Category: Arts & Life

  • Nigerian artist Adinnu earns place in Islington Mayor’s portrait collection

    Nigerian artist Adinnu earns place in Islington Mayor’s portrait collection

    In a remarkable journey, the talented Nigerian artist Adaeze Adinnu transcends her humble beginnings to showcase her work in the prestigious portrait collection of Islington’s mayor.

    During a recent visit to the historic Islington Town Hall in London, the British-Nigerian multidisciplinary artist called for the inclusion of visual art as a core part of Black History Month celebrations in the Borough.

    Adinnu, known for her emotionally charged and culturally symbolic artworks, said visual art offers a unique platform for storytelling ,one that gives voice to diverse communities and deepens understanding across cultures.

    “Art has the power to unite communities, inspire understanding, and honour every person who contributes to the British story,” she said. “This celebration isn’t just about people of colour, it’s for everyone who continues to shape our shared cultural fabric.”

    She emphasised that incorporating visual art into Black History Month would not only amplify the voices of Black artists but also promote inclusion and challenge stereotypes within Islington’s vibrant multicultural setting.

    Her visit to Mayor Jason Jackson also marked a significant milestone, the official presentation of her bespoke portrait painting of the Mayor, now permanently housed in the borough’s collection of official portraits.

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    The artwork, hailed for its depth and symbolism, has been described as one of the finest pieces ever exhibited at the Town Hall. With its inclusion, Adaeze Adinnu becomes the first UK-based Nigerian female artist to have her work enshrined in the Mayor’s Gallery.

    Mayor Jackson received the portrait with admiration, commending Adinnu’s creative vision and the emotional resonance of her work.

    “What Adaeze is proposing is tangible and transformative,” said Mayor Jackson. “Islington has always been proud of its diversity and creative spirit. Her initiative adds a powerful new dimension to how we celebrate that.”

    During their meeting, Adinnu proposed that October 9 be designated as a special day to celebrate Black History in Islington, using art as a bridge for unity, inclusion, and cross-cultural dialogue.

    The initiative, aligned with the UK’s broader Black History Month commemorations, envisions an annual art-focused festival featuring painting, sculpture, fashion, performance, and storytelling, bringing together both local and international talents.

    The Mayor expressed strong support for the proposal and revealed plans to present it to the borough’s cultural leadership for consideration.

    Their discussion also explored future collaborations, including youth art workshops, creative residencies, and mental well-being programmes that employ art as a tool for self-expression and social healing.

    “It’s not every day you receive a portrait of such calibre,” Mayor Jackson said. “This meeting reflects the power of art to shape civic memory and strengthen community connection.”

    A graduate of the University of Northampton, Adinnu is the Founder and CEO of Fabloz Artistry and a member of the British Art Network (BAN). Her works — a fusion of realism, symbolism, and emotional depth — explore themes of identity, resilience, femininity, and social transformation.

    Her paintings have graced prestigious exhibitions in the UK, US, and Nigeria, including The Holy Art Gallery (London), Mitochondria Gallery (Houston), Redwood Art Group (Dallas), and Rele Gallery (Lagos). She has also received recognition from UNESCO and the Commonwealth London, where her works were showcased.

    Through Fabloz Artistry, Adinnu continues to mentor emerging creatives, especially women, while promoting art as a medium for dialogue, empowerment, and healing.

    Her latest achievement with the Islington Mayor’s Gallery underscores her rise as a global voice for cultural inclusion and creative expression.

    In Adaeze’s words, “Art is not just seen, it’s felt. And through it, communities find their voice.”

  • National Troupe renews hope at Wole Soyinka Centre

    National Troupe renews hope at Wole Soyinka Centre

    Last week, October 1, being the 65th Independence anniversary of the nation, President Bola Ahmed Tinubu and other notable political leaders gathered at the National Theatre, Iganmu, Lagos, now known as the Wole Soyinka Centre for Creative Art for the reopening of the Centre.  It was an apt moment for the National Troupe of Nigeria, the nation’s dance ambassadors to prove their mettle.  The dances and cultural displays by the Troupe put everybody on their toes as reported by Edozie Udeze.

    The moment was a good moment.  At once the whole complex stood still.  It stood still not only for the President of the Federal Republic of Nigeria Bola Ahmed Tinubu, but for the whole nation, Nigeria.  The National Theatre, now christened The Wole Soyinka Centre for Creative Art, came alive to its fullest bloom.  It was a day to remember, a day to witness that the Theatre has resurrected from its slumber.  The mainbowl was packed to full capacity.  The house and stage lights glittered on endlessly.  The airconditioners seemed to have gone crazy, tearing deep into the skins and bloods of all as people shivered and begged for mercy.

    The hall came on in full swing.  Artists were in their best moods, in glittering attires that suited the occasion.  Visitors and stakeholders held on to the dictates of the night.  It was time to dance, time to display cultures.  It was time when artists, young, old, male, female, painters, dancers, singers, comedians, creators, writers, journalists, all, came together to jolly in the beautiful euphoria of a recreated centre for the creative art.

