The Nation Newspaper

Category: Arts & Life

  • Authors and corporate sponsorship

    Authors and corporate sponsorship

    Live music, spoken poetry, bright lights, book reading and colourful murals created an alluring ambience that enlivened the mood of the eclectic crowd that gathered at the unveiling ceremony of Dr Ebidenyefa Tarlia- Nikade’s tragic novel: “When Tomorrow Beckons”.

    The book launch, which was held weekend, in Yenagoa, Bayelsa Capital, attracted the Bayelsa Governor’s wife, Justice Patience Diri, government functionaries, literary enthusiasts, writers, academia, poets and the traditional institution.

    Justice Diri, who was special guest of honour, urged the private sector and development partners to support authors by sponsoring reading programmes and endowing prizes for research and writing.

    According to her, “ideas are the raw materials for innovation”, stressing that “when we invest in knowledge, we compound progress”.

    She reiterated the imperatives of discipline and cultivating a strong reading culture, stressing that knowledge, hard work, and integrity remain the surest path to personal growth and lasting impact.

    Diri emphasized the vital role of books in shaping ideas, preserving memory, and inspiring future generations.

    She described the occasion as more than just a literary event, but a celebration of knowledge, culture, and progress that resonates with the values of society.

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    Commending the author for her effort, Justice Diri, stressed the value of book which she said came at a timely moment, noting that literature preserves memory, sparks public debate, and inspires young people.

    “When Tomorrow Beckons is a work that arrives at a timely moment for our society and those who care about ideas, culture and progress. I congratulate the author for the courage, discipline and generosity it takes to bring a manuscript from a quiet idea to a book we can hold and read.

    “I love literature, I love books and I love to write. Books are unique, they travel farther than their authors and they live longer than their first readers. They preserve memory, sharpen public debate and give young minds something worthy to aspire to,” she added.

    She said the novel provides clarity, balance, and lessons that makes it useful for literature scholars and readers alike.

    Chairman, Pan Niger Delta Forum (PANDEF) Ambassador Godknows Igali, who chaired the occasion, praised the author for telling the Ijaw story with candour, courage using literature to of an indigenous riverine people.

    His words, “The book touches on the Ijaw identity and who we are as a people in the Niger Delta. Young people should turn to writing about their origin as a way to preserve our history.”

    Dr. Ebidenyefa Tarila-Nikade said proceeds of the book launch would be channelled towards the Spelling Bee Bayelsa competition which is in its fourteenth year.

    She said the Spelling Bee competition targets children in primary and secondary schools across the state.

    She said, “The Spelling Bee is to encourage children to develop interest in mentally rewarding activities. We plan to give financial rewards, educational materials, and, if possible, scholarships to participants.”

    She further noted that When Tomorrow Beckons was written to promote Ijaw culture, stressing that the book shows the people’s cosmology, traditions, and values beyond oil struggles and poverty.

    “It is to tell the world that we are strong people with our norms, our taboos, our worldview, and our rich cultural heritage. Our food, our dressing, everything is embedded in this work,” she said.Dr. Tarila-Nikade urged young writers to be intentional and disciplined in their craft, stressing that, “For you to carve a niche for yourself, you have to take time to engage in deep research in your area of interest and come out with something laudable that will be worthy of accolades,” she urged.

    She encouraged young people to balance social media with serious reading and research, adding that consistent engagement with books remains the key to greatness.

  • Human rights artists deserve awards

    Human rights artists deserve awards

    Adeyinka Akinwande, Singer ,dramatist and social activist, spoke on president Bola Tinubu’s recent honours for heroes of June 12, 1993 Election, which is widely regarded as Nigeria’s freest and fairest election. Writes TAIWO ALIMI.

    I totally agree with the honour. But many other people who fought are not honoured.  Many of them are gone, many still living. The honour should not be only those in politics or people who are loyal to a party. Gbenga Adewusi got his place of business destroyed because of June 12. His office at Idumota was set Ablaze. I was among those who worked with him during the production of ” Babanginda must go

    Chief Sikiru Ayinde Barrister should also be honoured, dead, or alive, just as Abiola was honoured. He was fearless. Dr Orlando Owoh was fearless. I was working with Dr. Sikiru during the June 12  struggle. Not as his staff but as one of the production crews. At that period. The songs he made were straight and direct. During one of the studio sessions, his set drummer,Mufu Lanihun, was beginning to roll drums and play the kick drum in dancing style. Barrister warned him to stop! He said his music was not for that at the time Nigeria was going through that though time. We were working on “Prophecy.” I asked him if he wasn’t troubled. He said the state security invited him but later let him go. After that, he made another and another. He didn’t stop. We know many people who were two-faced at the time. Orlando Owoh sang “Na democracy we want” during the deadly Abacha reign. Such people should be honoured for their contributions to the well-being of the country and to  entertainment in general.

    For example, Paul McCartney is a Knight. Anthony Joshua is MBE, to mention just a few. If Victor Osimhen could be honoured twice even because he won the scuddeto for Napoli FC and those other under 17 boys could be honoured, why not look into the entertainment industry and give kudos.

    The same Babangida who turned Nigeria upside down at the time is being highly praised as national treasure now. We didn’t fight for Abiola, we fought for Nigeria, our right because in all honesty, Abiola was not clean.

    Barrister was already a sick man, Orlando himself was sick. Even then, they did not compromise. They worked days and nights to produce those songs. I witnessed when Alhaji Sikiru busted into tears during a studio session because he was having a lot of pain. His feet were swollen, his voice was unstable. Orlando just survived partial stroke, he was lean and coughing. He often cleared his throat, even then he didn’t stop producing protest songs against the wicked men in uniform

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    After we produced ‘Babangida must go.’ We  did ‘Ologini tajode’, those were Ewi by Gbenga Adewusi produced by Julie king and Julius Olagoroye. Gbenga Adewusi mentioned the names of those who worked in the poem. Then we heard that we were being looked for. I also worked in the production of the protest  poems released by Kunle Ologundudu. Those were risky periods for anyone to be involved in activities against those wicked guys in power. We raised our   voices, put our talents together to cry out against injustices and oppression.

