new era of innovation, collaboration, and renewed commitment towards repositioning Nigeria’s tourism industry.
Awakan who assumed office at the Authority’s Headquarters in Abuja on Monday, assured that he would consolidate on the successes of his predecessors and build a more vibrant, efficient, and responsive NTDA capable of attracting tourists and investors to Nigeria.
“My predecessors have done excellently well to the best of their ability, and the baton of leadership has been passed to me. I will take it up from here,” he said.
Upon his arrival, Awakan was received by the Management Team of the Authority, led by Mr. Ovie Esewhaye, the Director overseeing the Office of the Director-General, who presented the official handover note.
The new helmsman thereafter met with the Directors, toured the NTDA offices, and addressed the general staff at the NTDA Village Hall.
Awakan expressed deep appreciation to President Tinubu for the confidence reposed in him to drive the Renewed Hope Agenda through tourism.
“I’m happy to be here; this is a new dawn. There’s a lot to be done and by the grace of God, it will be done,” he stated.
“Let me start by appreciating the President of Nigeria, His Excellency, President Bola Ahmed Tinubu, for believing in me and giving me the opportunity to drive the Renewed Hope Agenda through tourism.”
Awakan also acknowledged Minister of Arts, Culture, Tourism and Creative Economy, Hannatu Musa Musawa, for her visionary leadership and tireless efforts in repositioning the sector despite limited resources.
“The responsibility bestowed on her is weighty, and even with the limited resources, she has been able to push ahead. I am here to complement her efforts,” he noted.
He stressed the importance of teamwork, innovation, and inclusivity in achieving the Authority’s mandate.
“We need newness, freshness, and I can’t do it alone. We need collaborative effort,” he said.
“I operate an open-door policy, no idea is a bad idea; it can be refined into a fantastic one. Let’s make history together and make Mr. President proud.”
Awakan is an award-winning journalist, thespian, dramatist, poet, and culture and tourism enthusiast.
His appointment reflects President Tinubu’s continued commitment to leveraging creativity, culture, and tourism as key drivers of national economic diversification and growth.
There are few things more dignifying than when a towering public figure extends the courtesy of respect wrapped in humility. General Lucky Irabor, former Chief of Defence Staff, exemplifies that rare blend of strength and grace. When he invited me to the presentation of his new book, “SCARS: Nigeria’s Journey and the Boko Haram Conundrum,” I was reminded that behind the imposing military uniform lies a man of reflection, intellect, and empathy — unless, of course, one dares to cross the line.
This quality stands in sharp contrast to the arrogance I have encountered at a strategic institute where a few officers’ inflated egos left little room for courtesy or intellectual exchange.
I could not attend the book launch due to a scheduling conflict with the International Public Relations Association’s (IPRA) Golden World Awards in Ghana, where the Nigeria Customs Service and Image Merchants Promotion Limited (IMPR) were honoured. On my return to Abuja, all copies of the book had sold out, and I was due to travel to Canada that same night. Learning of my predicament, General Irabor ensured a copy was sent to me — a gesture that spoke volumes about his character.
Taking the advice of his friend, Vice President Kashim Shettima, that “to truly enjoy a book, read it on a long journey,” I opened it mid-flight and did not stop until I reached the last page. In less than twenty-four hours, I devoured the 300-page memoir — a deeply analytical, well-researched, and intellectually stimulating work that goes far beyond the typical autobiographical recount of a retired general.
Irabor’s SCARS stands out for its narrative style. It is not a self-indulgent memoir but a reflective chronicle that blends personal experience with historical analysis and policy critique. He writes with academic precision, referencing other scholars, field experiences, and verifiable data. Between the lines, the discerning reader can sense his measured but firm convictions on the Boko Haram insurgency, Niger Delta militancy, IPOB separatism, Yoruba nationalism, and the societal decay that has haunted Nigeria since independence.
The book is a panoramic chronicle — from the civil war and military coups to democratic transitions and insurgencies — offering a sober reflection on the choices and failures that have defined Nigeria’s evolution. Notably, Irabor avoids sensationalism or name-dropping; even his acknowledgments are strikingly modest despite the calibre of personalities, including former Presidents, who later attended the unveiling in Abuja.