    The President, Bola Ahmed Tinubu sat quietly in company of his wife, Senator Oluremi.  His face glowed with joy.  His countenance could not hide his amazement at the new looks of the National Theatre.  Also in place was Godswill Akpabio, the Senate President.  With them were Tajudeen Abass, Speaker of the Federal House of Representatives who also came in company of his deputy, Benjamin Kalu.  In the house was Governor Babajide Sanwo-olu of Lagos State.  And with the Minister of Culture, Tourism and Creative Economy, Hannatu Musawa, the roll call was almost complete.  Also present was Olayemi Cardoso, the Governor of Central Bank of Nigeria.

    But then there was Professor Wole Soyinka, the epitome of the creative world, first African Nobel Laureate in Literature.  The  man whose name has come to dominate the National Theatre and occupied the night to the full.  All the big artists were present to witness this new rebirth of a national monument that almost went into extinction if not for the prompt intervention of Buhari and Bola Tinubu who ensured that the Bankers Committee went into action with dispatch.  So for close to four years, the Centre went under heavy renovation, with series of patch ups and innovations here and there.  As the works were going on, the entire arts community, the creative nerves of Nigeria waited with unbridled patience.  The National Troupe of Nigeria, indeed the apex dance hub of the nation expected the turn-around maintenance to come through in a jiffy.  And that was why on the night of this epoch-making reopening the Troupe dazzled to precision.  The National Troupe under the able  leadership of Hajja Kaltume Bulama Gana thrilled as if dance would never end.  It was good.  It was glamourous, quite spectacular.  The whole edifice stood still as soon as their entrance was announced.

    The level of acclaim as soon as Dr. Nzekwu, one of the anchors of the programme mentioned the name of the Troupe showed that in the corridors of power, the Troupe rings a bell.  Stage by stage, the Troupe presented different dances, cultural displays that stunned and impressed the people. The hall suddenly came alive.  The stage lights came on fully to shine on the fleeting feet of the dancers, the sonorous voices of the singers and the heavy hands of the drummers who pelted away in joyous mood, with accurate precision and rendition.

    Bulama sat up front, eyes happily glued onto the stage as she smiled and exchanged pleasantries with fellow directors and artists.  In truth, the Troupe opened with dances from the south south parts of Nigeria.  The rhythms of the songs flowed easily with the colours of Nigerian flag.  Remember this show was on October 1, Nigeria’s 65th Independent anniversary and the whole nation was agog with happiness.  So, the boldness of the dancers, the deliberate displays of colours, the masquerading nature of the masquerades, the glowing of the different colourful costumes, all made up to show a Troupe that was well prepared to dazzle to no end.

    The dance of elegance from Edo State depicted the rich culture of the Benin kingdom.  The grace was deliberate, the ease and measured dance steps with red beads on their necks and hand fans made of woods, brought to light, once more, the historic nature of the Benin cultural ensemble.  Trust the Troupe.  They danced with renewed hope and reinvigorated aplomb; after all they had waited for close to four years for that moment.

    From Edo State, the Troupe moved to the more interiors of the Niger Delta, this time recapturing the elegant dance style of the Itshekiri people.  The dance came with songs in the Itshekiri dialect, showing the magnificent nature of the palace dance where tradition is upheld.  The Itshekiri are naturally rooted in idioms and wise sayings that the dances dwelt on all that.  Then came dances from the core Efik and Ibibio domains.  The Ekpe tradition which is sacrosanct quickly resurfaced.  This thrilled the audience to no end.  The Ekpe is synonymous with the Ibibio and the Efik of Akwa Ibom and Cross River States of Nigeria respectively.

    It was not so much as the dances.  It was more of the vigour, the heavy energy that dancers brought into the displays that kept people endlessly enwrapped.  The songs brought hope to the people.  It was a way to use culture to entertain, to reunite a nation.  The songs hinged on hope; they emphasised the immediate need to celebrate peace and love as a people.  The presence of the masquerades in their best costumes brought beauty and nature and near innocence closer to the people.  The audience clapped, relaxed, laughed and showed acclaim, appreciation and respect.

    The dances from the West and the North proved to be the climax.  But not yet.  The dances of love, courtship, harvest and abundance depicted the richness in all spheres in Nigeria.  With the implements and props and costumes in place, the Troupe took the whole nation back in time.  Culture is a bridge, it brings back memories; it also rebuilds the nature of broken hopes.  Culture is not just dynamic, it gears up for a better tomorrow.  The dances elaborated these features so much so that Eugenia Abu and Henry Nzekwu, the two anchors of the programme could not old back their admiration.  As usual the sensational  movements occasioned by the Yoruba dancers evoked love, romance and appeasement.  The ones from the north hovered around crops and the dominance of the male over the female.  But all pointed to the family as the core of the society.

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    In all, the Igbo dance came with an accelerated energy, an energy long bottled up.  The whole arena became recharged as the flute (oja) went far into the air with the tone of vehemence.  The dancers gyrated, the flutist mesmerized as the stage lights flickered into full bloom.  Indeed the night was coming on with vigour reminding all that this is the centre of entertainment, the hub of the creative economy and the creative world, where drama, dance, all sorts of the art rule and predominate.