    I know many musicians who were visiting aso rock to perform every weekend or those who were lobbying for contracts.  Felix Lebarty converted to Islam, and he changed his name.

    Generally, people in the entertainment industry are not honoured in our country. Another example is Laolu Akins. Alade Aromire who made the first indigenous home video drama,”Aje’niyami”

    We later heard that the state security was looking for us, and we were informed that they visited Afrodisia studios where the ewi was recorded and made enquiries. Gbenga Adewusi fled. Some people said he was in Benin Republic. Those of us who were too young, we were just living under the grace of God just like most Nigerians were. Later, Gbenga Adewusi appeared with some kind of long beard that covered almost his entire face because he was disguising.

    For Abiola, we exercise our rights. We were denied we protested, but many were killed. In fact, those who died in their homes were many due to strayed bullets. June 12 should be  a reminder to what happened to the soul that were lost. Innocent souls. Students who were killed during protests   at school. Now the country has forgotten about them since they have moved on. A young girl was killed inside her home by strayed bullet. People in uniform found opportunities to beat up citizens anyhow because they were in position to do so, yet they are part of the oppressed. Their families were at home as civilians suffering the same suffering other citizens were going through. But when they send them to riot places they will shoot live bullet,  use buttons to beat, used their boots to match on people, they forget they are only civilians in uniforms, their families are nit uniform people.

    I see myself as a Nigerian to the core and my duty as a citizen to contribute to the development and unity of Nigeria. I have always been working with the youths to develop their talents in religious and non religious areas. I did ‘A Day of Unity in the UK bringing the different tribes together for dinner. I organised a  prayer service with the Church of England to pray for Nigeria and its people at the time Nigeria was at edge. I arranged tge youths to make song and pray for Nigeria. It is titled, “Nigeria by Adeyinka Akinwande and the Youth Fellowship. Now I am preparing to work with some Muslim Youths to encourage them to record a song.”

  • Ibadan hosts Sidi, Ipadeola at book reading 

    Ibadan hosts Sidi, Ipadeola at book reading 

    The RovingHeights Bookstore, Old Bodija, Ibadan, came alive last Saturday as members of the city’s literary community gathered for a reading and conversation session with Navy Captain Umar Abubakar Sidi, author of The Incredible Dreams of Garba Dakaskus.

    Sidi, who is also a celebrated poet, was engaged in a robust conversation by poet laureate and 2013 winner of the Nigeria Prize for Literature, Tade Ipadeola.

    Curated by writer and cultural producer, Femi Morgan, the event drew leading figures of Ibadan’s intellectual circle, including Professors Mark Nwagwu and Sola Olorunyomi. Morgan described Sidi as one of the few Nigerian writers who combine the discipline of a military career with the creative demands of literature.

    Despite his regimented life, Morgan said, Sidi has produced acclaimed works of poetry and fiction, while also travelling across Nigerian cities to engage readers in conversations about culture and art. 

    He recalled that The Incredible Dreams of Garba Dakaskus was shortlisted for the NOMMO Prize for speculative fiction and the Dublin Literary Award, while Sidi’s poetry collections have been twice nominated for the Association of Nigerian Authors Prize in 2018 and 2023.

    In his remarks, Ipadeola praised the novel’s experimental style, noting that it resonates with cultural philosopher Mikhail Bakhtin’s call for bold storytelling beyond strict literary conventions. 

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    He said the book interrogates political power, history and urban life, while caricaturing “political animals” in contemporary society.

    “The Dublin Literary Award must have recognised the novel for its range, narrative force, and Sidi’s ability to turn the book itself into a character,” Ipadeola said, describing it as the kind of work he himself would have loved to write.

    He commended Masobe Books, the novel’s publisher, for backing a daring work at a time many publishers would have been sceptical. 

    According to him, Masobe is reshaping the African publishing landscape despite challenges of finance and weak systems.

    Responding, Sidi revealed that the novel took six years to complete, driven by his dissatisfaction with what he saw as the predictable, linear style of contemporary Nigerian fiction. “A writer must stretch his imagination, explore several possibilities of stories and voices, and broaden the reader’s mind,” he said.

    The author cited influences from Ben Okri and Italo Calvino, as well as the knowledge traditions of ancient African cities like Timbuktu, Sokoto and Ife. 

    For him, colonisation dealt a serious blow to indigenous knowledge systems, many of which thrived in underground libraries and centres of learning.

    On balancing his career as a naval officer with writing, Sidi said he adopted Salman Rushdie’s practice of “washing away the salesman” through rituals such as evening baths and cups of coffee to keep awake after work.

    The session also touched on the state of Nigeria’s publishing industry. Ipadeola called for greater investment in public libraries by federal and state governments. Governance expert Sylvia Oyinlola added that individuals and NGOs should also institutionalise libraries as legacies, rather than spend on lavish ceremonies.

    The audience included governance strategist Segun Ayoade, technology entrepreneur Sogo Faloye, forensic criminologist Jane Orire, poet-publisher Servio Gbadamosi, and students of the University of Ibadan’s Institute of African Studies, alongside soldiers, lecturers, and culture enthusiasts.