Former President Olusegun Obasanjo, in his foreword, aptly describes the publication as “a soldier’s honest reflection on a nation’s unfinished journey.” But the true revelations lie within the pages — in Irabor’s unflinching interrogation of Nigeria’s political and moral contradictions.
Among the book’s most intriguing points is his assertion that no full-fledged coup d’état in Nigeria has ever occurred without civilian collaboration. He argues that soldiers, bound by their oath of allegiance, often justify interventions “through the prism of national defence.” This interpretation shifts part of the blame for Nigeria’s military incursions to opportunistic civilians who manipulate or enable such actions for personal gain.
Equally provocative is his historical framing of Northern Nigeria’s recurring religious conflicts. Irabor traces the roots to Usman Dan Fodio’s jihad of 1804, viewing it as the starting point of organized religious militancy in the region. While this perspective is historically grounded, it risks oversimplification. Thankfully, Irabor tempers his argument by contextualizing it within the broader “millenarian revolts of early colonialism,” suggesting that both Islamic revivalism and Christian evangelism during the colonial era contributed to shaping Nigeria’s spiritual and social divides.
One area readers may find conspicuously absent is any mention of the tragic death of gallant General Ibrahim Attahiru, the late Chief of Army Staff who perished in a plane crash shortly after Boko Haram’s leader, Abubakar Shekau, was reportedly killed. Given Irabor’s position as the CDS, his silence on the matter is perhaps deliberate — an act of discretion from a professional soldier who values institutional continuity over personal disclosure.
The sections on Northern Nigeria’s political elite are unambiguously critical. Irabor faults the region’s leaders for presiding over deepening poverty, illiteracy, and insecurity despite their educational exposure and political dominance. He cites World Bank data showing that the ten poorest states in Nigeria are all in the North-East and North-West, with 87% of the nation’s poorest population concentrated there. He attributes this grim reality to elite hypocrisy, religious manipulation, and the failure to translate political power into social progress.
The former defence chief particularly denounces the politicisation of religion, using the Sharia Movement in Zamfara (1999) as a case study of how political opportunism derailed governance. Quoting Emir Sanusi Lamido Sanusi, Irabor laments the “commodification of piety” — a process through which religion becomes a tool of control rather than a vehicle for moral upliftment.
He calls on Northern leaders to emulate progressive Muslim societies like Saudi Arabia and Turkey, which have harmonised faith with modernity rather than allowing religion to justify stagnation. His position on the Almajiri system is particularly powerful; he argues that no faith sanctions the institutionalisation of street begging or the abandonment of children in the name of learning.
The chapter on the “Dead Horse Theory” is one of the most intellectually stimulating sections. Here, Irabor uses the metaphor to describe Nigeria’s tendency to keep “beating dead horses” — sustaining failed policies and obsolete institutions instead of pursuing meaningful reform. He cites the duplication of examination bodies like WAEC and NECO, the Nomadic Education Programme, and the regional cut-off mark policy as examples of how Nigeria perpetuates inefficiency under the guise of inclusiveness.
The discussion on Boko Haram is both historical and diagnostic. Irabor situated the insurgency within a continuum of religious and socio-political crises, from the Maitatsine riots of the 1980s to the Sharia clashes of 1999–2000. He chronicles how Mohammed Yusuf, the sect’s founder, began as a member of Borno’s Sharia Implementation Committee, only to break away and radicalise disillusioned youth by preaching against Western education and government corruption.
The book exposes the irony of Boko Haram’s dependence on Western technology — weapons, communication tools, and propaganda platforms — even while denouncing Western civilisation. Irabor portrays Boko Haram not as a purely religious movement but as a symptom of governance failure, economic deprivation, and elite negligence. He identifies the drivers of extremism as “unaddressed political grievances, weaponisation of religion and tribe, a biased legal framework, and weakened institutions.”
The author also voices deep concern over what he described as an international conspiracy against Nigeria, singling out certain foreign entities and media organisations. He accuses them of not only supplying logistical support to terrorist groups but also of deliberately spreading false narratives aimed at discrediting the Nigerian military and destabilising national security.