    The stages of dances were brought to a close with the stylish appearance of a masquerade.  An artiste sitting close to me in the hall just exclaimed – “this shows the fullness of Nigeria”.  Truly that masquerade did not only come with an arousing ancestral presence, it showed how deeply the night had impacted on the people.  As the stage gradually blossomed to see a new creative centre of the nation, Gerald Eze of the Nnamdi Azikiwe University, Awka, Anambra State, tore into the stage with his brand of stage craft of folkloric songs and demonstration that also stole the night.  In all, it was a night to remember and all guests – big, small, initiated and uninitiated got enough baptism of what artists can do with their creative mien and talents.  The National Troupe will, like someone whispered to me on our way out, always show itself even in the most uncomfortable environment or situation.  The Nigerian dance project runs in their blood.

    But it is all kudos to Bulama and her team.  Bulama loves what she does.  She has put herself into it.  Here is a visual artist who now loves masquerades more than masqueraders themselves.  An artist who loves to reinvent dance in the mold of Ogunde.  Bulama now has keen ears for all sorts of musical drums almost same way her brushes serenade strokes on the canvass.  In her we can see the total justification of why the National Troupe of Nigeria and the National Theatre are two in one, established for the same purpose for the creative economy.  Same edict, same act of faith for performances, the two establishments must always complement each other for the more profound need to prosper the creatives in Nigeria and beyond.

    And in the process ensure that the different cultural properties and elements of the larger society are kept ever afloat, active and functional.  Essentially National Troupe has made it clear and unambiguous that culture is a unifier and that the current leadership is in conformity with these positive tenets.

  • Authors decry insecurity in the land

    Authors decry insecurity in the land

    The Association of Nigerian Authors (ANA) is deeply perturbed by the escalating insecurity across various regions of Nigeria. In a statement signed by the president of ANA, Oladipo Akanbi and the secretary Dame Joan Oji, the authors makes it clear that Nigeria needs security to forge ahead. “From the Borno, Adamawa axis to Zamfara, Katsina, Benue, Plateau, Oyo, Kogi, Niger, and Kwara in the North, to the kidnapping and sporadic killings in the South, the situation demands immediate government attention and response.

    The proliferation of arms, insecurity-induced displacements, loss of legitimate livelihood, kidnapping, and the rise of conflict profiteers amongst military and political elites of the country have turned Nigeria into a theatre of guerilla warfare on a scale hitherto unknown.

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    ANA is hereby calling upon the government at all levels to engage requisite technology and collaborative foreign intelligence to stem the tide, and to demonstrate the political will necessary in addressing this ugly development. We must prioritise the safety and well-being of all Nigerians regardless of where they dwell.

    As custodians of the nation’s literary heritage, We in ANA urge the federal government to take urgent and decisive steps to restore peace and stability in the country.

  • The Soldier-Poet debuts in Writers Village

    The Soldier-Poet debuts in Writers Village

    By Denja Abdullahi

     The story of Mamman Jiya Vatsa is one that has refused to be bottled up or suppressed; ever since his tragic execution in  March 1986 over an alleged involvement in an intended coup against the military government of his bosom friend , General Ibrahim Badamosi Babangida. Vatsa in his allocutus after receiving the sentencing by the trial military tribunal said emphatically that “This is not going to be my final hour , I have God’s promise on that.” As a published poet of many volumes, his works outlived him. As someone who worked assiduously in the military to infuse poetic sensibility in soldiers and military men across all ranks and file, many in that sector have kept the flag flying. Vatsa in his active cultivation of the literary community during his time, the peak of it which was a huge bequeath of an expansive plot of land as the Minister for the Federal Capital Territory  for the building of a writers’ village in Abuja, had certainly ensured without knowing, his living beyond any man-made final hour. Today, four decades after that thoughtful donation, a sprawling complex sits on that land bearing grandly the name “ Mamman Vatsa Writers’ Village “ in Mpape, Maitama Extension , Abuja, owned exclusively by the Association of Nigerian Authors(ANA) .

    The Association of Nigerian Authors(ANA) in commemoration of the undying creative spirit of the soldier-poet, in appreciation of his benevolence to the Association and in its advocacy for the redress and pardon by the Nigerian State of a man killed over a trumped-up charge , has commissioned a stage play on his story to be performed at its forthcoming 44th International Convention. The play is being handled by Mallam Denja Abdullahi, a past president of the Association , who has also focussed on Abuja like Vatsa in his poetic oeuvre, particularly in his collection, Abuja Nunyi(This is Abuja). Denja has vast experience as a playwright and theatre director, renowned for his widely performed play Death and the King’s Grey Hair , which was also a finalist at the Nigeria Prize for Literature Prize in 2018. Recently , Denja Abdullahi was celebrated at the August 2025 ANA Abuja Special Reading for the embrace of poetry and theatre in many of his works.  At that event , Denja latest play Chants in a Cemetery was premiered to great acclaim and reviews.

    The playwright Denja Abdullahi modelled the title of the play( after extensive research into the Vatsa story, reading and re-evaluation of textual of Vatsa’s famous poetic volume and digital materials and personal interviews of strategic persons connected to the subject matter) after Vatsa’s  Tori For Geti Bow Leg and Other Pidgin Poems(1981). The ANA’s  play on Vatsa is called Tori Don Geti Bow Leg . The play chronicles the inspiring, evocative , tragic and complex story of Major-General Mamman Vatsa. The play explores the intersection of arts, courage , sacrifice, valour,  patriotism, and the acceptance of destiny as reflected in the life and times of a man who stood boldly at the confluence of literature and martial service to the nation. Vatsa’s story ,as indicated by the playwright, is one that has all the elements of drama and its sub-genres, as you can find the comic, the tragic, the satiric and even the melodramatic in the evolution of his life from birth, through his growing up to wield the gun and the pen, to his unfortunate demise in a most controversial circumstance.  The playwright has woven the intricacies of this chequered life into a play interrogating what may have happened to a man who wielded the gun and the pen at the same time. The play is therefore expected to see the fusion of military drills with poetic declamations and the performance of military patriotism alongside the manoeuvring for power. Through compelling dialogue couched on the wing of poetry, evocative music and movement, the play captures Vatsa ‘s poetic essence, his passion for the arts and interrogates artistically  the circumstances that led to his unforgettable place in Nigerian history.