  • Ibadan aglow for new Olubadan

    Ibadan aglow for new Olubadan

    Ibadan stands on the brink of history, her ancient soul stirring once more. As the city prepares to crown a new Olubadan, it’s not just a royal transition—it’s a ritual of remembrance, resilience, and rebirth. In every drumbeat, Ibadan reclaims her voice—and the world pauses to listen, writes YINKA ADENIRAN

    This weekend, Ibadan—the storied city of seven hills, cradle of warriors, and epicenter of Yoruba political identity—will resound with the rhythm of ancestral drums and the songs of celebration. From the ancient precincts of Mapo Hall to the bustling streets of Mokola, from the timeless quarters of Beere to the leafy boulevards of Bodija, the city hums with excitement as it prepares to witness a historic moment: the coronation of a new Olubadan.

    But this will not be an ordinary Saturday. It will be a day when tradition stands tall, when history bows in reverence, and when culture steps into the spotlight adorned in its most radiant regalia. It will be a day when Ibadan, once again, reminds the world that it is not just a city—it is a statement. Coronations in Ibadan are never just ceremonial affairs. They are grand affirmations of identity, continuity, and pride. To crown an Olubadan is to renew the soul of a city that has always defined itself on its own terms. Ibadan does not whisper. It roars. And when it bestows the crown upon a new monarch, the world is compelled to listen.

    The Olubadan stool stands out as uniquely democratic among Yoruba traditional institutions. Unlike many thrones defined by birthright, Ibadan’s succession system is built on merit, seniority, and service. Governed by two parallel lines—the civil (Otun) and military (Balogun) hierarchies—each chief rises step by step, often over decades, earning every title through dedication and community leadership. No shortcuts exist. No title is inherited without merit. This transparent and structured progression has earned the Olubadan system the reputation of being the most orderly and equitable in Nigeria.

    Each advancement marks not just a change in rank, but a testament to patience, loyalty, and commitment to Ibadan’s legacy. When a man finally climbs to the summit of Mapo Hill to wear the beaded crown, he does so not as a prince by birth, but as a king by destiny. Now, the city joyfully prepares to crown Oba Rashidi Adewolu Ladoja as the 44th Olubadan—a fitting reward for a life of service.

    The Central Council of Ibadan Indigenes (CCII), in collaboration with the Olubadan-in-Council and the Oyo State Government, has meticulously curated a week-long programme of events to celebrate the coronation of Oba Ladoja as the 44th Olubadan of Ibadanland. These events transcend mere ceremony; they are a powerful expression of Ibadan’s cultural pride, unity, and communal identity. According to the official programme, signed by Chief Adebayo Oyero, Chairman of the Coronation Ceremony Planning Committee, the festivities began on a graceful note on Monday, September 22, with a solemn inter-religious prayer session at the Olubadan Palace, Oke Aremo — a symbol of spiritual unity and collective blessings. The evening continued with a captivating command performance of ARUSA, a stage play celebrating the legacy of the Olubadan’s progenitor, held at the elegant Apex Event Centre in Agodi.

    On Tuesday, September 23, the cultural spotlight shifted to Olubadan Stadium, Iyaganku, where a colourful cultural fiesta brought together music, dance, and tradition — a true showcase of Ibadan’s vibrant heritage. Wednesday, September 24, features a blend of scholarship and tradition, as world-renowned historian Prof Toyin Falola delivers the first coronation lecture at the University of Ibadan’s International Conference Centre. His lecture, “Ibadan and the Future of Yoruba Traditional Institutions,” explores the balance between preserving heritage and embracing modernity.

    On Thursday, September 25, the day begins with an Islamic birthday prayer at Ibadan House, followed by an uplifting praise and worship session at the Ibadan Civic Centre. That evening, a mega concert will feature Fuji legends Saheed Osupa and Taye Currency, along with guest appearances by Afrobeats stars of Ibadan descent. The coronation itself takes place on Friday, September 26, at the historic Mapo Hall — a grand celebration of tradition and royalty — followed by a regal reception at the iconic Obafemi Awolowo (Liberty) Stadium.

    On Sunday, September 28, a thanksgiving service will be held at the Catholic Church of the Ascension, New Bodija, followed by a civic coronation reception at the University of Ibadan. The festivities continue with a special Jumat service on Friday, October 3, at the Central Mosque in Oja’ba. The grand finale — a traditional Isese thanksgiving — will take place on Tuesday, October 8, at Osemeji in Oja’ba, bringing the historic celebration to a spiritually rich and joyful close.

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    Oba Ladoja’s journey to the Olubadan throne is a compelling narrative of patience, resilience, and respect for tradition. Unlike other Yoruba cities where royal succession often rotates among ruling families, Ibadan’s chieftaincy system follows a strict, merit-based hierarchy. Any eligible male titleholder can one day become Olubadan—if he survives the long climb and remains steadfast. Born on September 25, 1944, Ladoja built a distinguished profile as a scholar, entrepreneur, and politician, notably serving as Governor of Oyo State from 2003 to 2007. Yet, despite his national prominence, he remained committed to Ibadan’s traditional path. His ascent began in 1993 as Mogaji, the head of his family compound. Over three decades, he rose steadily through the Otun line—from Jagun Balogun to Otun Balogun and eventually Otun Olubadan.

    His path was not without turbulence. In 2017, tensions arose when then-Governor Abiola Ajimobi crowned members of the Olubadan-in-Council as Obas, disrupting the city’s longstanding system. Ladoja, a traditionalist, opposed the move, sparking legal disputes that divided the council and clouded the succession process. The deadlock was finally resolved with the 2023 Olubadan Chieftaincy Amendment under Governor Seyi Makinde. The reform recognized the beaded crown Obas while maintaining the two-line succession system. However, for any senior chief to remain eligible for the throne, he had to accept the beaded crown. Though initially reluctant, Ladoja ultimately agreed to don the crown as Otun Olubadan. His decision was widely seen not as capitulation, but as a statesmanlike act—putting Ibadan’s unity and cultural continuity above personal pride. Today, his coronation stands as the culmination of a life defined by service, wisdom, and an unwavering devotion to Ibadan’s timeless traditions.