In his closing reflections, the General offers a pragmatic pathway forward: diplomatic negotiation, socioeconomic and political realignment, and governance reforms that reward merit and restore trust. “The time for change is now,” he writes, “and it must begin with truth, inclusion, and a commitment to genuine progress.”
SCARS is not just a memoir; it is a mirror reflecting Nigeria’s wounds — the scars of war, hypocrisy, and wasted potential. Irabor’s writing is measured but fearless, scholarly yet deeply human. His critique of the North is not an attack but a plea for introspection; his assessment of Nigeria’s leadership failures is not cynical but reformist.
This book is an essential read for anyone seeking to understand Nigeria’s enduring crises — from insurgency and leadership to the complex interplay between faith, politics, and national identity. It leaves readers not with despair, but with hope — the hope that confronting our scars honestly is the first step toward national healing.
Yushau A. Shuaib is the author of An Encounter with the Spymaster; and Award-Winning Crisis Communication Strategies. Email: yashuaib@yashuaib.com
On this year’s independence anniversary, Onyema Offoedu-Okeke offered Nigerians Time of Redeemer, a solo ongoing exhibition at Truview Arts and Frames Gallery, Liquid Hub Prive, Ikoyi, Lagos, which captures the nation’s ever-changing socio-economic and socio-political realities in the last 65 years.
As a seasoned artist, architect and author, Offoedu-Okeke took his time to choose topical issues as focus and thrust of his exhibits, which included Time of Redeemer, Fire of Change, Wind of Change, Passenger of Fate, Showdowns and Stalemates, Sleepless series, Mass Agitation, Technocracy, Trial of Oligarchy, among others. Most of the works are rendered in acrylic on canvas, amid their visually striking sociopolitical commentaries. The exhibition will run till October 31.
In fact, there is no better time than this season of independence celebration for the offering of Offoedu-Okeke to the Nigerian public. It is a timely bouquet.
Expectedly, the artist takes the viewers on a journey through colour, history, and thought-provoking reflections. Thematically, the collections are not merely art, but full-blown political commentaries on the state of the nation. He uses symbolic images and figures such as horses, Rolls Royces, doves, and the unusual sight of a young boy balancing a bicycle on his head. All this underscores the significance of his artistic commentaries encapsulated in Time of redeemer, curated by Juwon Olusanya.
According to the gallery, Offoedu-Okeke’s works are masterful and insightful, amid exploration of the intersection of color, texture, and emotion. “His style—a fusion of African traditional aesthetics with modern abstract and cubist techniques—is distinguished by bold colour palettes, layered in translucent patches that generate vibrancy and rhythm,” the gallery said.
“Each work demonstrates his ability to balance abstraction and representation, producing art that is both visually striking and profoundly resonant, often reflecting on cultural, political, and everyday themes.
We acknowledge the painstaking dedication and time invested in his creative process, evident in the uniqueness of each canvas,” it added.
At a preview session of his works, the artist said that whatever expertise one has developed over time, whether in art, law, advocacy, medicine or clergy, he should be able to deploy it to speak to societal issues.
“It is not only in newspapers we have to speak. Like the legendary Fela Kuti, who used his music to confront Nigeria’s political realities, art too must play that role,” he noted.
Explaining the rationale for the theme and timing of the exhibition, the artist said that it is sad that, “Nigeria still awaits the arrival of anyone upon whom the attire of typical quintessential political redeemer fits well”.
According to him, nothing really has changed since independence as the manner of appearance alternates from the most unassuming carriage to the most sophisticated transporter.
In the title work, ‘Time of Redeemer’ the artist captures a grand entrance of a man on horseback, which is a symbol of hope, power, and sadly the paradox in Nigeria’s search for a true leader. But, in Fire of Change he noted that horses rip through thoroughfare like flames of revolution kindled among disgruntled or awakened masses.