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    The crew to bring this artistic vision to life on real-time stage is being led by Oko Owi Ocho –Afrika , a theatre director , who has become adept at adapting Denja’s poetry volumes for the stage  over the years. He was on hand to adapt two of Denja Abdullahi’s poetry  volumes successfully for the stage in 2021, Mairogo and Abuja Nunyi  and directed another less known play of his Truce With the Devil in 2022; all performed between Makurdi and Abuja. This time around, he is working with an experienced and much- sought after theatre director Jibrin Ahmed , who is the consultant director for the present project. Jibrin Ahmed was the assistant director to Denja Abdullahi when he directed Ola Awakan’s Tafawa Balewa in January 2025 in Abuja. These crop of tested directors alongside other members of the technical crew are presently in camp with a cast made up of mainly graduated students of theatre arts of Nasarawa State University, Keffi; working towards delivering a unique theatre experience for the audience at the forthcoming ANA 44th International Convention. Part of the unique experiences the crew promised the audience at the production is bringing on stage characters in the persons of Wole Soyinka, J.P. Clark , Chinua Achebe and others who were all part of the Vatsa story. The crew are well aware that Mamman Vatsa as Minister for the FCT was the first to host a modern professional theatre production in the city when he invited the UNN troupe led by Prof. Ossie Enekwe to perform Ngugi Wa Thiongo’s  The Trial of Dedan Kimathi in the then fledgling Abuja. The crew and cast are poised to re-enact lives and history in the performance of Tori Don Geti Bow Leg.

    Commenting on the forthcoming play, the President of ANA, Dr Usman Oladipo Akanbi , described it as “a tribute not only to Mamman Vatsa’s enduring legacy but also to the collective dream that birthed the Writers’ Village. He emphasised that the performance will reaffirm the Association’s commitment to keeping the memory of its benefactor alive through creative expressions that blend history and art. He stated that part of the dream Vatsa had in mind for donating the land to ANA for the building of the Writers’ Village, which he clearly stated in his speech in 1985, was recently realized when six writers selected across Nigeria completed a four- week full boarded residency in September 2025 at the Ken Saro Wiwa International Writers’ Residency inside the Mamman Vatsa Writers Village . He called on all to be present in the evening of the 31st October, 2025, during the 44th International Convention of ANA, at the auditorium of the Chinua Achebe International Conference Centre at the Mamman Vatsa Writers’ Village, to come experience an evening of reflection, artistry, and cultural enlightenment ; encapsulating a fitting tribute to the man whose vision built the foundation for writers’ dream across the nation. 

  • Obey, Adawa, Salawa, others honoured at Ariya Eko

    Obey, Adawa, Salawa, others honoured at Ariya Eko

    Old sweet memories, evergreen musicals by iconic Nigerian musicians took centre stage at this year’s Ariya Eko Independence Music Festival last Sunday. 

    Venue was the Shell Hall of Muson Centre, Onikan Lagos. Despite the heavy down pour, guests defied the wet afternoon to converge on Shell Hall of Muson Centre to celebrate Nigeria’s 65th independence using culture…music in particular. It was a huge moment of reunion for many of the great artistes (musicians, .producers, sleeve designers, music label owners, music impresario, and music promoters) who might have been less active due to either age or health challenge..

    Yet, these were not.lost.on the excitement that enveloped the hall that evening. The gathering was a roll call of who is who that shaped the Nigerian music landscape dating back to the pre Independence. From juju to Fuji, sakara, apala, bolojo, highlife and Afrobeat, their leading exponents were all represented. 

    Expectedly, these great ambassadors were celebrated with awards by the organisers. 

    Themed “Musical Journey of a Nation @ 65,” the festival honoured these veterans who have also shaped and preserved its musical heritage across generations. Among those honoured were Stella Money, Admiral Dele Abiodun, Jossy Friday, Salawa Abeni, Tee Mac, Lemi Ghariokwu and Dr. Balogun and presented by Dr. John Asein, DG Nigerian Copyright Commission. 

    They were honoured for their outstanding contributions to.music, culture and the Nigerian social life.

    Others honoured were Chief Commander Ebenezer Obey, Ken Caleb Olumese known as the “King of Lagos Nightlife,” honoured with the Nightlife Legend Award; Evang. (Dr.) Funmi Aragbaiye (Mama Sioni), recipient of the Gospel Pioneers Award; and Tunde Kelani, an award-winning cinematographer and filmmaker, who bagged the Distinguished Filmmaker Award, Uncle Toye Ajagun, Alhaji Kolawale Rasaq, Dr. (Mrs.) D. A. Fasoyin, Laolu Akins, Evang. J. A.Adelakun, Pa Sulaimon Ayilara Aremu (Ajobiewe), and Premier Music.