    The highlight of the coronation festivities is set for Friday, September 26, at Mapo Hall — the iconic colonial-era edifice that has witnessed generations of Olubadan coronations. Perched atop one of Ibadan’s legendary seven hills, Mapo Hall stands as a timeless symbol of the city’s grandeur, resilience, and enduring legacy. This historic occasion will attract a distinguished gathering, reflecting its national and cultural significance. President Bola Ahmed Tinubu is expected to lead the federal delegation, accompanied by Vice President Kashim Shettima and key cabinet ministers. Several state governors from the Southwest and beyond — including Babajide Sanwo-Olu (Lagos), Dapo Abiodun (Ogun), Biodun Oyebanji (Ekiti), and Ademola Adeleke (Osun) — have confirmed their attendance.

    The guest list cuts across political zones, parties, and affiliations, with prominent politicians and public figures from every region of the country set to attend. Among the royal dignitaries expected are some of the most revered monarchs in Yorubaland, including the Ooni of Ife, Oba Adeyeye Enitan Ogunwusi; the Alaafin of Oyo, Oba Akeem Owoade; and the Alake of Egbaland, Oba Adedotun Aremu Gbadebo. Royal fathers from the North, Niger Delta, and Middle Belt regions are also expected to grace the event, reinforcing the unity and diversity embodied in this coronation.

    The coronation will be nothing short of a cultural spectacle. Drummers will speak in proverbs, bata dancers will whirl dust into the air, and griots will chant the lineage of Ibadan, reminding all present of the days of Ogunmola, Lagelu, Aare Latoosa, and the warriors whose sweat and blood built the city’s walls. The ceremonies will be soaked in symbolism. White horses will neigh, masquerades will dance, and cannon fire will echo through the hills, announcing to heaven and earth that Ibadan has a new king. Chiefs in scarlet robes will file in solemn dignity. Market women will ululate. And somewhere in the crowd, children will crane their necks, their eyes wide with the magic of a tradition that has survived centuries of change.

    The man to be crowned steps into a history larger than himself. Like his predecessors, he will carry the weight of Ibadan’s past and the hopes of its future. He becomes, overnight, more than an individual—he becomes symbol, compass, and conscience. The Olubadan is not just a traditional ruler; he is a rallying point for Ibadan indigenes and a voice in the Yoruba council of kings. His palace will be a place where disputes are settled, marriages blessed, destinies redirected. His words will carry moral authority in politics, commerce, and faith. In Ibadan, the Olubadan is not distant royalty—he is father to all.

    Yet, the coronation is also a study in contrasts. Around the ancient Mapo Hall, smartphones will flash, livestreams will beam the events to audiences in Europe and America, and the ceremony will trend on social media platforms. The new Olubadan will inherit a palace steeped in tradition but must govern in a city alive with modern pressures—urban sprawl, political turbulence, youthful restlessness. How he weaves old wisdom with new realities will define his reign. For this is Ibadan: fiercely traditional yet irrepressibly modern, proud of its roots but always straining toward the future.

    But beyond politics and pageantry, there is something deeply spiritual about the Olubadan stool. The crown is not just beads and fabric—it is a covenant. It binds the king to the ancestors, to the gods of the land, to the spirits of Ogunmola and Bashorun Oluyole who carved Ibadan’s place in history. When the crown is lowered onto his head, the new Olubadan does not merely become a monarch. He becomes living history. He embodies the prayers of generations. He stands as custodian of Ibadan’s soul. In the days leading to the coronation, Ibadan has shown its best face. Old rivalries have quieted, political differences softened. At least for a weekend, everyone is united under the banner of tradition. The coronation has become a rallying point, a reminder that beyond politics and commerce, Ibadan is first and foremost a family—one bound by culture, ancestry, and pride.

    As the sun rises on coronation day, the city will awaken with unusual energy. From Oja’ba to Challenge, motorbikes will whiz past, horns will blare, and processions will clog the roads. But in all the chaos, there will be music—an unmistakable music of a people celebrating themselves. In crowning a new Olubadan, Ibadan is not only renewing tradition but also sending a message to Nigeria and the world. That message is simple yet profound: culture matters. Identity matters. Roots matter. And this weekend, Ibadan is more than agog—it is ablaze with history.

  • Nigeria’s cultural talents poised for global renaissance

    Nigeria’s cultural talents poised for global renaissance

    “There  should  be  continuous  advocacy  at  the  national  and  sub- national  levels  for  policy  makers  to  fully  appreciate  the  huge potentials in the culture and creative economy sector. The governments at the national  and  sub-national  levels  should invest in the culture and creative economy sector to harness its huge capacity for wealth creation, soft power and national cohesion; and there should be a review of the nation’s educational curriculum at all levels to incorporate culture and creative studies.”

    These were parts of the resolutions contained in a communique issued at the close of a 5-day Culture  and  Creative  Summit  with  the  theme:  Monetizing  Culture and  Creative  Industries  at  the  Sub-national  Level,   held  at  the Landmark Nike Lake Resorts Enugu, Enugu State from 8th  to  12th September. Participants included Chief  Executives  of  federal  cultural  parastatals,  Commissioners  for  Arts, Culture  and  Creative  Economy and representatives of Mandate Secretary Social Development Secretariat  FCT,  and  Directors  of  29  State  Councils  for  Arts  and Culture / History and Culture Bureaux and the FCT. Also present were representatives of British Council, Nigeria, Goethe Institut, Lagos and University for the Creative Arts, United Kingdom.