In the work Persistence of Oligarchy the artist used Rolls Royce automobile brand figurative to convey visual power condensed from instances of social political privileges, citation of fiscal might, and the ultimate icon of class distinction. Interestingly, Offoedu-Okeke’s brushstrokes are perceived as caustic and compassionate, as he paints potholes as metaphors, Rolls Royces as cartoonish villains, bicycles as parables of precariousness. Most of his works are a tragicomedy that captures Nigerians suffering and smiling, groaning and dancing, despairing and hoping in the same breath. But, will the redeemer ever come?
The artist is not a stranger to the Nigerian art scene, having author Artist in Nigeria, in 2012, a compendium of who is who in Nigerian art scene. The book was funded by Ford Foundation West Africa and published by 5 Continents Editions, Milan, Italy. His last two solo exhibitions are Homeland Memories at Temple Muse VI, Lagos, in 2014, and Substratum: Anatomy of Support System at the Sachs Art Gallery, Lekki Phase 1, Lagos, in 2024.
For the next three months, a multi-layer exhibition that offers a rich, immersive experience, showcasing rare archival items, never-before-seen photos, Fela’s actual stage clothes, and vibrant installations that recreate iconic spaces like the Kalakuta Republic and the Afrika Shrine kicked off on Monday at the Ecobank Pan African Centre, Victoria Island, Lagos, Assistant Editor (Arts) OZOLUA UHAKHEME reports.
Afrobeat legend, one of Nigeria’s frontline activists and legendary musician, the late Fela Anikulapo Kuti, made a posthumous return to Lagos, through a landmark exhibition tagged Fela Kuti: Afrobeat Rebellion that celebrates his life and legacy on Monday. Designed as an ‘immersive multi-sensory journey’ through Fela Kuti’s life, music and political ideas, Afrobeat Rebellion recreates the scenes the musician inhabited until he passed on August 2, 1997.
The project is presented by A Whitespace Creative Arts (AWCA) Foundation, in collaboration with the French Embassy in Nigeria, the Kuti family, and the Philharmonie de Paris. The Lagos edition honours the life, music, and activism of Fela Anikulapo Kuti in the city that birthed Afrobeat. The opening night drew artists, diplomats, cultural leaders, and Fela’s family — all gathered under one roof to celebrate the Abami Eda’s enduring spirit. Hosted by Folu Storms, the evening featured performances by Ezra Collective and Seun Kuti & Egypt 80, alongside goodwill remarks from French Ambassador to Nigeria Laurent Favier, and a representative of the Lagos State Governor. The symbolic ribbon-cutting officially declared the exhibition open, led by members of the Kuti family, Ecobank representatives, and the Lagos State Government.
Inside the halls, guests explored a powerful, multi-sensory journey through Fela’s world; from rare recordings and archival photography to immersive reconstructions of Kalakuta and the Afrika Shrine.
According to the exhibition curator and founder of JCAA, Mr. Seun Alli, too often, Fela is reduced to a handful of catchphrases and uninformed stories – Zombie, Water No Get Enemy, the Kalakuta fire, marrying 27 women, or even the unfounded claim that he performed on stage in his underwear.
“Curating Afrobeat Rebellion in Lagos is a deliberate refusal of this flattening. It aims to reposition Fela not merely as a musician or rebel, but as a public intellectual whose music and philosophy are deeply intertwined with Africa’s social, political, and intellectual histories. His work was never just style or spectacle; it was a catalyst of revolt and hope, the soundtrack for those living under oppression, corruption, and the daily failures of power. Nearly three decades after his passing, it remains a profound mystery how Abami Eda’s philosophy continues to resonate so powerfully across all facets of our shared human experience.”
Founder, A Whitespace Creative Agency, Mr. Papa Omotayo, a leading part of the exhibition team, said it was an immersive experience that bridged generations through art, sound and storytelling. While guiding guests through the halls, he said the exhibition was inspired by Fela’s defiance and creativity.
“For us, this is more than an art show. It’s a three-month programme featuring concerts, talks, children’s workshops, and spoken word competitions, all aimed at engaging the next generation in the legacy of what it means to be Nigerian and creative.
“Originally staged in Paris, France in 2022, Afrobeat Rebellion has now been expanded for its Lagos debut in collaboration with the French Embassy and Musee Philharmonie,” Omotayo said.