    The audience got some thrilling performances from legendary Ebenezer Obey and Mama Sioni who were presented award by Gov Sanwo Olu of Lagos. 

    These performances sent the audience to its feet as they rendered their timeless hits, prompting a chorus of sing-alongs and dancing across the hall.

    In appreciation of the legends contributions, Founder Mountain of Fire Ministry, Dr. Daniel Kolawole Olukoya represented by Dr. Ayo Oladele announced a ₦500,000 cash gift to each awardee, in recognition of their lifetime contributions to Nigeria’s cultural development.

    “In appreciation of your legacy and creativity, I am honouring each awardee with ₦500,000,” he said.

    He also spoke on his music centres initiative, which aims to empower Nigerian youths through creative engagement and discourage involvement in social vices.

    The festival, organized by the Lagos State Ministry of Tourism, Arts and Culture in collaboration with Evergreen Musical Company Limited, has become a defining cultural landmark in Lagos. It celebrates the city’s rich musical heritage while reconnecting younger generations with Nigeria’s musical legends.

    The festival, which featured live performances from the MFM Highlife Band, Mentholkay and New Melody Makers Band, MFM Guitar Choir, Medola, and OJ Band, offering a mix of classic tunes and Gen Z energy, was not all about sound and rhythm as Cultural Historian, Chief Kunle Odufuwa took audience on memory lane in a symposium to discuss Traditional Music culture in Lagos: Then, Now and Later. (Nigerian music in the last 65 years), a throwback to the evolution of Nigerian music, its impacts, the dynamism, and contributions to the social cultural life of Nigeria.

    According to him, Nigerian musicians did not limit their contributions to the social circles alone as they rendered morale boosting songs for the Nigerian soldiers during the civil war.

    “Nigeria has never been short of talents as Nigeria is the melting pot of African music..Musicians don’t die as their voices remain alive much after their demise,” Odufuwa said. 

     Managing Director of Evergreen Musical Company, Bimbo Esho said that Ariya Eko is “a tribute to the icons of yesteryears and a platform that strengthens cultural ties, fosters cross-generational dialogue, and opens new pathways for international cultural diplomacy.”

    The 2025 edition of Ariya Eko, held as part of events marking Nigeria’s 65th Independence Anniversary and the “101 Days in Lagos” cultural season, featured more than 20 music veterans aged 70 and above. Through performances, awards, and tributes, the festival reaffirmed the enduring power of Nigerian music as both a cultural treasure and a force for unity. Aside from live performances, and award ceremony, the festival also featured symposium, and a session for young acts to perform classic songs from legendary musicians.

    Among guests in attendance included Oba Riliwanu Akiolu (Osolale I) of Lagos, Dr. Daniel Olukoya, founder of Mountain of Fire and Miracles Ministries (MFM) and Patron of Evergreen Music Heritage Foundation, among others.

  • Film maker Ololade Ebong shines with prestigious American approval

    Film maker Ololade Ebong shines with prestigious American approval

    The delectable and hardworking filmmaker, actress, and cinematographer Ololade Tijani-Ebong’s talent goes international as the USA approves her as a person with extraordinary ability in her field. 

    Ololade has once again made herself and the country proud by earning this remarkable approval from the United States. This approval is reserved for individuals who possess extraordinary ability in the arts, sciences, education, business, or athletics — particularly those with a proven record of exceptional achievements in the motion picture or television industry.

    This is one of the most distinguished forms of professional recognition in the global entertainment space. It is awarded to talents who have not only excelled in their craft but have also gained national and international acclaim for their work. This milestone confirms Ololade Tijani Ebong’s status as one of the most talented and visionary voices in contemporary African cinema.

    This process is rigorous and merit-based. It involves the submission of an applicant’s professional body of work, career achievements, and recognitions to an authorized guild within the United States. In Ololade’s case, her evaluation and endorsement came from the Producers Guild of America (PGA) — one of the most respected professional organizations in Hollywood. The guild’s approval of her credentials signifies that she meets the highest international standards of excellence in filmmaking. The beautiful filmmaker is also expected to serve as a lead producer for a film production company on the feature film Alienated and in the Land of Ghosts, to be produced in the United States of America.

    This approval, however, comes as no surprise to those familiar with Ololade Tijani Ebong’s stellar career. Over the years, she has built an impressive portfolio as a producer, director, actress, and cinematographer, contributing immensely to the growth and global appeal of the Nigerian film industry. Her works have not only won multiple awards at home and abroad but have also showcased the depth, creativity, and resilience that define the new wave of African storytelling.

    Known for her dedication, artistic versatility, and passion for visual storytelling, Ololade continues to inspire a generation of young filmmakers who look up to her as a role model. This American approval further cements her place as a trailblazer and ambassador of African excellence in the global film space.

    With this milestone, Ololade Tijani Ebong joins the ranks of a select few Nigerian creatives whose talents have been acknowledged at the highest international level — a testament to her hard work, consistency, and remarkable impact.

    Reacting to the recognition, Ololade Ebong expressed deep gratitude and humility, saying:

    “This recognition means so much to me because it validates years of hard work, sleepless nights, and unwavering belief in the power of African stories. I’m grateful to God, my family, and everyone who has supported my journey. This is not just my win — it’s for every young creative who dares to dream beyond borders.”