    According to the communique, participants declared that the sector has the capacity of creating mass employment, contributing to the nationn’s Gross Domestic products, and driving sustainable socio-economic growth and development. 

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    The summit, organised by the National Council for Arts and Culture (NCAC) was preparatory to this year’s National Festival of Arts and Culture, (NAFEST 2025) holding in Enugu between November 21st  and 29th, urged states to intensify  efforts  at  information  dissemination  on funding  and  collaborative  opportunities  from  funding  agencies  to practitioners in the culture and creative eco system.

    Pro Vice-Chancellor for Partnerships and Engagement, University for the Creative Arts, United Kingdom, Prof Lyndsay Duthie, said that Nigeria has incredible opportunities to develop its creative economy.

    Prof. Duthie who attended the Nigeria Governors’ Forum meeting alongside other attendees including Seyi Agboola, UCA Senior Regional Recruitment Manager, Director General, Nigeria Governors’ Forum (NGF), Dr Abdullateef Shittu, and Director General, National Council for Arts and Culture (NCAC) Mr. Obi Asika. She was in Nigeria following the announcement of a Global Creative Partnership between University for the Creative Arts and National Council for Arts and Culture (NCAC).

    “The creative economy is not tomorrow’s opportunity – it is today’s,” Prof. Duthie said during her courtesy visit to the Nigerian Governors’ Forum (NGF) in Abuja. Channeling years of expertise from Britain’s thriving media landscape, she spotlighted Nigeria’s untapped potential and challenged policymakers to move with urgency.

    But, in her keynote address at the summit, she spoke on what bridged the two nations; UK’s success in turning creativity into economic gold and Nigeria’s dynamo of cultural talent poised for global renaissance.

    According to her, it was a moment to explore how the UK’s resilient creative industries, which added £124.6 billion to the economy in 2022 alone, could inspire Africa’s largest economy to diversify beyond oil and harness its vibrant youth culture for international dominance.

    Prof. Duthie underscored the nexus between creativity and economic growth: “Culture plus creativity equals economic power,” she added, pointing to how nations are leveraging “soft power” – the subtle influence of art, film, and music – to reshape perceptions and boost exports.

    Corroborating the impact of the creative industry and Nigeria’s potential, Asika said ‘at NCAC we believe in collaboration and have been working closely with the leadership of the Nigeria Governor’s Forum to develop the economic and business case for the Nations cultural and creative industries.’

    “As we progress we had engaged a strategic alliance with UCA as we see the need to update curriculum, adopt global best practice and enable our own people. In this regard we were delighted to meet with the leadership of the Nigeria Governor’s Forum, which is the policy secretariat for Nigeria’s sub nationals. We have alignment on the range and breadth of Nigerian soft power as represented by this sector and its innovation and disruptions across multiple sectors, we are delighted to have brought UCA to the NGF and look forward to progressing our alliance with tangible actions that will impact our people at scale,” he said.

    Responding, Dr. Shittu, said: “The visit is both timely and significant as Nigeria positions the creative economy as a central pillar of economic diversification and youth empowerment.”

    He explained that the NGF, a non-partisan platform, and a policy hub is increasingly committed to the creative sector because of its promise to deliver jobs, innovation, and social cohesion across Nigeria’s states.

    “Our engagements with the NCAC, as well as the Federal Ministry of Art, Culture and the Creative Economy, reflect this commitment,” he continued. “Together, we are exploring avenues to strengthen cultural infrastructure, expand skills development and integrate creative enterprise into state-level economic strategies.”

    The DG stressed that Nigeria’s creative talents already project the country’s cultural influence globally. What is missing, he said, is sustained investment and stronger partnerships to scale impact. “With structured investment, capacity-building, and international partnerships, this potential can be transformed into sustainable prosperity,” he argued.

    “The NGF is ready to collaborate with the University for the Creative Arts through knowledge exchange and talent development. Building institutional partnerships with globally recognised institutions such as yours will significantly accelerate the growth of Nigeria’s creative economy,” he affirmed.

    For Dr. Shittu, the visit was more than symbolic; it was a chance to align state-level ambition with global expertise. He welcomed the UCA delegation warmly and expressed optimism that the partnership could lay the groundwork for lasting impact.

    “We welcome you once again and look forward to building lasting partnerships that empower our youth, strengthen our cultural industries, and deepen the creative ties between Nigeria and the United Kingdom,” he said.

    Between Prof. Duthie’s rallying call for urgency and Dr. Shittu’s pledge of institutional commitment, the contours of Nigeria’s creative future were clearly drawn: if nurtured with the right partnerships, the sector could become the next economic powerhouse.

  • British Council partners Africa Creative Market for growth

    British Council partners Africa Creative Market for growth

    • By Glorious Idowu

    In a move to accelerate the development of Africa’s creative economy, the British Council has announced a strategic partnership with the Africa Creative Market (ACM) 2025.

    The collaboration, officially launched in Lagos, is designed to bridge the gap between African creators and the global market by connecting them with vital resources, including investors, policymakers, development agencies, and international industry leaders.

    It will serve as a convergence point for professionals across film, music, fashion, art, photography, gaming, and technology, offering curated experiences focused on collaboration, training, visibility, and crucially, funding.

    The partnership aligns with the British Council’s broader mission in Nigeria, as articulated by its Country Director, Donna McGowan. In an exclusive interview, McGowan outlined the organisation’s deep commitment to the sector.

    “The British Council has a longstanding presence in Nigeria, and there’s a lot of effort involved to keep pace with the rapid growth and global movements of Nigeria’s creative industries,” McGowan stated.