According to Omotayo, the Lagos edition is the most extensive yet, tracing Fela’s journey from his early life and the birth of Kalakuta Republic to his political resistance and global musical impact.
“This is about how Fela’s spirit breathes today. We created mirror narratives between the old Africa Shrine and the new one to show how his energy continues to inspire a new generation,” Omotayo added.
He recalled that about 18 months ago, himself and Emmanuela, the French cultural attaché, had a conversation about how they could bring the exhibition to Lagos and do it on a bigger scale.
“So, we’ve really been thinking about how does this opportunity create capacity and new ways of knowledge for the next generation? The exhibition is broken into about 10 sections, starting with his early life, which you get some sense of Fela’s family and ancestral history,” he said.
For Omotayo, to be part of the historic exhibition is a rare opportunity, acknowledging that there are many amazing cultural icons in Nigerian history that need to be celebrated in the same way. “I hope this exhibition makes us really understand how there are people in our history that have such powerful voices that we need to preserve, that we need to constantly share with the next generation. I think there’s a generation that is now maybe younger that maybe don’t understand the power of his music and his legacy. So I think this is an opportunity for them,” he noted.
On why the choice of the last quarter of the year to host the event in Lagos, Omotayo said it was deliberate so that tourists who visit Lagos during the Detty December and 101 Days in Lagos will find interesting events to attend and recreate.
Representing the French Embassy, Laurent Favier said supporting the Afrobeat Rebellion in Lagos reflected ‘our belief that culture is a bridge.’
“It is a logical and welcome follow-up to the successful exhibition in Paris. This project is both a celebration of Franco-Nigerian collaboration and a cultural gift, honoring Fela’s legacy –who was very appreciated in France – while deepening the dialogue between our two nations,” Favier added.
The night rounded off in true Fela’s spirit and fashion, with rhythm, movement and communion, as the crowd danced and toasted to the resilience of Afrobeat.
Afrobeat Rebellion, which spans 12 weeks of programming—including The Talks, Kalakuta Cinema, Young Rebels’ Corner, and live performances by Femi and Made Kuti, among others, will run till December 28.
The exhibition is open Fridays to Sundays (10:00 AM – 6:00 PM), with Thursdays reserved for VIP and institutional visits. General admission is free, while RSVPs are required for talks, workshops, book readings, and cinema screenings due to limited capacity.
Lagos State Government, through the Ministry of Wealth Creation and Employment, has launched the StartRight Entrepreneurship Development Support Programme for startups and Micro, Small, and Medium Enterprises (MSMEs). The initiative is designed to empower entrepreneurs with the knowledge, skills, and resources needed to build sustainable businesses and thrive in today’s competitive economy.
The six-week hybrid training, which commenced with 50 startups and 200 businesses as pioneer beneficiaries, is designed to equip entrepreneurs with the knowledge, skills, and resources required to build sustainable and competitive ventures
Speaking at the launch of the programme last Tuesday at the STO Resource Centre, Central Business District, Alausa, Ikeja, the Commissioner for Wealth Creation and Employment, Hon. Akinyemi Bankole Ajigbotafe described the initiative as a major step in advancing Governor Babajide Olusola Sanwo-Olu’s vision of a Greater Lagos driven by enterprise, innovation, and inclusive prosperity.
Ajigbotafe explained that the StartRight Lagos Programme was conceived to help entrepreneurs and MSMEs establish solid foundations and adopt strategic approaches to ensure the sustainability and scalability of their ventures. He noted that it was no longer enough to start a business but important to start right, sustain right, and scale right, stressing that the programme reflected government’s continued investment in building future-ready entrepreneurs who would contribute meaningfully to Lagos’ economic growth.
The Commissioner reaffirmed that the Ministry remained committed to driving policies and initiatives that promote youth empowerment, skill development, business incubation, and access to finance, in line with the state government’s T.H.E.M.E.S Plus development agenda. He commended the facilitators and development partners for their dedication to supporting the entrepreneurial ecosystem and for complementing government’s efforts in building a productive and self-reliant citizenry.