  • Asiri shuts down Eko Hotels with ‘I don’t need your opinion’, unveils new book

    Asiri shuts down Eko Hotels with ‘I don’t need your opinion’, unveils new book

    It was a night of laughter, depth, and unforgettable insights at the prestigious Eko Hotels and Suites on Sunday, September 28, as Damilare Oluwasegun, popularly known as Asiricomedy, staged his second Lagos show tagged ASIRI: I DON’T NEED YOUR OPINION.

    The event kicked off with a rich blend of performances from top comedians and musical artistes, drawing in an elite audience that spanned influencers, industry leaders, and fans from all walks of life. The hall was packed, and for those watching virtually via Cleaques, the energy was just as infectious.

    The show featured standout performances by Segun Johnson, Shoday, and others, ensuring there was no dull moment. 

    One of the most memorable highlights of the evening was the unveiling of Asiri’s latest book, Pillars—a masterpiece crafted to guide individuals in building lives of strength and fulfilment.

     The unveiling was led by renowned comedian Bovi, with Hon. Temitope Adewale, member of the Lagos House of Assembly representing Ifako Ijaiye constituency.

    Beyond the laughter, the night struck an emotional chord. Asiri bravely touched on the sensitive theme of grief, masterfully weaving it into comedy in a way that brought healing and closure to many in the audience. “Who could have thought that I would find healing in a comedy show?” one participant remarked, underscoring the impact of the performance.

    Since the event, encomiums have continued to pour in, celebrating not only the success of the show but also Asiri’s audacity to use comedy as a tool for both laughter and healing.

  • Trino Motion Pictures premieres “Grandpa Must Obey” Nov. 21

    Trino Motion Pictures premieres “Grandpa Must Obey” Nov. 21

    Trino Motion Pictures has unveiled the official poster for its family drama, Grandpa Must Obey, set for nationwide release on November 21, through FilmOne Entertainment.

    The new poster captures the heart and humour of Grandpa Must Obey, a film that promises laughter, warmth, and the universal tug-of-war between generations. Designed with bold, playful energy, the artwork reflects the film’s spirit: grumpy meets mischief, all wrapped in love, chaos, and plenty of heart.

    It also captures the heart of the film, the humorous yet touching bond that forms between generations. Veteran Nollywood icon Kanayo O. Kanayo (KOK) takes on an unexpected and refreshing role as a seventy-year-old man grappling with grief and resentment finds himself unexpectedly babysitting for his two mischievous grandchildren.

    What begins as a clash of wills soon transforms into a moving tale of family, forgiveness, and rediscovering joy after loss.

    Directed by Chibuzor Afurobi and written by Saviour Kings Bob, the film blends heartfelt emotion with laugh-out-loud comedy, a combination that’s sure to strike a chord with audiences of all ages.

    “We wanted to tell a story that feels deeply Nigerian but universally human — one that celebrates family, resilience, and the small moments that make life beautiful,” said Uche Okocha, the Managing Director at Trino Motion Pictures and ‘Grandpa Must Obey’ producer.

    The film features a robust ensemble of celebrated Nollywood stars and rising talents:

    Kanayo O. Kanayo (KOK) delivers a career-defining performance as the strong-willed yet vulnerable Grandpa.

    Darasimi Nadi and Fiyin Asenuga bring youthful energy and comedic brilliance to the family dynamic.

    Yvonne Jegede and Bimbo Akintola add depth and heart to the emotional core of the story.

    Produced by Uche Okocha, Grandpa Must Obey reaffirms Trino Motion Pictures’ reputation for delivering authentic, high-quality Nigerian storytelling that connects with local and global audiences alike.

    Positioned as the family film of the festive season, Grandpa Must Obey is poised to light up cinemas nationwide this November. With its mix of humor, heart, and relatable storytelling, the film is a reminder that sometimes — obeying Grandpa isn’t as easy as it sounds.

  • Day Lagoon came alive

    Day Lagoon came alive

    For two dazzling days last weekend, the Lagos Lagoon became a stage of history and spectacle. The E1 Electric Powerboat Championship — Africa’s first all-electric race – transformed the city’s waters into a theatre of speed and sustainability. As sleek hydrofoil boats sliced through the waves, Lagos redefined itself – bold in vision, inventive in spirit and racing toward a cleaner, smarter tomorrow, reports Associate Editor ADEKUNLE YUSUF

    It began with a whisper — the sound of wind flirting with the water — and then, a sudden roar. The Lagos Lagoon, long accustomed to the lazy glide of ferries and the rhythmic paddles of fishermen, found a new heartbeat. Sleek, winged vessels rose from its surface like metallic birds, slicing through the morning haze with electric grace. Cameras clicked, crowds cheered, and for a few dazzling hours, the city by the sea became the epicentre of a new revolution — one of speed, sustainability, and spectacle. This was not just sport. It was Lagos announcing itself — bold, restless, and forward-looking — to the world.

    On that luminous October weekend, as sunlight danced on the waters of Victoria Island, the E1 Electric Powerboat Championship brought the future to Nigeria’s shores. For the first time ever, Africa hosted a race in the all-electric series, a global contest where innovation meets adrenaline, and where every ripple tells a story about the planet’s greener tomorrow. And Lagos, never one to do things quietly, seized the moment.