    She emphasised that the Council’s work in the creative economy “very much reflects the context in Nigeria and also the opportunities for partnerships with the wider UK,” engaging at all levels from policy to direct support for creatives.

    “The objective of what we do is to build trust and understanding, make connections between our creatives… in Nigeria and also in the UK, and provide opportunities for platforms for them to springboard globally. It’s really important to ensure access to market,” McGowan said.

    Highlighting the Council’s flagship film programme, Film Lab Africa, she noted the success of its first cohort, where emerging filmmakers built skills, gained mentorship, and accessed opportunities to engage with investors and new platforms.

    “They have these means to open doors to markets with their new stories reflecting the heart and soul of Africa and taking that beyond Nigeria’s borders,” she added.

    This partnership is a core component of the British Council’s Creative Economy Week 2025, which seeks to showcase the power of creativity and culture as catalysts for inclusive economic growth, youth empowerment, and global connection.

    McGowan stated that this year’s initiative is vastly expanded, moving beyond its Lagos-focused debut in 2023. “This time we’re in five cities in Nigeria, as well as in October we’ll be going to London. It’s a great opportunity to showcase the talent and the diversity of the talent in Nigeria, as well as connect that local with the global,” Ashe added.

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    The ACM 2025 event in Lagos featured pivotal sessions on Women in Film, Creatives and Cultural Exports, Novus Art summit and analyses of how African stories, music, film, and fashion are driving global demand.

    For the British Council, this is more than an arts initiative. McGowan stressed that creativity is “way more than arts and freedom of expression. It’s about the contribution to the wider economy, to an inclusive economy, and to greater international collaboration. And Nigeria being seen as an even bigger player on the global stage.”

    The Creative Economy Week 2025, following its successful kick-off in Abuja, will span across Port Harcourt, Kano, Enugu, and London, bringing together artists, creative entrepreneurs, cultural hubs, industry leaders, policymakers, investors, and international partners to forge a sustainable future for Africa’s creative industries.

  • Art summit charts future of African art

    Art summit charts future of African art

    • By Glorious Idowu

    The Novus Art Summit and exhibition, held in collaboration with the Africa Creative Market at the Landmark Centre on Victoria Island, Lagos brought together artists, curators, and cultural leaders to explore the future of African art and its global relevance. The summit held recently was tagged Creative Bridge.

    Speakers included renowned sculptor Dotun Popoola; Dr. Adeola Balogun of Yaba College of Technology, Lagos, and Mrs. Yulia Daniels, an independent art curator. The panel sessions were anchored by Mrs. Miabo Enyadike, CEO of Artmiabo. They addressed issues ranging from infrastructure challenges to global opportunities for emerging talents.

    Popoola, widely known for his monumental scrap-metal sculptures, highlighted the high cost of electricity and limited infrastructure as major hurdles for Nigerian artists but urged creatives to view these challenges as opportunities for innovation. “Every challenge an artist faces is an opportunity to bring new ideas,” he said.

    Dr. Balogun and Daniels emphasized the need for collaboration over competition, encouraging Nigerian artists to adopt technology and build global partnerships while retaining cultural authenticity.

    Mrs. Daniels also stressed the importance of the Nigerian National Museum as a venue for showcasing art, but pointed out the need for its renovation and for greater support for artists within the country.

    The summit also featured an exhibition of artworks, which gave participants a chance to engage directly with the creativity on display.

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    While speaking on the sideline of the panel, Harry Kesiena, Head of Arts at the British Council Nigeria, described the future of African art as “very promising.” He stressed that Africans are increasingly taking control of their identity and narrative on the world stage. He advised young creatives to document not just their finished works but also their processes, adding that the British Council posts open opportunities for artists through its social media platforms.

    Kenny, an attendee, told our correspondents that the summit had strengthened his resolve to seek more visibility for his work. “I’ve been highly motivated to put my art out there more, knowing that exhibitions and galleries are steps in a larger journey,” he said.

    By the close of the summit, the message was clear: with resilience, collaboration, and innovation, Nigerian artists are not only shaping local conversations but also securing a stronger voice in the global art market.

  • Tayo Conga’s love for percussion

    Tayo Conga’s love for percussion

    Oluwatayo Oluwadamilare Ajayi, widely known as Tayo Conga, is a living testament to the power of rhythm as a cultural force. Born in Ikogosi, Ekiti State, he has spent over a decade championing African arts, culture and tourism while using the conga drum as his voice on both local and global stages.

    For Tayo, percussion is far more than entertainment, it is a philosophy of life. “Life is full of rhythm,” he reflects. “The rising and setting of the sun, the moon, the stars, time, and seasons all move in rhythm. The drum embodies these movements.” This worldview shapes his music, allowing him to connect with people spiritually and emotionally while keeping African heritage alive.

    As the lead percussionist of Tumbadora African Entertainment, Tayo has performed at renowned festivals including the African Drum Festival, International Jazz Festival, and the Forbes Under-30 Summit Africa. His rhythms have also echoed in diplomatic circles, captivating dignitaries from the United States, Brazil, the Netherlands, and Spain. Beyond the stage, he has conducted workshops that introduce the beauty of African percussion to diverse audiences worldwide.

    Cultural preservation is at the heart of his mission. Through the African Heritage Tour series, Tayo has curated experiences at iconic Nigerian sites such as the Ikogosi Warm Spring and the Badagry Slave Trade Zone, merging history, art, and tourism into powerful narratives of identity and resilience. His contributions have gained international recognition, with 2025 marking a milestone: he and the Tumbadora African Crew received an official invitation to perform at the Creative Africa Nexus (CANEX) during the Intra-African Trade Fair in Algiers, Algeria.