Permanent Secretary, Ministry of Wealth Creation and Employment, ESV Wasiu Adebayo Olayinka, described the StartRight Lagos Programme as another milestone in the state’s continuous drive to promote innovation, enterprise, and economic inclusion.
He emphasized that the initiative was designed to provide participants with the right knowledge, business ethics, and management skills to start, manage, and sustain successful enterprises.
According to him, the goal is to equip Lagos entrepreneurs with the right mindset and capacity to move from job seekers to job creators, adding that the StartRight Lagos initiative embodies that mission by providing practical learning, mentorship, and exposure to growth strategies. The Permanent Secretary appreciated the facilitators for their expertise, noting that the Ministry will continue to strengthen its partnerships with both public and private sector stakeholders to sustain the momentum of entrepreneurship development across the State.
Mrs. Lanre Oniyitan, a consultant and the Chief Executive Officer of W-Holistic Business Solutions, gave an overview of the StartRight Lagos Programme, highlighting its structure, objectives, and expected outcomes in supporting startups and MSMEs to establish sustainable business foundations.
The StartRight Lagos Entrepreneurship Development Support Programme is one of the flagship initiatives of the Ministry of Wealth Creation and Employment, designed to enhance entrepreneurial capacity, stimulate innovation, and provide practical support for startups and MSMEs, in furtherance of the State Government’s economic inclusion and wealth creation agenda.
At the start of the session, the audience kept increasing by seconds. But, they were attentive and curious. The newly opened exhibition hall of Quintessence Gallery, on Akin Olugbade Street, Victoria, Island, Lagos, provided the ambience for the spontaneous illustrations performances. For three hours, Chamberlin Ukenedo, a visual artist cum Creative Director, Nitro121, kept his drawing pads busy, churning out images and forms that resonate with the imagination of many. The session tagged The Artivation: A live sketching, and illustrations performance was the artist’s special platform to express social and political themes while exploring human emotions and societal issues within his Nigerian environment.
Ukenedo has participated in both solo and group art exhibitions, salons, and has hosted art soirees, contributing to the art scene within and outside Nigeria. His first show was a drawing exhibition titled Dots in motion, a collaboration with Ibe Ananaba at Quintessence, Falomo Ikoyi, Lagos in 2001.
He returned to Quintessence with The Artivation, a bold new format. Rather than presenting finished pieces, he invited audiences into the heart of his creative process. Through live feeds, spontaneous creation, and direct interaction, he transformed the gallery into a living canvas—where viewers become part of the art’s evolution.
Chamber (as he is fondly called) is known for his work as a painter, illustrator, and cartoonist, often creating art that reflects his personal experiences and the complexities of the environment he lives in. He uses storytelling to address social issues. He is a versatile artist from the craft generation, working as a visual artist and as a Communications expert.
His words capture the spirit of this transformation: “Instead of his viewers standing in front of a frame, they’ll be part of the frame’s creation.” It’s a call to experience art not just as a product, but as a shared moment of vulnerability, creativity, and connection.
“Whenever I want to draw, I see quite a lot of crazy things.
So, in my dynamic images, I can throw up an image, and keep in mind for instance the story of him and the daughter. The story was about when I took a walk with my daughter who never hesitated to join me….a function of trust,” he recalled of his experience he transferred on paper.
He noted that the skull remains a friend of the structure that he created. “So, once I had that understanding, I saw a different life,” he said.
To demonstrate his skill in illustrations, he called on any member of the audience to sign or draw any image on his pad, which he skillfully turned into any image unimagined by the writer. Effortlessly, he developed a signature into a drawing everyone can identify with.
Other forms and images that dominate his sketches include football, abstract figures. In fact, he is literarily obsessed with images around football, a game he played as a young man. Recalling his experience during a football competition, he identified the use of non-existing code name as a strategy the opponent used to defeat his team.
“I want to play with that football slowly. I compete a lot in football, I like the spirit and turning the mask away from me or turning the mask away and repeating what I prejudged that wasn’t real,” he said as he illustrated some images around football on his white sketch pad.