    For decades, Lagos has been defined by its land — its unending traffic, its restless population, its rhythm of trade and survival. But the lagoon has always been its quiet soul, stretching endlessly from the Atlantic to the creeks of Ikorodu and Badagry. Last weekend, that soul stirred. The city’s famed skyline gleamed under the tropical sun as the RaceBirds — sleek, electric hydrofoil boats — danced across the lagoon. Each vessel, powered entirely by battery, lifted above the water on carbon-fibre wings, gliding silently yet powerfully. To the uninitiated, it was magic; to the engineers, it was the future of sustainable racing.

    Governor Babajide Sanwo-Olu, who had championed Lagos’s inclusion in the E1 calendar, called it “a defining moment in the city’s evolution — where tradition meets technology.” For him, and for many Lagosians watching from the banks and balconies, it was more than a race. It was proof that Africa’s largest city could lead in innovation, hospitality, and green mobility. His Commissioner for Information and Strategy, Gbenga Omotoso, hailed the E1 Lagos Grand Prix as a bold testament to the state’s global stature and innovative spirit. Declaring it Africa’s first all-electric powerboat race, he said the event showcased Lagos’ resilience, creativity, and readiness for a sustainable future while inspiring youths in sports and technology.

    The E1 Championship is not a typical boat race. Founded to reimagine marine motorsport for a sustainable world, the series pits nations and celebrity-backed teams against one another — not in fossil-fuel engines, but in zero-emission vessels. Each RaceBird is a marvel of engineering, reaching speeds of up to 93 km/h, powered by lithium batteries and controlled with the precision of a jet cockpit. The Lagos event marked a milestone not only for the city but for the continent. Africa’s debut in the E1 series showed that the drive for cleaner energy and sport innovation is universal. The lagoon — a symbol of history, commerce, and culture — became a metaphor for transformation.

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    It also tied neatly into the Lagos State Government’s Omi Eko Project, a €410 million plan to modernise water transport infrastructure, electrify ferries, and reclaim the lagoon as a clean, functional waterway. The E1 race, then, was not an isolated spectacle; it was a glimpse of what could be. As Rodi Basso, E1’s Chief Executive Officer, put it: “We didn’t choose Lagos just for its location. We chose it for its energy. Lagos represents the kind of boldness the future demands — a city that never sleeps, never fears change, and never stops dreaming.”

    By midday, the sun had turned the lagoon into a mirror, and the crowd’s anticipation reached fever pitch. From the Five Cowries Terminal to Oniru Beach, the city’s waterfront shimmered with excitement. Vendors sold flags, grilled fish, and fresh coconuts; influencers livestreamed the spectacle to millions online. Then came the sound — a deep, futuristic hum as the boats powered up. Within seconds, the still waters erupted into motion. Twelve hydrofoils took off, skimming above the surface in synchronized bursts of speed. The waves they left glistened like silver ribbons.

    Among them were Team Brazil, Team Blue Rising, and Team Drogba Global Africa, all fighting for dominance in Lagos’s unpredictable lagoon winds. For the racers, it was no ordinary circuit — the tropical breeze, the tide’s temperament, and the humidity created an entirely new challenge. And then, as if nature wanted to test their resolve, the sky darkened. A storm gathered over the Atlantic and swept in with sudden fury. Waves rose, visibility dropped. It became a battle not just of machines, but of human skill and endurance.

    Through it all, Team Brazil, led by Timmy Hansen and Leva Millere-Hagin, held their line. In the chaos of wind and spray, their electric RaceBird cut through the turbulence with precision, crossing the finish line first. Lagos erupted in applause. The sound rolled across the water like thunder. When the rain cleared and the winners lifted their trophy, the symbolism wasn’t lost on anyone. This wasn’t merely about sport. It was about Lagos — a city of contradictions, chaos, and creativity — proving that it could host the world and do it in style.

    Hotels were full, restaurants buzzed with visitors, and every camera lens turned toward the lagoon. For two days, the city became a magnet for innovation, tourism, and pride. Economists estimate that the event generated millions of naira in direct spending, with long-term benefits for hospitality and marine infrastructure. But beyond figures, there was something deeper — a renewed sense of what Lagos could be.

    As one spectator, Chioma, put it: “For once, we’re not talking about traffic or floods. We’re talking about something beautiful — something that makes Lagos feel like it belongs to the future.”

    There’s poetry in the fact that the same waters where fishermen once paddled hand-carved canoes are now hosting electric hydrofoils. The same lagoon that witnessed centuries of commerce and colonial history now mirrors the promise of clean technology and global sport. To older residents, it felt like a bridge between generations. “I grew up watching wooden boats,” said Chief Adesanya, a retired sailor from Ebute Metta. “I never thought I’d see machines flying on water. Lagos is changing before our eyes.” For younger Lagosians — engineers, students, entrepreneurs — it was a spark of inspiration. Universities began discussing electric marine design; start-ups explored solar charging docks. The E1 race ignited not just applause, but imagination.

    Governor Sanwo-Olu called the event “a triumph of partnership and progress,” crediting collaboration among the state, private sector, and international bodies. Indeed, the logistics were immense: road closures around Victoria Island, ferry diversions across the Five Cowries Creek, and extensive safety coordination with marine agencies.