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    Tayo also creates spaces for cultural celebration within Nigeria. He convenes the Spirit of Drums concert and the Gathering of Arts and Sound showcase, platforms that elevate African percussion and creativity. Through his Tayo Conga Drum Workshop and a quarterly cultural show at the prestigious Nike Art Gallery, Lagos, he brings together art lovers, musicians, and cultural enthusiasts.

    Currently serving as Chief Percussionist at Elevation Church in Lagos, Tayo continues to inspire with rhythms that uplift worship and deepen spiritual connection. His advice to aspiring percussionists is rooted in faith and resilience: believe in God, stay grounded in your roots, practice consistently, and use music not just to perform but to serve, preserve, and inspire.

  • Celebrating Evelyn D’Poet’s legacy

    Celebrating Evelyn D’Poet’s legacy

    Family, colleagues, and admirers of the late Evelyn Osagie, an Assistant Editor with The Nation newspaper, gathered at the Nigerian Institute of Journalism (NIJ), Ogba, Lagos, last Friday to honour the journalist, poet, and culture advocate, who passed away recently. RAYMOND MORDI reports

    The auditorium of the Nigerian Institute of Journalism (NIJ), Ogba, Lagos, was illuminated with soft lights on Friday evening as family, friends, and colleagues of the late Evelyn Eseoghene Osagie gathered to celebrate her legacy.

    It was a solemn ceremony. The air was heavy with song, poetry, and memory. It was more than a memorial — it was a tapestry of voices, woven together to honour a life too vibrant to be contained by any single label.

    The event, Service of Songs/Night of Tributes, began at 4:30 p.m. The hall was not filled at the outset, but as the service progressed, others joined and gradually occupied the empty seats. Those who were unable to attend in person joined online.

    The late Evelyn was an Assistant Editor with The Nation newspaper. She was also a performer, culture advocate, photographer, and poet known on stage as Evelyn D’Poet. At 50, she had become a constellation of talents. She was not only a reporter chronicling the arts and culture scene but also a participant, stepping into the light of the stage she once wrote about.

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    She merged her journalism with creativity, transforming reportage into performance. On stage, Evelyn D’Poet blended poetry with song, imagery with rhythm, and traditional African theatre with contemporary forms, crafting a signature style that was at once traditional and daring.

    Friends often marvelled at her dual life: sometimes covering cultural events as a journalist, and performing at the same venues. What might have been a burden for others felt natural to Evelyn, as if she were born to balance both worlds. Her pen and her voice were two branches of the same tree.

    Thus, the NIJ auditorium was filled with colleagues on the art and culture beat, other fellow journalists, artists, chieftains of civil society organisations, admirers, and members of her family, including brothers Matthew, Eric, Kelvin, Kingsley, and sister Patience.

    The turnout was not surprising. They gathered not simply to mourn, but to honour a woman whose spirit left fingerprints on every corner of the country’s cultural landscape. One tribute after another added new shades to her portrait.

    The eminent poet, dramatist, and critic, Prof. Niyi Osundare, though absent physically, lent his voice through a special poem read on his behalf. His words struck the audience with quiet reverence: Evelyn, he said, carried “something so remarkable about her irrepressible spirit, her wit and wisdom, her ebullient passion, her boundless energy, her humane and compassionate disposition, her effortless grace, and grudge-less collegiality.”

    Few could embody so many gifts at once, he reflected — journalist, critic, poet, curator, promoter, advocate, and photographer — all seamlessly bound in one person.

    Echoing this sense of loss, Executive Director of the International Press Centre (IPC) Lanre Arogundade reminded the audience of Evelyn’s steadfast commitment to journalism that amplified women’s voices.

    He recalled her recent role at a European Union-supported interface in Port Harcourt, where she spoke passionately about the need for inclusive reporting during elections.

    “She made personal commitments,” the veteran journalist noted, “and pledged that her newspaper, The Nation, would be a trailblazer in projecting female politicians ahead of 2027.”

    Arogundade’s words underlined not only what Evelyn achieved but also the unfulfilled potential her absence now leaves behind.

    The tributes wove together, each like a stanza in a larger poem that told the story of her life. Her colleague on the beat, Yinka Olatunbosun of THISDAY newspaper, remembered Evelyn’s radiant smile — a smile, she said, that was both shield and gift, concealing struggles while offering warmth to others.

    This thought found resonance in the voice of Evelyn’s University of Benin classmate, Anthonia Ohiafi. “Evelyn carried so much within,” she reflected, “yet chose to hide it behind her smile. She poured her heart out through poetry, creative writing, and those soulful songs that touched us deeply.”

    From memory of smiles to memory of stages, another classmate, Kayode Ladeinde, now Executive Editor at TVC News, took the audience back to their university days, when he and Evelyn lit up the stage as actors.

    While journalism pulled him firmly into its grip, he admired Evelyn’s defiance — her refusal to let journalism silence her creative voice. “You shone so bright as a poet, as a dramatist, and as a journalist,” he said. “The quality of awards speaks for itself.”

    The tributes did not merely describe Evelyn; they brought her alive in memory. Her words echoed again in the hall through the voice of her sister, who read her poetry in a performance many said carried the unmistakable imprint of Evelyn’s own stagecraft.

    Her colleague at the office, Ibrahim Apekhade Yusuf, recited his own piece, a dirge for Evelyn titled “Evelyn, why’d your sun set so soon?” The question hung heavy in the hall, rhetorical yet universal, echoing the sentiment of many.

    Journalist-poet Akeem Lasisi followed, offering his poem for Evelyn, “A Poet Has Turned into an Eternal Poem.” He recalled the countless assignments he and Evelyn had covered together, admiring how gracefully she carried herself. However, in the end, he observed with a sigh, “Because death is a trickster, a poet has turned into an eternal poem.”

    Many civil society activists, too, joined their voices. Betty Abah, founder of CEE-HOPE Nigeria, remembered Evelyn as more than a journalist: “She was a vibrant, creative and selfless soul, passionate about the downtrodden, shining like a luminous star and capturing our gaze till the end.”

    Adding to this chorus of remembrance, media career development specialist and President of Journalists for Christ (JFC), Lekan Otufodunrin, reflected on her faith and her active role in the fellowship. “

    Her passing is a painful loss,” he admitted. “Her contributions to the profession and her inspiring presence at our monthly fellowships, especially when she served as guest speaker, remain fresh in our hearts. Her passion, commitment, and faith left a mark that will not be forgotten.”

    Deputy Editor of The Nation, Emmanuel Oladesu, and Chief Sub-Editor Sunday Omoniyi also spoke about her dedication to work and her positive disposition towards others.

    As the tributes unfolded, the evening itself became a chorus of voices and memories. By the time the programme drew to a close, it was clear that Evelyn D’Poet had left behind a luminous legacy. She stood as proof that journalism could be creative, that poetry could be public service, and that the arts could inspire as much as they could report.

    As the lights dimmed in the NIJ auditorium, the audience rose with reluctant applause, their claps carrying both grief and gratitude. In that moment, Evelyn was no longer just the subject of tributes — she was the poem, the song, the spirit animating the night.

    Her story reminds us that some lives cannot be measured by years or titles. They must be measured by impact, by the hearts they touched, and by the legacies they leave behind. Evelyn’s sun may have set, but her words still rise like dawn in the hearts she touched. And in every stanza read, every smile recalled, every cause carried forward, Evelyn D’Poet lives on.

  • Ode to Orebe, octogenarian columnist

    Ode to Orebe, octogenarian columnist

    • From Seye Adetunmbi

    It is a thing of joy to live long in good health and happiness with peace of mind. To be consistently intellectually savvy in old age, is a rare gift and the icing of the cake. This is why I am particularly excited for Dr (honoris causa) Femi Orebe for “breasting” the tape of the race to the 80th natal anniversary, in his lifetime journey, today to the glory of God and for the benefit of the journalistic world. To specifically celebrate him for gracefully making it to the 8th floor, let me share the preface that I wrote for his book scheduled for public presentation on October 25, 2025.

    I quote: “It is considered a privilege to be associated with the publishing of this unique book written by one of the reputable, erudite, and very prolific writers in the history of newspaper columnists in Nigeria. Dr Femi Orebe is an outstanding, talented, and consistent newspaper columnist with a large followership of devoted readers. Expectedly, his complete published weekly article between 2006 and 2024 is quite huge. It was a real editorial challenge going through over 1,282,200 words to come up with a consolidated 2,285-page in A4 size and extract this maiden edition of 300,000+ words book of 7×10 inches size. This is about a pool of materials that are worthy of being published in a book for posterity. His complete work would fit into three separate books of 800 pages each in A4 sizes. His articles over the years of course covered a wide range of subjects. Consequently, the contents of this book were structured into sections and subsections to bring topics that bear relevance to the title of each section under the same category, and in order of the dates they were published in the newspaper. Some of the sections have more than enough materials for them to be published as a book independently which may still manifest in future as the author continues to share his perspectives on contemporary issues as a going concern. Being a corpus of his weekly published articles in his column in the newspaper, they have to be clinically and strategically packaged in a sequence towards making it more interesting to read for everyone who gets a copy to explore. There were times that he addressed two or more different headings in an article. We took out some and placed them in the section or subsection they belong to while the majority of the essays were published in this book, verbatim. In all, there are five sections in this book. The first section is about his reminiscences on how his journey started as a citizen journalist as well as early working life after graduating from the university and related stories. Section two covers some of his articles classified to be political, which was divided into six categories as subsections. Section three underscores his versatility as an inexhaustible writer; it is a compilation of integrated cogitative articles on contemporary issues of communal and national concern. Majority of his published articles fell in this category and they were arranged in subsections in order of dates too. At various times he paid tributes to individuals and institutions which constitute the fourth section of this book. He also had cause to review some books in his column. These reviews constitute the fifth section.

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     Albeit, the book tells the story of the author, revealing him aggregately as an administrator, technocrat, business manager, politician, business owner, public relations guru, prolific writer, and in fact as a consummate public intellectual. This was done with some vintage pictures to plan the pages, also to further give the compendium a distinct character and complement some of the contents in the book which all together should make the exemplar-literature refreshing to read. It was indeed a remarkable task working with the author by making sure that every department of his complete published work as a columnist featured in this maiden book of the distinguished citizen journalist.

    The humility of Dr Femi Orebe is exemplary. The 74% (6As and 1B+) he scored in his final result at the University of Ife (now Obafemi Awolowo University), more than qualify him for a First-Class degree, which would have been the first ever to be awarded in the history of his department at the great university. His brilliance shined in all his writings and published essays over the years. Yet, he will tell you that he is not a trained journalist. This among other reasons informed his choice of the title for this splendid literary work; “Simply a Citizen Journalist”.  On behalf of Mindscope Africa, Dr. Orebe is appreciated for giving Mindscope Africa the opportunity to associate with this terrific legendary work. It is a must-have book in the library of all ranks of schools, colleges, universities, and individuals who want an irresistible reference-trusted-material on integrated contemporary issues (politics, economy, government, history, dramatis personae in the scheme of things etc) in Nigeria and around the world in the 20th and 21st century.”

    What else can I say to oga Orebe as he becomes an octogenarian today, September 24, 2025 than to pray for ajinde ara and that may God grant him the grace to see things of joy in his household for the rest of his life in Jesus Christ’s name, amen.

    Happy 80th birthday to you, sir