    But the payoff was clear. Lagos demonstrated that it could organise world-class sporting events — blending African flair with global sophistication. President Bola Ahmed Tinubu sent a message of commendation, praising the race as “a milestone that signals Nigeria’s readiness to lead in sustainable innovation and tourism.” From tech giants to local artisans, the synergy was palpable. Corporate sponsors saw visibility; artisans sold souvenirs; media houses beamed images of Lagos’s sparkling lagoon to homes across the world.

    When dusk fell on the final day, the lagoon glowed in twilight. The race was over, but the echoes lingered — in the laughter of children still waving flags, in the glimmering reflection of lights on the water, in the quiet pride of a city that dared to dream. The lagoon, once merely a backdrop, had become a stage. And Lagos, that irrepressible city of noise and hustle, had found serenity — if only for a moment — in the harmony of speed, silence, and sustainability.

    There are still challenges ahead: keeping the waterways clean, ensuring inclusivity, extending water transport to underserved communities. But something irreversible has begun. The idea that Lagos can merge innovation with identity — that it can race toward the future without losing its soul — is no longer just a dream. As Rodi Basso said after the race: “The world saw Lagos today — its energy, its chaos, its beauty. The lagoon came alive, and in doing so, it showed us what the future could look like.” And perhaps, in that single weekend when machines flew and waters danced, Lagos glimpsed a vision of itself — a city reborn not by concrete, but by current; not by roads, but by waves.

  • Adeyemi’s studio team firms up in testament of legacy

    Adeyemi’s studio team firms up in testament of legacy

    What started as an informal gathering of colleagues, young artists and studio apprentices over two decades ago at Kunle Adeyemi Studio in Mushin, Lagos, has morphed into a movement of creatives. In like manner, the group consisting of over 40 artists of different generations is making its debut exhibition that is featuring 25 of them at the National Museum, Onikan, Lagos from October 4 till 17.

    Tagged Testament of legacy, time and space (A story of Kunle Adeyemi and his studio contacts), it features painting, water-colours, paintocast, paintographs, prints and mixed media by artists who drank from the pool of Dr. Kunle Adeyemi’s studio practice.

    For Adeyemi, he has in a long time quietly nurtured the idea of keeping the studio contacts while praying for the right time for it to take shape. “Now that I am retired from public service, I believe the moment has come to devote some of my time to the professional growth and development of all those who have, at one time or another, passed through the Kunle Adeyemi Studio. “It has always been a God-given privilege to serve as your Studio Instructor—whether through SIWES, Industrial Attachment, Master’s or PhD research programmes, Apprenticeship, or any other form of training,” he said at the preview session of the exhibition.

    According to him, the objectives of establishing the practice-based exhibiting group include to rekindle in us the creative spark first ignited during our studio experience; become more visible in the contemporary art space; encourage one another in fulfilling our calling as practicing artists.

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    Reassuring members that the group is voluntary, he said nobody was compelled to join, but stressed the belief in unity was strength.  

    “As a first step, I propose that we begin this year with a two-week art exhibition at the National Museum. We shall all be joint partners and beneficiaries of the project, working under principles of transparency and mutual respect. Let me also emphasise that no one in this group is above another. Though we may be at different stages of life and professional development, as artists we share the same pedestal of calling. This exhibition, if given the chance to breathe, will connect our humble beginnings with our present realities and future aspirations.

    “Let us view life as an opportunity to lift others. Each of us has stories of struggle and growth to tell; this platform is one way to honor that journey and project it into the future,” he added.

    Curator of the exhibition and CEO, Irachy Consult, Dr. Bukola Jaiyesimi said the exhibition weaves together diverse artistic perspectives on how legacy is shaped by dimensions of time and space. She noted that the exhibition ‘encourages contemplation of how art captures, distils, and projects human experiences across temporal and spatial boundaries.’

    The participating artists include Dr. Kunle Adeyemi, Kolawole K. Olojo-Kosoko,  Olumuyiwa Olusola Adeyinka Akingbade, Dr. Kafaru Abiodun, Dr.  Doyin Labode, Titi Badmus Ganiy, Asholasa Daniel, Daniel klotoe, Olusegun Oduyele, Olufemi Onagoruwa, Ojo Olaniyi, Dr. Aderinsoye Aladegbongbe, Okemakinde Abiodun, Akingbade Oluwamayowa, Taiwo Emmanuel.

    Others are Oyetumoh Yusuf, Dayo Adeyemi, Jimoh Luqman, Kehinde Adenle, Ajose Ayomide, Dr. Stella Awoh, Mofunayan, Olayemi Otuyelu Madu, Lotachukwu Ayogu-Eze and Azeez Razaq.

    One of the participants, Olumuyiwa Olusola is a water-colour artist who paints stories of resilience, joy, and tradition. His works transform everyday scenes into timeless reflections on legacy, time, together and space. With a gentle yet powerful touch of watercolor, he celebrates the struggles that lift us upward and the rhythms that bring us together.

    Through his art, Olusola shares the beauty of ordinary moments and the strength they carry for generations. His watercolor practice reflects on resilience, tradition, and human connection.

    “The fluidity of the medium allows me to capture fleeting moments while honoring the legacies that endure across time and space,” he said at the preview.